More remote from Bellini, yet not so far as to be entirely free from his influence in some of their more important compositions, was the school formed by LAZZARO DI BASTIANI or SEBASTIANI, of which the chief ornament was Vittore Carpaccio, and among the lesser ones Giovanni Mansueti and Benedetto Diana. The history of this independent group of painters has only of late years been elucidated; Kugler, after a page devoted to Carpaccio, dismissed them with the remark that Mansueti and Bastiani were both pupils of Carpaccio, and that Benedetto Diana was "less distinguished." Our national collection was without any example until 1896, when Mansueti's _Symbolic representation of the Crucifixion_ was purchased. In 1905 the National Art-Collections Fund secured Bastiani's _Virgin and Child_, and in 1910 Sir Claude Phillips presented Diana's _Christ Blessing_. Alas! that we are still without anything from the hand of Vittore Carpaccio. Seven portraits by Moroni do not fill a gap like this. The name of Lazzaro de Bastiani first occurs in Venice as a witness to his brother's will in 1449, and as early as 1460 he was painting an altar-piece for the Church of San Samuele. Ten years later, the brothers of the Scuolo di San Marco ordered a picture of the _Story of David_ from him, promising him the same payment as they gave to Jacobo Bellini, who had been working for them with his two sons Gentile and Giovanni. In 1474, another proof of his rank and repute as a painter is afforded by a letter from a gentleman in Constantinople, asking for a picture by him, but that Giovanni Bellini should paint it in the event of Bastiani being already dead. He was thus, it would seem, preferred to Bellini, though it will be remembered that five years later, when the Sultan expressed the wish that a distinguished portrait-painter should be sent him from Venice, it was Gentile Bellini who was nominated. All the same, Gentile was a portrait-painter, and Bastiani was not; and it is fairly evident that the latter was at least in the front rank. One of his best-known pictures the _Vergine dai begli occhi_ in the Ducal Palace at Venice used to be attributed to Giovanni Bellini; but though he appears to have drawn inspiration for his larger and more important compositions from Jacobo Bellini, his style was chiefly developed through that of Giambono. His most important work is now in the Academy at Vienna--an altar-piece painted for the Church of Corpus Domini, Venice, _S. Veneranda Enthroned_. In the Imperial Gallery at Vienna are a _Last Communion_ and _Funeral of S. Girolamo_. In the Academy at Venice are _S. Anthony of Padua_, seated between the branches of a walnut-tree, with Cardinal Bonaventura and Brother Leo on either side, a large picture of a _Miracle of the Holy Cross_, and a remarkable rendering of _The Madonna Kneeling_, the child being laid under an elaborate canopy. An _Entombment_ in the Church of S. Antonino at Venice is reminiscent of