Visitation, by Sebastiano del Piombo, although much injured by restorers, is a fair example of that master's grandiose style in his Roman period. We now reach the Titians. 1577 and 1580, are good average _Sante Conversazioni_, the latter is, however, assigned by Mr. Berenson to a pupil. 1581, The Supper at Emmaus, a mature and genuine work; and 1578, the much-admired Virgin and Child with the Rabbit, painted in 1530, next claim our attention. 1593 and 1591 are unknown portraits, the former attributed by Crowe and Cavalcaselle to Pordenone. On the R. wall opposite the Carpaccio is hung, 1587, a magnificent work of the painter's[206] old age, Jupiter and Antiope, unhappily much injured by fire and by more than one restoration. Two characteristic _Sante Conversazioni_ from Bonifazio's atelier may next be noted, 1172, over a doorway; and 1171, skied on the L. wall. The later interpreters of the pomp and grandeur of the Venetian state, Veronese and Tintoret, are represented to L. and R. by several typical canvases. Among these we note, 1196 (L. wall), an excellent Veronese, The Supper at Emmaus; and 1465, a sketch by Tintoret for the great Paradiso in the Ducal Palace. The eighteenth-century masters (following after the Jupiter and Antiope) are well exemplified in a fine Canaletto, 1203, View of the Salute Church and the Grand Canal; and several good examples of the more romantic Guardi. A Last Supper, 1547, and other works by Tiepolo, the last of the Venetian masters of the grand style; and some Bassanos--1429, by Jacopo, Giov. da Bologna is an admirable portrait--conclude the collection of Venetians. We pass to the Italian Eclectics, the once admired but now depreciated Carracci, Guido Reni and Domenichino. 1613, St. Cecilia, is a famous picture by the last named. R. of the next section (C), are two Peruginos; 1564, a beautiful tondo, Virgin and Child, Saints and Angels; and 1566A, St. Sebastian, a careful and pleasing study of the nude. We cross to the L. wall, rich with examples of Raphael, and of his school; and turn first to a lovely little panel, 1509, Apollo and Marsyas, of most enigmatical authorship,[207] bought in 1883 from Mr. Morris Moore for 200,000 francs. Sold, in 1850, as a Mantegna, it has since been variously assigned to Raphael, Perugino, Timoteo Viti, and Francia. Perugino's influence, however, if not his hand, is sufficiently obvious. 1506, unknown Portrait, is another doubtful Raphael, confidently attributed by Morelli to Perugino's pupil, Bacchiacca. We are on more certain ground with 1497, the popular Virgin of the Diadem, undoubtedly designed by the master during his Roman period, and probably executed by his pupil, Giulio Romano. 1501, St. Margaret, painted during the same period for Francis I., was also, according to Vasari, almost wholly executed by Giulio. This unhappy picture was, however, _racommode_ (mended) in 1685, and since has been severely mauled by restorers. 1507, Joan of Aragon: the head alone,