The Berlin Gallery contains a third glorified Madonna by the same
painter, treated as a Holy Family. St. Elizabeth sits beside the
Virgin, who holds her own boy on her right side, while bending to
embrace the little St. John with the left arm. So large a group is not
appropriately treated in this way, yet the picture is so fine a work
of art as to disarm criticism.

Still another representative of the Brescian school must be considered
in the person of Savoldo. Born of a noble family, and following
painting as an amusement rather than as an actual profession, his
works are rare, and one of the finest examples of his art is the
Glorification of the Virgin, in the Brera Gallery, at Milan. The
mandorla-shaped glory surrounds the Virgin's figure, studded with
faintly discerned cherub heads. On either side, a musical angel is in
adoration; four saints stand on the earth below. The entire conception
is rendered with the utmost delicacy: the grace and beauty of the
Madonna are of exactly the quality to make her appearance a beatific
vision.

From Brescia we turn to Verona, where we again find many pictures of
the beautiful subject. There are, in the churches of Verona, at least
three notable works, by Gianfrancesco Caroto, in this style. One is in
Sant' Anastasia, another is in San Giorgio, and the third--the
artist's best existing work--is in San Fermo Maggiore, and shows the
Virgin's mother, St. Anne, seated with her in the clouds.

Girolamo dai Libri was a few years younger than Caroto, and at one
period was, to some extent, an imitator of the latter. Beginning as a
miniaturist, he finally attained a high place among the Veronese
artists of the first order. His characteristics can nowhere be seen to