The "Madonna and Child" by Bonconsiglio remains gaily in the memory too.

No doubt about the Child being the Madonna's own.
Having finished with this room, one ought really to make directly for Room XVII, although it is a long way off, for that room is given to Giovanni Bellini, and Giovanni Bellini was the instructor of Titian, and Tintoretto was the disciple of Titian, and thus, as we are about to see Titian and Tintoretto at their best here, we should get a line of descent.

But I reserve the outline of Venetian painting until the Bellinis are normally reached.
[Illustration: THE MIRACLE OF S.MARK FROM THE PAINTING BY TINTORETTO _In the Accademia_] The two great pictures of this next room are Titian's "Assumption" and Tintoretto's "Miracle of S.Mark," reproduced opposite page 164, and this one.

I need hardly say that it is the Titian which wins the rapture and the applause; but the other gives me personally more pleasure.

The Titian is massive and wonderful: perhaps indeed too massive in the conception of the Madonna, for the suggestion of flight is lacking; but it has an earthiness, even a theatricalness, which one cannot forget, superb though that earthiness may be.