creatures simply in clear daylight; not in rapture, nor yet in agony. The unexciting colour will not at first delight you; but its charm will never fail, and you will find that you never return to it but with a sense of relief and of peace.... Cima is not supreme in any artistic quality, but good and praiseworthy in all" (_Lectures on Landscape_, § 60; _Guide to the Academy at Venice_, p. 14). Cima is usually reckoned among the disciples of Giovanni Bellini, and is believed at one time to have superintended the workshop of that master. In the background, on the right, are the towers of Conegliano; on the left, the neighbouring castle of Colalto. There is something very pretty in the way in which the earlier Venetian masters placed their Holy Families in their own fields and amongst their own mountains (compare _e.g._ the Madonna in the Meadow, No. 599), thus imagining the Madonna and her child not as a far-away sanctity in the sky, but as an actual presence nigh unto them, at their very doors.[146] "There has probably not been an innocent cottage-home throughout the length and breadth of Europe during the whole period of vital Christianity, in which the imagined presence of the Madonna has not given sanctity to the humblest duties, and comfort to the sorest trials of the lives of women; and every brightest and loftiest achievement of the arts and strength of manhood has been the fulfilment of the assured prophecy of the poor Israelite maiden, 'He that is mighty hath magnified me, and holy is his name'" (_Fors Clavigera_, 1874, p. 105). 479. THE SUN RISING IN A MIST. _J. M. W. Turner, R.A._ (British: 1775-1851). For the circumstances under which this picture by Turner and the "Dido Building Carthage" (498) hang not in the Turner Gallery but beside the Claudes, see under 12. This picture was exhibited at the Royal Academy in 1807, and belongs therefore to Turner's first period, which was distinguished by "subdued colour and perpetual reference to precedent in composition." This effect of sunrise in a mist was a favourite one with Dutch painters, and Turner, when he went to the sea-shore, painted it in the Dutch manner. A time was to come when he would paint the sun rising no longer in a mist. Yet from the first, the bent of his own mind was visible in his work. He paints no such ideal futilities as are pointed out above in Claude's picture, but fishermen engaged in their daily toil. One of his father's best friends was a fishmonger, whom he often visited: "which gives us a friendly turn of mind towards herring-fishing, whaling, Calais poissardes, and many other of our choicest subjects in afterlife." He was the painter not of "pastoral indolence or classic pride, but of the labour of men, by sea and land" (_Modern Painters_, vol. v. pt. ix. ch. ix.). 498. DIDO BUILDING CARTHAGE. _J. M. W. Turner, R.A._ (British: 1775-1851).