His "Three Heads," in the Brera, is a superb piece of painting and an interesting characterisation. The woman is ripe, sensual, and calculating, feeling with her fingers for the gold chain, a mere golden-fleshed, rose-flushed hireling, solid and prosaic. The go-between is dimly seen in the background, but the face of the suitor is a strange, ironic study: past youth, worn, joyless, and bitter, taking his pleasure mechanically and with cynical detachment. The "Storm calmed by S. Mark" (Academy) was, in Mr. Berenson's opinion, begun by Giorgione. Rich, brilliant, and essentially Venetian as is the work of these two painters, it does not reach the highest level. It falls short of grandeur, and has that worldly tone that borders on vulgarity. As we study it we feel that it marks the point to which Venetian art might have attained, the flood-mark it might have touched, if it had lacked the advent of the three or four great spirits, who, appearing about the same time, bore it up to sublimer heights and developed a more distinguished range of qualities. Bonifazio and Bordone lack the grandeur and sweetness of Titian, the brilliant touch and imaginative genius of Tintoretto, the matchless feeling for colour, design, and decoration of Veronese, but they continue Venetian painting on logical lines, and they form a superb foundation for the highest. PRINCIPAL WORKS _Bonifazio Veronese._ Dresden. Finding of Moses. Florence. Pitti: Madonna; S. Elizabeth and Donor (E.); Rest in Flight into Egypt; Finding of Moses. Hampton Court. Santa Conversazione. London. Santa Conversazione (E.). Milan. Brera: Finding of Moses. Paris. Santa Conversazione. Rome. Villa Borghese: Mother of Zebedee's Children; Return of the Prodigal Son. Colonna: Holy Family with Saints. Venice. Academy: Rich Man's Feast; Massacre of Innocents; Judgment of Solomon, 1533; Adoration of Kings. Giovanelli: Santa Conversazione. Vienna. Santa Conversazione; Triumph of Love; Triumph of Chastity; Salome. _Paris Bordone._