was entrusted with the completion of the frescoes of the Sala di Costantino in the Vatican. Among his best oil-pictures are the "Martyrdom of St. Stephen" in the church of that saint at Genoa, and a "Holy Family" in the Dresden Gallery. An illustration of the classic myth of the infancy of Jupiter, who was born in Crete and hidden by his mother, Rhea, in order to save him from his father Saturn ("all-devouring Time"), who used to devour his sons as soon as they were born, from fear of the prophecy that one of them would dethrone him. In the background are the Curetes "who, as the story is, erst drowned in Crete that infant cry of Jove, when the young band about the babe in rapid dance, arms in hand to measured tread, beat brass on brass, that Saturn might not get him to consign to his devouring jaws" (_Lucretius_, Munro's translation, ii. 629). This picture has been much admired by artists. Samuel Palmer, the friend of William Blake, wrote of it: "By the bye, if you want to see a picture bound by a splendid imagination upon the fine, firm, old philosophy, do go and look at the Julio Romano (Nursing of Jupiter) in the National Gallery. That is precisely the picture Blake would have revelled in. I think I hear him say, 'As fine as possible, Sir! It is not permitted to man to do better!'" (_Memoir of Anne Gilchrist_, p. 59). Elsewhere Palmer proposed to a friend as a compact test of taste the question: "Do I love the Julio Romano in the National Gallery?" (_Life and Letters of Samuel Palmer_, p. 250). Another distinguished artist, John Linnell, was also a great admirer of the picture. He strongly urged its purchase for the National Gallery, declaring it to be "full of beauty and without any alloy" (Story's _Life of Linnell_, ii. 123). 625. AN ALTAR-PIECE. _Il Moretto_ (Brescian: 1498-1555). _See 299._