in
Sant' Anastasia, another is in San Giorgio, and the third--the
artist's best existing work--is in San Fermo Maggiore, and shows the
Virgin's mother, St. Anne, seated with her in the clouds.

Girolamo dai Libri was a few years younger than Caroto, and at one
period was, to some extent, an imitator of the latter. Beginning as a
miniaturist, he finally attained a high place among the Veronese
artists of the first order. His characteristics can nowhere be seen to
better advantage than in the Madonna of St. Andrew and St. Peter, in
the Verona Gallery. The Virgin is in an oval glory, edged all around
with small, fleecy clouds. She has a beautiful, matronly face, with
abundant hair, smoothly brushed over her forehead. The two apostles,
below, are fine, strong figures, full of virility.

Morando, or Cavazzola, was, doubtless, the most gifted of the older
school of Verona, possessing some of the best qualities of the later
master, Paolo Veronese. We should not leave the school, therefore,
without mentioning a remarkable contribution he added to this class of
pictures in his latest altar-piece. Here the upper air is filled with
a sacred company, the Virgin and child are attended by St. Francis and
St. Anthony, and surrounded by seven allegorical figures to represent
the cardinal virtues. Below are six saints, specially honored in the
Franciscan Order. The picture is called the finest production of the
school in the first quarter of the sixteenth century.

In the Venetian school, Titian and Tintoretto both painted the subject
of the Madonna in glory, but the pictures are not notable compared
with many others from their hands.

From the North of Italy we naturally turn next to the South, to
inquire what Raphael was doing at the same period in Rome. Occupied by
many great works under the papal patronage, he still found time for
his favorite subject of the Madonna, painting some pictures in the
styles already mastered, and two for the first time in the style of
the Madonna in the sky.

[Illustration: SPANISH SCHOOL.--MADONNA ON THE CRESCENT
MOON.]

The first was the Foligno Madonna, now in the Vatican Gallery. It was
painted in 1511 for the pope's secretary, Sigismund Conti, as a
thank-offering for having escaped the danger of a falling meteor at
Foligno. No thoughtful observer can be slow to recognize the
superiority of this composition over all others of its kind in point
of unity. Here is no formal row of saints, each