Now, still in the same connection, go on into the Long Gallery, and look, near Andrea del Sarto’s Holy Family, at a mannered and theatrical picture of the =Nativity= by =Giulio Romano=. This is not a Nativity simple, but one with selected saints looking on: it was painted for the altar-piece of the altar of the Chapel of St. Longinus in Sant’ Andrea at Mantua—the same in which Mantegna had earlier painted the Longinus pictures noted above. The central portion of this altar-piece consists of a tolerably conventional Nativity, with the adoring shepherds, Raphaelized by Giulio Romano (who was Raphael’s favourite pupil) in accordance with the ideas of the early 16th cent. (It is interesting to note, by the way, the nature of these modifications.) In the background is the herald angel appearing to the shepherds: this scene, prior in time to the other, was often so represented in the same picture or carving: look out for it elsewhere, and also for such non-contemporaneous episodes in general. But the attendant saints, to right and left, looking on at the sacred scene, are St. John the Evangelist (known by his chalice and serpent) and =St. Longinus=. The last-named holds in his hands a crystal vase—a pyx or reliquary, containing the sacred blood of Christ, which Longinus caught as it fell, and which was brought with the rest of the relics to =Mantua=, and preserved in the very chapel for which this picture was intended. Compare this dull Longinus with the two by Mantegna in this collection: and when you visit Mantua, remember that these pictures came from these two churches. By thus interweaving your facts, you will get a far clearer conception in the end of =the connection of art= than you can possibly do if you regard the various works in pure isolation. But what was =Giulio Romano= doing at Mantua? After Raphael’s death, his pupils were dispersed; and this his favourite follower settled down in the service of Duke Federigo Gonzaga (the first Duke—the earlier lords were Marquises), for whom he decorated the Palazzo del Tè, with its grotesque Titans. =Primaticcio= and =Niccolo dell’ Abbate=, pupils again of Giulio’s, were educated at Mantua, and afterwards summoned by François I^{er} to France, where they became the founders of the =School of Fontainebleau=. They thus passed on the Raphaelesque traditions into the French capital. It is partly for this reason that I have selected for my first examples this particular Mantuan group of paintings, in order that you may realise the close interaction of French and Italian politics, and the continuity of the Italian with the French Renaissance.