Un catalogue illustré complet à la galerie nationale d'Alexandre eet . après l'Battleof Issos, C.-B. 333. Paolo Veronese. Les captifs royaux ayant confondu avec Hephsestion pour Alexandre, l'implore le pardon de l'queenmother conquérant, qui, en pointant à son ami, lui dit qu'elle Gallery XIV. 73 n'a pas commis une erreur, qu'il est un autre Alexandre. La famille, a présenté à theking par un des ministres de Darius, est à genoux au centre de la photo,Alexandre et ses généraux, et Hephaestion Parmenio, être sur les spectateurs de l'arrière-plan est un rightsIn en arcade avec des spectateurs lo

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A complete illustrated catalogue to the National Gallery . eet of Alexander after the Battleof Issus, B.C. 333. Paolo Veronese. The royal captives having mistaken Hephsestion for Alexander, the queenmother implores pardon of the conqueror, who, pointing to his friend, tells her she Gallery XIV. 73 has not erred, that he is another Alexander. The captive family, presented to theking by one of the ministers of Darius, is kneeling in the centre of the picture, Alexander and his generals, Hephaestion and Parmenio, being on the spectators rightsIn the background is a marble arcade with spectators looking down. The principalfigures are portraits of the Pisani family. This picture was painted for an ancestor of the Count Pisani, andwas in Venice in 1857 j it was purchased in 1857 for ;^i3, 65o. Theother work by Paul Veronese in this gallery is on the right hand, No. 26 (sketched on p. 75). 225. T/ie Beatific Visioji of the Magdahm; a fresco of semicircularform; seven figures, Giulio Romano. 5 ft. 5 in. X 7 ft. 8 in. Presented by Lord Overstone in 1852.. No. 3. 3 ft. 2 in. X 4 ft. I in. 3. ^ Concert; a maestro di cappella giving a music lesson.Attributed to Titian. Purchased in 1824. The figures are life-size ; the cap of the central figure is a brilliantred, with white feather. 299. ??Portrait of an Italian Nobleman^ leaning on a cushion in longermine tippet. Il Moretto. 3 ft. 8^ in. X 3 ft. i in. There are three works by Alessandro Bonvicino, known as IIMoretto. The latest acquisition is No. 1025, on the north wall(sketched on p. 77). Some of Morettos finest works, altar-pieces, andportraits, are to be seen in Brescia, his native place. The next portrait, sketched over-leaf, is a fine example of Venetianportraiture. The three other works by Moroni lately added to theNational Gallery are sketched on pp. 70, 77, and 79. Italian School.

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