Room XVII. is chiefly taken up with pictures by the Vivarini and by Cima. 618 and 619, The Baptist and St Matthew, and 593, St Clare, are all fine examples of Alvise Vivarini’s work; the last is one of his greatest achievements, a living portrait, full of character. 588, Mantegna’s St George and the Dragon, is a precious possession, one of the great Paduan master’s most careful works, painted about 1460. 584 and 585, SS. Mary Magdalen and Barbara, are late works (1490) by Bartolomeo Vivarini. 589, Christ bound to the Column, and 590, The Virgin in Meditation, have been ascribed to Antonello da Messina, but their genuineness is doubtful. Mr Berenson admits the former in his index to the works of the Venetian painters; the official catalogue attributes it to Pietro da Messina, and 590 to an unknown copyist working from an original at Munich. We now come to one of the most delightful and graceful compositions in this room, 600, a Marriage of St Catherine, by the Lombard master Boccaccino: before the Virgin and Child kneel St Peter and the Baptist; to the L. St Catherine holds forth her hand to receive the ring; to the R. stands the beautiful figure of St Rose; to the R. of the charming landscape background are portrayed the Wise Men and the Flight into Egypt. Then follow some guild pictures by Cima. 604, the last of the master’s work in this room, is an early painting of much beauty, The Deposition with the Marys and Nicodemus. Room XVIII., at the farther end, is the new Bellini room in which are collected the Bellinis formerly hung in XVII. This little treasury includes, 582, a unique example of Jacopo’s work, The Virgin and Child. 596, Giovanni’s famous Virgin of the Trees, has recently been peeled and some strata of repainting removed; it is dated 1487, but this date has been questioned by Morelli and other critics who believe it to be a maturer work painted about 1504. 610, The Virgin and Child between SS. George and Paul, is another popular work by the master; both are admirable for warmth of colour, and dignity and beauty of form. 613, The Virgin and Child between SS. Catherine and Mary Magdalen, is one of the most characteristic of Giovanni’s productions; less virile perhaps than 610, but rich and warm in colour and gentle in feeling. We now turn to 595, a remarkable series of panels painted for a _cassone_ or wedding chest; charming allegories on which the painter has lavished all his skill. Their interpretation still awaits an Œdipus, but the following suggestions by Ruskin will help the visitor: 1, Fortitude quitting the effeminate Bacchus; 2, Domestic Love,--the world in Venus’ hand becoming the colour of heaven; 3, Fortune as Opportunity distinguished from the greater and sacred Fortune appointed by Heaven; 4, Truth; 5, Lust.[103]