60. _School of Gentile Bellini._ Venetian ambassador received at Cairo. Oriental tinge frequent at Venice. This gate can still be recognised at Cairo. The figures are all portraits, and the painter probably accompanied the ambassador, Domenico Trevisano. Beneath it (59), two fine portraits by _Gentile Bellini_. 664. Characteristic little _Montagna_; angels at the base of a Madonna now destroyed. Compare the Bianchi almost opposite. Such angels are frequent in the school of Bellini. 152. Attributed to _Cima_. Madonna Enthroned, with St. John Baptist and the Magdalen. These lofty thrones and landscape backgrounds of the Friuli country are frequent with Cima and Venetian painters of his period. 113. _Carpaccio._ Preaching of St. Stephen. One of a series of the Life of St. Stephen, now scattered. The saint is in deacon’s robes, as usual; oriental costumes mark the intercourse of Venice with the East. Observe the architecture, a graceful compound of Venetian and oriental. Over the doorway, Fresco of God the Father, in an almond-shaped glory, from the Villa Magliana. Purchased as a Raphael, probably by _Lo Spagna_. Return frequently to this room, and study it deeply. It will give you the key to all the others. Now traverse the Salon Carré and enter the Salle Duchâtel. On the R wall are two exquisite frescoes by _Luini_, removed entire from walls in Milan. To the L, the Adoration of the Magi, exquisitely tender and graceful; study it closely as an example both of painter and subject, noting the ages and attitudes of the Three Kings, the youngest (as usual) a Moor, and the exquisite face and form of the Madonna. To the R, a Nativity, equally characteristic. Look long at them. Between, Christ blessing, not quite so beautiful; and Genii with grapes, an antique motive. Above are three other frescoes of the school of Luini, not so fine. Centre, Annunciation, the Madonna separated (as often) from the angel by a lily. The Madonna never approaches the angel, and is usually divided by a wall or barrier. On the screen by door, good portraits by _Antonio Moro_. Other side of door (680), Madonna and Child, with the donors of the picture, by _Hans Memling_. This beautiful =Flemish= picture well represents the characteristics of Flemish as opposed to Italian art. Notice the want of ideality in the Virgin and Child, contrasted with the admirable portraiture of the donors, the chief of whom is introduced by his namesake, St. James, recognisable by his staff and scallop-shell. The female donors, several of whom are Dominican nuns, are similarly introduced by their founder, St. Dominic, whose black-and-white robes and star-like halo serve to identify him. Observe the exquisite finish of the hair and all the details. Study this work for the Flemish spirit.