Carlo Crivelli fills the rest of the room with a wealth of colour and beauty. Madonna and Child with SS. Peter and Dominic (201) is so exquisite a picture, so lovely in colour and design, that one feels the last word has been said in an art that combines the highest decoration with a true and childlike religious feeling. Who has ever imagined a more pure and innocent creature than this lovely Madonna who sits with such unconscious grace in her rich garments on the stately throne? The Child, too, is so sweet as he earnestly squeezes a dove in both hands. The young S. Geminianus has the ardour of a martyr. The whole picture is a very exquisite harmony of colour and line. Coronation of Christ and the Virgin by the Eternal Father (202), signed and dated 1493, is a superbly decorative work glowing with rich colour. The flying angels seem really beings of the air, and the devout saints really dwellers in Paradise. S. Catherine and S. Sebastian are especially beautiful. The Pietà above (203) is very fine in composition, and the Christ is godlike with His long golden hair. The Crucifixion (206) is a restless composition. Crivelli has striven so hard to express his emotion, but the result is an exaggeration of forms and movement. There is no repose anywhere, draperies flying, fingers contorted; even the sky is in troubled wavelets. Madonna of the Candle (207). In this beautiful panel the Madonna sits like a goddess on her high throne, yet has all the sweetness of humanity. The perfect oval of her face and symmetry of her form are drawn by a master’s hand. The rich garland of fruits and the roses and lilies are painted with a loving care. There are also two panels of saints by Crivelli (204 and 205). Sala X. contains Venetian pictures of the fourteenth and fifteenth centuries. There are four small pictures by Cima (217, 218, 219 and 220), charming little pictures in which there is more life and movement than in his larger works. Adoration of the Magi (223) by Stefano da Zevio, dated 1435, is a pleasing picture, showing the early Veronese character. The decorative Polyptych (228) is by Antonio Vivarini and Giovanni da Murano. In Sala XI. we have Venetian schools of the sixteenth-eighteenth centuries. Two landscapes by Canaletto (235 and 236) are full of light and air. Guardi has two views of the Grand Canal at Venice (242 and 243).