His Madonna in the Academy has a round, simple type of face, and in the Louvre Madonna, which is attributed but not signed, it is easy to recognise the same arched eyebrows and half-shut, curved eyelids. In this picture, where the Madonna blesses the kneeling Leonello d' Este, we see how Pisanello acted on Jacopo and, through him, on Venetian art. The connection between the two masters has been established in a very interesting way by Professor Antonio Venturi's discovery of a sonnet, written in 1441, which recounts how they painted rival portraits of Leonello, and how Bellini made so lively a likeness that he was adjudged the first place. The landscape in the Louvre picture is advanced in treatment, and with its gilded mountain-tops, its stag and its town upon the hill-side, is full of reminiscences of Pisanello, especially of the "St. George" in S. Anastasia. We come upon such traces, too, in Jacopo's drawings, and it is by his two sketch-books that we can best judge of his greatness. One of these is in the British Museum; the other, in the Louvre, was discovered not many years ago in the granary of a castle in Guyenne. These drawings reveal Jacopo as one of the greatest masters of his day. He is larger, simpler, and more natural than Pisanello, and he apparently cares less for the human figure than for elaborate backgrounds and surroundings. Many of his designs we shall refer to again when we come to speak of his two sons. His "Supper of Herod" reminds us of Masolino's fresco at Castiglione d' Olona. He sketches designs for numbers of religious scenes, treated in an original and interesting manner. A "Crucifixion" has bands of soldiers ranged on either side, an "Adoration of the Magi" has a string of camels coming down the hill, the executioners in a "Scourging" wear Eastern head-dresses. In a sketch for a "Baptism of Christ" tall angels hold the garments in the early traditional way; on one side two play the lute and the violin, while the two on the other side have a trumpet and an organ. He has sketches for the Ascension, Resurrection, Circumcision, and Entombment, repeated over and over again with variations, and one of S. Bernardino preaching in Venice (where he was in 1427). Jacopo delights even more in fanciful and mythological than in sacred subjects. A tournament with spectators, a Faun riding a lion, a "Triumph of Bacchus" with panthers, are among such essays. The fauns pipe, the wine-god bears a vase of fruit. His love of animals is equal to that of Pisanello, and S. Hubert and the stag with the crucifix between its horns is directly reminiscent of the Veronese. His horses, of which there are immense numbers, sometimes look as if copied from ancient bas-reliefs. His treatment of single nude figures is often poor and weak enough, and his rocks have the flat-topped, geological formation of the Paduan School, but no one who so drank in every description of lively scene about him could have been in any danger of