. The Venetian School of Painting. regained is signifiedby the paved court with the open door, in con-tradistinction to the Hortus Clausus, or enclosedcourt ; the type of the old covenant. In one ofthe bas-reliefs Mucins Scaevola thrusts his handinto the fire, the ancient type of heroic readinessto sufi^er. The other represents a pagan sacrifice,foreshadowing the sacrifice upon the in the background are leaving a ruinedtemple and making their way towards the newChristian city, fortified and crowned with achurch tower, and in the midst of all thissymbolism, Christ and the attenden
. The Venetian School of Painting. regained is signifiedby the paved court with the open door, in con-tradistinction to the Hortus Clausus, or enclosedcourt ; the type of the old covenant. In one ofthe bas-reliefs Mucins Scaevola thrusts his handinto the fire, the ancient type of heroic readinessto sufi^er. The other represents a pagan sacrifice,foreshadowing the sacrifice upon the in the background are leaving a ruinedtemple and making their way towards the newChristian city, fortified and crowned with achurch tower, and in the midst of all thissymbolism, Christ and the attendent angel areplaced, vibrating with nervous feeling. During the next few years, Bellini devoteshimself to two subjects of the highest devotionalorder. These are the Madonna and Child, thegreat exercise in every age for painters, and thePieta, which he has made peculiarly his own. Close by, at Padua, Giotto had left a render-ing of the last subject, so full of passionate sorrowthat it is hardly possible that it should not, if only 86. GIOVANNI BELLINI half consciously, have stimulated the artisticsensibilities of the most sensitive of painters ; but Bellinis pathos shrinks from all conceivi^ grief with the «bg^ interest in the subject^^aTTtrirrrfen^e that henever left the execution to others, and thoughnot a single one bears his signature, yet each isentirely by his own hand. Besides the Pieta atMilan, which is perhaps the best known, there isone in the Correr Museum, another in the DogesPalace, and yet others at Rimini and at version he adopts, which places the Body ofChrist within the sarcophagus, was a favourite inNorth Italy. Donatello uses it in a bas-relief(now in the Victoria and Albert Museum), butwhether he brought or found the suggestion inPadua nothing exists to show. Jacopo has leftsketches in which the whole group is within thetomb, and this rendering is followed by Carpaccio,Crivelli, Marco Zoppo, and others. It is neverf
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