Dominic founded the Inquisition. The tender painting of this lovely work needs no commendation. 222. _School of Filippo Lippi._ Madonna and angels, characteristic of the type of this painter and his followers. Above it, _Neri di Bicci_. Madonna, very wooden. He was a belated Giottesque, who turned out such antiquated types by hundreds in the 15th century. _School of Benozzo Gozzoli._ Madonna and Child. L, St. Cosmo and St. Damian, with pens and surgeons’ boxes; St. Jerome, with stone, lion, and cardinal’s hat; his pen and book denote him as translator of the Vulgate. R, St. John Baptist (representing Florence); St. Francis with the Stigmata; St. Lawrence. The combination of Saints shows the picture to have been painted in compliment to Lorenzo de’ Medici. Minor subjects around it are worthy of study. Now =cross over the room= again. You come at once upon four pictures of nearly the same size, painted for the Court of the Gonzaga family at Mantua. Allegorical subjects, intended for the decoration of a hall or boudoir. Most of those pictures we have hitherto examined have been sacred: we now get an indication of the nascent Renaissance taste for myth and allegory. 429. _Perugino._ Combat of Love and Chastity. A frequent subject for such situations, showing Perugino at his worst. Compare it with the other three of the series. 253. _Mantegna._ Wisdom conquering the Vices. A characteristic but unpleasing example of this great Paduan painter. Admirable in anatomy, drawing, and perspective: poor in effect. Observe the festoons in the background, which are favourites with the artist and his school. =*=252. _Mantegna._ The amours of Mars and Venus discovered by (her husband) Vulcan. A beautiful composition. The guilty pair, with a couch, stand on a mountain, representing Parnassus, accompanied by Cupid. Below, exquisite group of the Nine Muses dancing (afterwards imitated by Guido). To the L, Apollo with his lyre, as musician. R, Mercury and Pegasus. In the background, the injured Vulcan discovering the lovers. This splendid specimen of early Renaissance art is one of Mantegna’s finest. Study it in detail, and compare with the other three which it accompanies. Observe the life and movement in the dancing Muses: also, the growing Renaissance love for the nude, exemplified in the Venus. 154. _Costa._ The Court of Isabella d’Este. The meaning of the figures is now undecipherable, but the general character indicates peace, and devotion to literature, science and art. A fine example of the Ferrarese master.