If Carpaccio was the greatest pupil of Gentile Bellini, in Giorgione we see the first of those marvellous painters who were taught their art by his brother Giovanni. Giorgio Barbarelli, called Giorgione, was born at Castelfranco, a little town in the hills not far from Padua, in 1478. Three of his rare works--there are scarcely more than some fifteen in the world--are here in the Uffizi, the two very early pictures--but all his works were early, for he died in 1510--the Trial of Moses (621), and the Judgment of Solomon (630), and the beautiful portrait of a Knight of Malta (622). Giorgione was the dayspring of the Renaissance in Venice. His work, as Pater foretold of it, has attained to the condition of Music. And though in the portrait of the Knight of Malta, for instance, we have to admit much repainting, something of the original glamour still lingers, so that in looking on it even to-day we may see to how great a place the painters of Venice had been called. It is in the work of his fellow-pupil and Titian that the great Venetian treasure of the Uffizi lies. In the Madonna with St. Anthony (633) we have a picture in Giorgione's early manner, and a later, but still early work, in the Flora (626). The two portraits, Eleonora Gonzaga and Francesco Maria della Rovere, Duke and Duchess of Urbino, were painted in Venice in 1536 or 1538, and came into the Uffizi with the other Urbino pictures, with the Venus of Urbino (1117), for instance, where Titian has painted the Bella of the Pitti Palace naked on a couch, a little dog at her feet, and in her hand a chaplet of roses. In the background two maids search for a gown in a great chest under a loggia. This picture, first mentioned in a letter of 1538, was painted for Duke Guidobaldo della Rovere. The Venus with the little Amor (1108) appears to have been painted about 1545. It is not from Urbino. Dr. Gronau thinks it may be identical with the Venus "shortly described in a book of the Guardaroba of Grand Duke Cosimo II in the year 1621." The Portrait of Bishop Beccadelli (1116) was painted in July 1552, and is signed by Titian. It was bought, with the other Venetian pictures, by Cardinal Leopoldo de' Medici in 1654. I say nothing of Titian here: preferring to speak of him in dealing with his more various and numerous work in the Pitti Palace. Other pupils of Giovanni Bellini, beside Giorgione and Titian, are found here--Palma Vecchio for instance--in a poor picture of Judith with the Head of Holofernes (619); Rondinelli in a Portrait of a Man (354) and a Madonna and two Saints (384); Sebastiano del Piombo in the Farnesina (1123), long given to Raphael, and the Death of Adonis (592). All these men, whose work is so full of splendour, came under the influence of Giorgione after passing through Bellini's bottega. Nor did Lorenzo Lotto, the pupil of Alvise Vivarini, escape the authority of that serene and perfect work, whose beauty lingered so quietly over the youth of the