We apprehend the difference at once in Bastiani and in Mansueti, who essay the same sort of compositions. They studied grouping carefully, and it must have seemed easy enough to paint their careful architecture and to place citizens in costume with appropriate action in a "Miracle of the Cross," or the "Preaching of St. Mark"; but these pictures are dry and crowded, they give no illusion of truth, there is none of the careless realism of Carpaccio's crowds,--of incidents taking place which are not essential to the story, and, as in life, are only half seen, but which have their share in producing a full and varied illusion. The scenes want the air and depth in which Carpaccio's pictures are enveloped. We are not stimulated and charmed, taken into the outer air and refreshed by these heavy personages, standing in rows, painted in hot, dry colour, and carrying no conviction in their glance and action. PRINCIPAL WORKS Berlin. Madonna and Saints; Consecration of Stephen. Ferrara. Death of Virgin. Milan. Presentation of Virgin; Marriage of Virgin; St. Stephen disputing. Paris. St. Stephen preaching. Stuttgart. Martyrdom of St. Stephen. Venice. Academy: The History of St. Ursula and the 11,000 Virgins; Presentation in the Temple. Museo Correr: Visitation; Two Courtesans. S. Giorgio degli Schiavone: History of SS. George and Tryphonius; Agony in the Garden; Christ in the House of the Pharisee; History of St. Jerome. S. Vitale: Altarpiece to S. Vitale. Lady Layard. Death of the Virgin; St. Ursula taking leave of her Father. Vienna. Christ adored by Angels. CHAPTER XI GIOVANNI BELLINI The difference between Gian. Bellini and his accomplished brother, that which makes us so conscious that the first was the greater of the two and which sets him in a later artistic generation than Gentile, is a difference of mind. Such pageant-pictures as we hear that Giovanni was engaged upon have all been destroyed. We may suspect that their composition was not particularly congenial to him, and that the strictly religious pictures and the small allegorical studies, by which we must judge him, were more after his heart. It is his poetic and ideal feeling which adds so strongly to his claim to be a great artist; it was this which drew all men to him and enabled him so powerfully to influence the art of his day in Venice.