"a work of the most attractive character, from its careful finish, its rich and transparent colour, and its great beauty of expression." 297. THE NATIVITY. _Il Romanino_ (Brescian: about 1485-1566). Girolamo Romani was a native of Brescia and the son of a painter; his family belonged originally to the small town of Romano, in the province of Bergamo: hence his name, "Romanino." Like Moretto (whose rival he was), he was little known outside the district of Brescia; but he studied at Venice, where he took Giorgione for his pattern. His best works are remarkable for a brilliant golden colouring, which is unfortunately not conspicuous in this picture. It pervades the fine altar-piece of the "Madonna Enthroned" in S. Francesco at Brescia. Another splendid altar-piece is to be seen in the museum at Padua. Among Romanino's frescoes may be mentioned the lively scenes he executed for the Castle of Malpaga. Copies of these are in the Arundel Society's collection. Of this altar-piece--painted in 1525 for the church of St. Alessandro at Brescia--Mr. Pater gives the following description: "Alessandro, patron of the church, one of the many youthful patrician converts Italy reveres from the ranks of the Roman army, stands on one side, with ample crimson banner superbly furled about his lustrous black armour; and on the other--St. Jerome, Romanino's own namesake--neither more nor less than the familiar, self-tormenting anchorite.... But the loveliest subjects are in the corners above--Gaudioso, Bishop of Brescia, above St. Jerome; above Alessandro, St. Filippo Benizzi, meek founder of the order of Servites to which that church at Brescia belonged, with his lily, and in the right hand a book, and what a book!... If you wish to see what can be made of the leaves, the vellum covers of a book, observe that in St. Philip's hands. The metre? the contents? you ask: What may they be? and whence did it come?--Out of embalmed sacristy, or antique coffin of some early Brescian martyr, or, through that bright space of blue Italian sky, from the hands of an angel, like his Annunciation lily, or the book received in the Apocalypse by John the Divine? It is one of those old saints, Gaudioso (at home in every church of Brescia), who looks out with full face from the opposite corner of the altar-piece, from a background which, though it might be the new heaven over a new earth, is in truth only the proper, breathable air of Italy. As we see him here, Saint Gaudioso is one of the more exquisite treasures of our National Gallery. It was thus that, at the magic touch of Romanino's art, the dim, early, hunted-down Brescian church of the primitive centuries, crushed into the dust, it might seem, was 'brought to her king,' out of those old dark crypts, 'in raiment of needlework'--the delicate, richly-folded, pontifical white vestments, the mitre and staff and gloves, and rich