Sala IV. contains Venetian works of the sixteenth century. The first thing one sees is Tintoretto’s famous picture of St. Mark Appearing to the Venetians, who are searching for his body in the crypt of St. Eufemia of Alexandria (143). Mr. Berenson says of this picture—‘... the figures, although colossal, are so energetic and easy in movement, and the effects of perspective and of light and atmosphere are so on a level with the gigantic figures, that the eye at once adapts itself to the scale, and you feel as if you too partook of the strength and health of heroes.’[18] In Tintoretto’s Deposition of Christ (149), the grand lines of the shadowed figure fill us with a deep sense of tragedy. Of a very different character to these two pictures is Footnote 18: _The Venetian Painters of the Renaissance_, p. 56. the festive scene, by Bonifazio Veronese (114), Moses Saved from the Water. The subject here is an excuse for one of those _fêtes champêtres_ which the Venetian artists loved to paint. The picture shows us delightful groups of richly-dressed men and beautiful women in a romantic landscape, painted with all Bonifazio’s characteristic glory of colour. Baptism and Temptation of Jesus (151) cannot be regarded as a genuine work of Paolo Veronese. Sala V.—Venetian pictures of the fourteenth-sixteenth centuries.—Gentile Bellini’s great canvas of the Preaching of St. Mark in the Piazza of Alexandria (164) is a stately representation of a contemporary scene; some of the groups are very quaint. It was finished by Gian Bellini. Bartolommeo Montagna has a very fine altarpiece, Madonna and Child, with SS. Andrew, Monica, Ursula and Sigismondo (165), signed 1498. There are three charming little pictures by Carpaccio—Marriage of the Virgin (169), Dispute of St. Stephen (170), and Presentation of Mary in the Temple (171). Three works by Cima show us this gentle artist at his best. St. Peter enthroned between SS. John Baptist and Paul (174) is a restful picture with devout saints; the mild and youthful St. John is a notable contrast to the wild and ascetic figure of this saint as usually depicted by the Florentines. The other two pictures are Madonna and SS. John Baptist, Sebastian, Roch, Magdalen and donors (175), and St. Peter Martyr between SS. Nicolo of Bari and Augustine (176). St. Sebastian (177), by Liberale da Verona, is a most delightful and satisfying picture, suffused with a golden glow, and the idealised figure of the saint forms an exquisite harmony with the colour of the houses and blue sky and water of the background.