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 herds awakened by a sudden sound of descending angels; then the Nativity, then the Crucifixion, with a guard of armed knights about the cross. There is no other sample of early Sienese work, and but one later drawing of a Sienese artist.

Of the Venetians, early or late, there is ample and splendid witness even in these slighter things how supreme was their power upon all forms of beauty. The drawings of Titian and Giorgione are indeed the chief decorations of the place. Among the earlier of their famous men there is a sketch by Gentile Bellini, of a procession with lighted candles through a square with a central well. The great painter of sacred feasts and triumphal crowds has left one minor and separate study: a youth reclining, who leans against a tree, his head crowned with rich and rippling hair. Of such studies there are many by his greater brother; one in red chalk, a lank-haired aquiline head; a group of monks, one kneeling as reproved, with a face of stupid shame; the reprover, an erect ascetic figure, stands over him with features sharpened for rebuke; two others look on, sly and frightened. By Giovanni too there is a procession; the crowd swarms deep in street and loggia, under roof and abroad. Near this is a sketch of a poet crowned with broad leaves of laurel, his back turned. In Bellini's chiaroscuro drawing of the "Burial of Christ" (No. 581 in the Uffizj Catalogue) there reappears as Nicodemus or Joseph of Arimathea a head here separately sketched; a head rather aging than aged, turbaned, with double tuft of moustache, and whiskers meeting under the chin; with strong mouth and glancing eyes. There is also a draw-