and is much closer in its rendering of atmospheric effects to the
"Adrastus and Hypsipyle." The figures, on the other hand, are weak, very
unequal in size, and feebly expressed, except the Madonna, who has
charm. The lights and shadows are treated in a masterly way, and
contrasts of gloom and sunlight enhance the solemnity of the scene. The
general tone is rich and full of subdued colour.

Now if the name of Giorgione be denied this "Nativity," to which of the
followers of Bellini are we to assign it?--for the work is clearly of
Bellinesque stamp. The name of Catena has been proposed, but is now no
longer seriously supported.[25] If for no other reason, the colour
scheme is sufficient to exclude this able artist, and, versatile as he
undoubtedly was, it may be questioned whether he ever could have
attained to the mellowness and glow which suffuse this picture. The
latest view enunciated[26] is that "we are in the presence of a painter
as yet anonymous, whom in German fashion we might provisionally name
'The Master of the Beaumont "Adoration."'" Now this system of labelling
certain groups of paintings showing common characteristics is all very
well in cases where the art history of a particular school or period is
wrapt in obscurity, and where few, if any, names have come down to us,
but in the present instance it is singularly inappropriate. To begin
with, this anonymous painter is the author, so it is believed, of only
three works, this "Adoration," the "Epiphany," in the National Gallery,
No. 1160, and a small "Holy Family," belonging to Mr. Robert Benson in
London, for all three works are universally admitted to be by the same
hand. Next, this anonymous painter must have been a singularly refined
and poetical artist, a master of brilliant colour, and an accomplished
chiaroscurist. Truly a _deus ex machina_! Next you have to find a
vacancy for such a phenomenon in the already crowded lists of Bellini's
pupils and followers, as if there were not more names than enough