CIMA DA CONEGLIANO, so called from his birthplace in Friuli--the rocky height of which serves as a background in some of his pictures--settled in Venice in 1490, when he was about thirty years old. The influence of Bellini may be seen in the temperamental as well as the technical qualities of his work, which is distinguished by sound drawing and proportion, fine and brilliant colour, as well as by sympathetic types of countenance. One of his best and earliest pictures is the _S. John the Baptist_ with four other saints, in Santa Maria del Orto in Venice. Another is the _Madonna with S. Jerome and S. Louis_, now in the Vienna Gallery. A smaller but peculiarly attractive piece is the _S. Anianus of Alexandria_ healing a shoemaker's wounded hand, at Berlin, distinguished for its beautiful clear colours and the life-like character of the heads. ANDREA PREVITALI, born in Bergamo in 1480, came to Venice to study under Bellini, whom he succeeded in imitating with remarkable success. _The Mystic Marriage of S. Catherine_ (No. 1409) in the National Gallery was formerly attributed to Bellini. If he had not the originality to carry the art any farther, his pictures are nevertheless a decided and very agreeable proof of the advance that was being made in it at the beginning of the sixteenth century, before the full splendour of Giorgione and Titian had unfolded. MARCO BASAITI, though probably not a pupil of Bellini, nevertheless acquired many of his characteristics. The picture in the National Gallery known as _The Madonna of the Meadow_ was until lately assigned to Bellini, and another of his, in the Giovanelli Palace at Venice, which is identical in technique, tone, and general effect with this one, is still so ascribed. Whether or not he learnt from Bellini, he was certainly an assistant to Alvise Vivarini, on whose death he completed the large altar-piece in the Church of S. Maria de Friari at Venice, representing _S. Ambrose surrounded by Saints_. His _Christ on the Mount of Olives_ and _The Calling of Zebedee_, both dated 1510, are now in the Academy at Venice, and together with the _Portrait of a Man_, dated 1521, in the Bergamo Gallery, and _The Assumption_ in S. Pietro Martire at Murano, may be considered his best performances.