The fresco painting of _The Eternal Father_ (No. 1512), which is now inserted over the door of the Salle des Primitifs (Room VII.), was certainly executed during the lifetime of Raphael, and probably under his supervision. It was painted for the chapel attached to the Villa Magliana, a favourite hunting-box of Pope Leo X., who commissioned it. It was purchased in 1873 for the large sum of £8280. From the hand of Giannicola Manni (fl. 1493-1544) come the _Baptism of Christ_ (No. 1369), the _Assumption_ (No. 1370), the _Adoration of the Magi_ (No. 1371), and a _Holy Family_ (No. 1372), while a fully signed _Dead Christ supported by Two Angels_ (No. 1400) is by the mediocre Umbrian artist Marco Palmezzano (fl. 1456-1538). The latter’s pupil, Zaganelli da Cottignola (1460?-1531), may have painted the _Christ bearing His Cross_ (No. 1641) which is catalogued as an unattributable Italian work. [Illustration: PLATE VIII.—RAPHAEL (1483-1520) UMBRIAN SCHOOL No. 1505.-PORTRAIT OF BALDASSARE CASTIGLIONE (Portrait de Balthazar Castiglione, ambassadeur et littérateur) He is seen nearly in full face. He wears a white linen under-garment, an over-dress of black velvet with grey sleeves, and a cap. Painted in oil on canvas. 2 ft. 0½ in. × 2 ft. 2½ in. (0·62 × 0·67.)] THE VENETIAN SCHOOL The conquest of Byzantium during the Fourth Crusade by Doge Enrico Dandolo in 1204, an epoch-making event in the history of Venice and Venetian art, strengthened the intercourse between the East and the City of the Lagoons. At the same time it riveted the fetters of Byzantinism on to the nascent art of Venice, to which it also imparted a sense of intense Oriental colour. The frescoes painted in Tuscany on the lines of Giottesque tradition and the environment under which its painters worked, in time gave to the Florentines a sense of line and form which produced a school of idealists: on the other hand, the colour-impressions created on the mind of the Venetian painter by the relics from the East and the brilliant mosaics which he saw around him resulted eventually in the formation of a school of colourists with a realistic tendency. It will cause little surprise that the Louvre contains no polyptych by the very early Venetians, Niccolò Semitecolo (fl. 1351-1400), Jacobello del Fiore (died 1439), and Michele Giambono (fl. 1420-1462). The Gallery possesses, however, a fourteenth-century Venetian arched panel of the _Madonna and Child_ (No. 1541) which is attributed to Stefano Veneziano.