Catena (Vincenzio di Biagio), yet another of Giovanni Bellini’s school, is a sweet and graceful painter. The Martyrdom of S. Cristina in S. Maria Mater Domini is an early work of much charm. The church of S. Simeon Profeta has a picture by this master; two are in the Accademia and one in the Ducal Palace. The Judith in the Quirini-Stampalia and a Virgin and Child with the Baptist and a female saint, in the Palazzo Giovanelli are assigned to him by Mr Berenson. This noble and ingenuous artist has suffered much from the attribution of many of his best creations to Giovanni Bellini and Giorgione. He was working between 1495 and 1531. Another of the mainland painters attracted to Venice by the fame of the Bellini was Andrea Previtali of Bergamo, of whose works the Accademia possesses two, a Crucifixion and a Nativity. He, like Cima and Catena, loves to introduce landscape, giving it, however, more prominence, and adding classic details. In the Sacristy of S. Giobbe is a good early work, the Marriage of St Catherine, formerly attributed to Giovanni Bellini. He died in 1525. Bissolo, Pier Francesco, pupil and assistant of Giovanni Bellini, is a capable artist, the last of the school, whose best work, Christ offering the Crown of Thorns to St Catherine, is in the Accademia (No. 79) with three others. The Virgin and Child with St John and St Catherine in the Redentore, formerly attributed to Bellini, is now assigned to Bissolo. He died in 1554. The advent of the romantic, almost mysterious, personality of Giorgione (Georgio Barbarelli) marks an epoch in the story of Venetian painting. Few artists in so short a life wrought so great a work. He lifted Venetian painting to the highest sphere of poetic inspiration and technical perfection, and influenced the whole of its subsequent progress. Yet paintings by his hand are rare. One alone, the Castelfranco altar-piece, is beyond dispute, and that, says Morelli, is daubed over by a Venetian restorer. Of the scores of works formerly put upon him in Europe few can now be safely defended, and of these few a bare half-dozen are allowed to Italy. The unstable position of expert opinion may be exemplified by the vicissitudes of the Miracle of St Mark, No. 516, in the Accademia, long since removed from its former position of honour and placed in a badly lighted corridor.[73] This, once assigned to Giorgione by Boschini, and at a later date generally attributed to Paris Bordone, is now esteemed by Mr Berenson to be one of Giorgione’s greatest achievements. Crowe and Cavalcaselle doubt if the “inky and spacious canvas” was ever touched by Giorgione. The official catalogue of 1895 assigns it to Palma Vecchio, that of 1903 to Paris Bordone and restorers of the eighteenth century. We are on safer ground when we examine the Gipsy and Soldier in the Giovanelli Palace. Nothing can be seen at Venice to surpass this superbly beautiful composition for originality, poetic grace and romantic beauty. A fairly convincing work