“I think it is the feminine quality in St. Ursula’s ways of thought and action that appeals so strongly to Mr. Ruskin’s rugged nature,” replied Mr. Sumner, in answer to a rather appealing glance from Margery’s eyes.  “The tale of a gentle life influences for good a somewhat embittered, but grandly noble man.  As to our little Madge,” with a smile that drew her at once close to him, “the best influence she can gain from the old legend will grow out of the unwavering purpose of the saint, and her inflexibility of action when once the motive was felt to be a noble one.  Her needs are not the same as are Mr. Ruskin’s.”

Margery slipped her hand into that of the uncle who so well understood her, and gave it a tender little squeeze.  As Mr. Sumner turned quickly to call attention to one or two other pictures, with different subjects, by Carpaccio, he caught for an instant the old-time sympathetic look in Barbara’s eyes, which gladdened his heart, and gave a new ring to his voice.

“Here are two or three historical pictures by Carpaccio and Gentile Bellini that put ancient Venice before our eyes, and, on this account, are most interesting.  Their color is fine, but in all other art qualities they are weak.”

“I must tell you,” he went on, “about the Bellini brothers, Gentile and Giovanni.  Their father, who was also an artist, came from Padua to Venice in the early part of the fifteenth century, bringing his two young sons, both of whom grew to be greater painters than the father.  They opened a school, and Giorgione and Titian, who, you well know, are two supreme names in Venetian painting, were among their pupils.  The Bellini paintings are the natural precursors of the glory of Venetian art.  Even in these historical paintings by Gentile Bellini we feel the palpitating sunshine which floods and vivifies the rich colors of palaces and costumes.  You can readily see the difference between his work and that of Carpaccio.  While Carpaccio has treated the historic scene in a poetic way, with quaint formality, Bellini’s picture is full of truth and detail.

“But,” he continued, “Gentile Bellini’s work, as art, fades in importance before that of his brother, Giovanni, who gave himself almost wholly to religious painting.  If you will try to shut your eyes for a few minutes to the other pictures about you, I would like to take you immediately to one of this artist’s Madonna pictures.

“And, by the way,” he interpolated, as they walked straight on through several rooms, “I am delighted to see that you have learned to go into a gallery for the express study of a few pictures, and can refuse to allow your attention to be distracted by any others, however alluring.  I am sure this is the only way in which really to study.  Go as often or as seldom as you choose or can, but always go with a definite purpose, and do not be distracted by the effort to see the works of many artists at a single visit; least of all, by the endeavor to look at all there are about you.  For him who does this, I predict an inevitable and incurable art-dyspepsia.  The reason of my express caution now is that I am taking you into the most attractive room of the gallery, and wish you to see nothing but one picture.