In his earliest pictures he devoted himself to the profoundest sentiments of Christianity--perhaps, as has been suggested, under the influence of S. Bernardino, then preaching at Padua (Roger Fry's _Giovanni Bellini_, p. 22). Afterwards the "note" in Bellini's work is rather "genial serenity." The expression of his Madonnas is often tender and solemn, but he never lets it pass into the region of the ecstatic. All is bright and peaceful and sunny. He belongs to what Ruskin calls "the age of the masters," in which the main object is "pictorial perfectness and deliciousness." A magnificent portrait of one of the greatest men of the Venetian Republic. Leonardo, the 67th Doge, held office from 1501 to 1521. He belonged to one of the most ancient and noble families in the State, and Venice, under his rule, was one of the Great Powers of Europe--as the league of Cambrai formed against him sufficiently shows. There is all the quiet dignity of a born ruler in his face--"fearless, faithful, patient, impenetrable, implacable--every word a fate" (_Modern Painters_, vol. v. pt. ix. ch. ix. § 1). In his capacity of State painter to the Republic it was Bellini's duty to execute the official portraits of the Doges. During his long life he saw no fewer than eleven Doges, and was State painter during the reigns of four. This, however, is the only portrait of a Doge by Bellini which has been preserved (Richter's _Lectures on the National Gallery_, p. 42). It is remarkable alike for strong characterisation, simplicity of conception, and brilliancy of colouring. 190. A JEWISH RABBI. _Rembrandt_ (Dutch: 1606-1669). _See_ 45, and also under 51. 191. THE YOUTHFUL CHRIST AND ST. JOHN. _Guido_ (Eclectic-Bologna: 1575-1642). _See 11._ St. John is charming in the beauty of boyhood. In the youthful Christ the painter has striven after something more "ideal," and has produced a somewhat namby-pamby face. 192. PORTRAIT OF HIMSELF. _Gerard Dou_ (Dutch: 1613-1675).