rte: Doge Giovanni before Faith, 1555.
Frari: Pesaro Madonna, 1526.
S. Giovanni Elemosinario: S. John the Almsgiver, 1523.
Scuola di San Rocco: Annunciation (E.).
Salute Sacristy: Descent of the Holy Spirit; St. Mark enthroned
with Saints; David and Goliath; Sacrifice of Isaac; Cain
and Abel.
S. Salvatore: Annunciation (L.); Transfiguration (L.).
Verona. Duomo: Assumption.
Vienna. Gipsy Madonna (E.); Madonna of the Cherries (E.); Ecce Homo,
1543; Isabela d'Este, 1534; The Tambourine Player; Girl in
Fur Cloak; Dr. Parma (E.); Shepherd and Nymph (L.);
Portraits; Doge Andrea Gritti; Jacopo Strada; Diana and
Callisto; Madonna and Saints.
Wallace Collection. Perseus and Andromeda. (In collaboration
with his nephew, Francesco Vecellio.)
Louvre. Madonna and Saints. (The same by Francesco alone.)
Glasgow. Madonna and Saints.

CHAPTER XX

PALMA VECCHIO AND LORENZO LOTTO

Among the many who clustered round Titian's long career, Palma attained
to a place beside him and Giorgione which his talent, which was not of
the highest order, scarcely warranted. But he was classed with the
greatest, and influenced contemporary art because his work chimed in
so well with the Venetian spirit. A Bergamasque by birth, he came of
Venetian parentage, and learnt the first elements of his art in Venice.
He never really mastered the inner niceties of anatomy in its finest
sense, and the broad generalisation of his forms may be meant to conceal
uncertain drawing, but his large-bosomed, matronly women and plump
children, his round, soft contours, his clean brilliancy, and the clear
golden polish in which his pictures are steeped, made a great appeal to
the public. His invention is the large Santa Conversazione, as compared
with those in half-length of the earlier masters. The Virgin and saints
and kneeling or bending donors are placed under the spreading trees
of a rich and picturesque landscape. It is Palma's version of the
Giorgionesque ideal, which he had his share in establishing and
developing. The heavy tree-trunk and dark foliage, silhouetted almost
black against the background, are characteristic of his compositions. As
his life goes on, though he still clings to his full, ripe figures and
to the same smooth fleshiness in his women, the features become delicate
and chiselled,