613, reproduced opposite page 260, with the Leonardesque saint on the right; and No.

610, with its fine blues, light and dark, and the very Venetian Madonna; and the Madonna with the Child stretched across her knees, reproduced opposite page 144.
Giovanni Bellini did not often paint anything that can be described as essentially Venetian.

He is called the father of Venetian painting, but his child only faintly resembles him, if at all.

That curious change of which one is conscious at the National Gallery in passing from Rooms I and VI to Room VII, from Tuscany and Umbria to Venice, is due less to the Bellinis in Room VII than to any painter there.

The Bellinis could be hung in Rooms I and VI without violence; the Giorgiones and Titians and Tintorettos would conflict.