38. Attributed (very doubtfully) to _Giorgione_. Holy Family, with St.
Sebastian, St. Catherine, and the donor, kneeling. A good example of the
intermediate treatment of saints in groups of this character.
Above it (92) _Paolo Veronese_. Esther and Ahasuerus. Treated in the
lordly fashion of a Venetian pageant. Try now to understand this
Venetian ideal in style and colour.
91. _Paolo Veronese._ Similar treatment of Susanna and the Elders, a
traditional religious theme, here distorted into a mere excuse for the
nude, in which the Renaissance delighted.
=**=274. _Palma Vecchio._ Adoration of the Shepherds. A noble example of
this great Venetian painter. Observe how he transforms the traditional
accessories in the background, and employs them in the thorough Venetian
spirit.
Beyond it, several small Venetian pictures. Self-explanatory, but worthy
of close attention; especially 94, a delicate _Paolo Veronese_, on a
most unusual scale—a Venetian Dominican nun presented by her patroness,
St. Catherine, and St. Joseph to the Madonna. Also, 93, by the same
artist, St. George and St. Catherine presenting a Venetian gentleman to
the Madonna and Child. These two saints were the male and female patrons
of the Venetian territory; hence their frequency in Venetian pictures.
99. The Disciples at Emmaus. Another characteristic transformation by
_Veronese_ of a traditional scene. The pretence of sacredness is very
thin.