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 these light sketches, or even in these rough notes, the vivacity and warm strength as of sunlight which distinguish the painter's imagination are traceable. With all the deep sweet tragic colour, the divine oppression of a delight whose eyes grow sorrowful with past thought and future dream—"large discourse, looking before and after;" with all the pathos of pleasure never translated as in his pictures but once, in Keats's Ode to Melancholy; the adorable genius of Giorgione, like the beautiful mouth of Chaucer's mistress, is always "most glad and sad."

By Paolo Veronese there is one design of a feast disturbed and breaking up; in one corner the figure of an old man; a girl sinking at his feet clasps him by the ancle. In front of course is a dog, and sidelong from under the table-cloth a dog's head peers with the bright-eyed caution of its kind; the whole design has interest and character. Unluckily for the affectionate students of Bonifazio, there is but one slight sketch by that master of all gracious and pleasant beauty; as the subject is music-making, it might have been finished into a nobly delightful piece of work, and significant of his love of sweet sound and fair form met together and made one in the sight of art. Of Tintoretto there is not much arranged and framed above-stairs: a Doge in his quaint buttoned robe; a study of a knight's lance and helmet held by his page—Gattamelata's, as I thought at first, a design for the great portrait, but it seems doubtful. A more important design is one, very noble and impressive in sentiment, of the Deposition of Christ; the body is carried off through a steep and strait gorge between rocky hills below Calvary; the Virgin has fallen in utter