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196 the "Shepherd's Family"); and not far from these may be ranked the fine Pordenone (a man in a red girdle, No. 92) and the rather clumsy Bernardino Licino family (No. 104). Paris Bordone too can be studied here in his love of beauty untouched by high thought (No. 118).

Tintoretto, the great, single-minded, powerful, proud genius who painted the Nine Muses (No. 77), shows here his mastery of colour and of form. They are playing musical instruments, turning to each other in delight, and in poses which show the master's supremacy in modelling. The centre of the picture is in a flood of light. "Queen Esther before Ahasuerus" (No. 69), stately, vivid, hangs in the same room. Portraits, too, from his hand are here, Nos. 120, 78, 91—all fine examples of his power of rich and impressive presentation.

Nor must we forget Bassano, in whose work the gallery is rich, or that graceful and decorative artist, Andrea Schiavone, whose charming "Tobias and the Angel" is No.88; and his large "Judgment of Midas" (No. 175) in the King's Drawing-Room. Palma the younger, too, has the "Expulsion of Heresy," from King Charles's collection (No. 159)—angels at the word of three doctors of the Church driving downwards the heresiarchs—and the "Prometheus chained to a Rock." Minor pictures crowd round us, all deserving some attention, such as the number of portraits by or related to A. Solano; the twelve scenes, so fresh and brilliant, from the story of