We pass Room III., which contains a miscellaneous collection of paintings of various Italian schools, and Room IV. (drawings by Italian masters), and reach Room V., where the dominant genius of the Bellini is manifested in the works of their contemporaries with which the room is hung. It contains, 69, The Agony in the Garden, the finest of Basaiti’s paintings in Venice, and some excellent examples of Bissolo’s warm colour and dignified figures. 76, The Supper at Emmaus, is a remarkable and unique work by Marco Marziale. Two powerfully wrought figures seated at the table betray the alien influence of Dürer over this painter. 82, The Virgin and Child enthroned between SS. Jerome, Benedict, Mary Magdalene and Giustina, is Benedetto Diana’s last work. We pass to one of Bissolo’s best productions, 79, Christ presenting the Crown of Thorns to St Catherine of Siena, and showing the crown of gold, her portion in heaven. Near 97, a typical plague picture by Mansueti, are two fine paintings by Lazzaro Sebastiani. 104, St Anthony of Padua enshrined in a tree, beneath which are St Bonaventura and another Franciscan saint, has much puzzled the critics. According to tradition St Anthony composed his last sermons while sitting on the branches of a tree. It is, moreover, an old custom to place shrines, with figures of saints, in the trees by the wayside in Italy. We have seen many such in the hill country of Venetia. We enter Room VI., which contains a collection of Dutch pictures of no great merit, and cross to Room VII., devoted mainly to the Friulian painters. The chief attraction of this room is, however, 147, a magnificent Sacra Conversazione by Palma Vecchio. It is a late work by the master, and was probably left unfinished at his death.