Painting, in accommodating itself to the new ideas, found that it could not attain to satisfactory representation merely by form and colour, but that it required light and shadow and effects of space. Indeed, venial faults of drawing are perhaps the least disturbing, while faults of perspective, of spacing, and of colour completely spoil a picture for people who have an every-day acquaintance with painting such as the Venetians had. We find the Venetian painters, therefore, more and more intent upon giving the space they paint its real depth, upon giving solid objects the full effect of the round, upon keeping the different parts of a figure within the same plane, and upon compelling things to hold their proper places one behind the other. As early as the beginning of the sixteenth century a few of the greater Venetian painters had succeeded in making distant objects less and less distinct, as well as smaller and smaller, and had succeeded also in giving some appearance of reality to the atmosphere. These are a few of the special problems of painting, as distinct from sculpture for instance, and they are problems which, among the Italians, only the Venetians and the painters closely connected with them solved with any success. =V. Pageant Pictures.=--The painters of the end of the fifteenth century who met with the greatest success in solving these problems were Giovanni and Gentile Bellini, Cima da Conegliano, and Carpaccio, and we find each of them enjoyable to the degree that he was in touch with the life of his day. I have already spoken of pageants and of how characteristic they were of the Renaissance, forming as they did a sort of safety-valve for its chief passions. Venice, too, knew the love of glory, and the passion was perhaps only the more intense because it was all dedicated to the State. There was nothing the Venetians would not do to add to its greatness, glory, and splendour. It was this which led them to make of the city itself that wondrous monument to the love and awe they felt for their Republic, which still rouses more admiration and gives more pleasure than any other one achievement of the art-impulse in man. They were not content to make their city the most beautiful in the world; they performed ceremonies in its honour partaking of all the solemnity of religious rites. Processions and pageants by land and by sea, free from that gross element of improvisation which characterised them elsewhere in Italy, formed no less a part of the functions of the Venetian State than the High Mass in the Catholic Church. Such a function, with Doge and Senators arrayed in gorgeous costumes no less prescribed than the raiments of ecclesiastics, in the midst of the fairy-like architecture of the Piazza or canals, was the event most eagerly looked forward to, and the one that gave most satisfaction to the Venetian's love of his State, and to his love of splendour, beauty, and gaiety.