nni Bellini, and at one time
was a friend and colleague of Lorenzo Lotto. A child of the
mountains--for he was born in Serinalta--he never entirely lost the
influence of his early surroundings.

To the last his figures are grave, vigorous, sometimes almost rude,
partaking of the characteristics of the everlasting hills. Perhaps it
was these traits which made the Santa Conversazione a favorite
composition with him. He has an intense love of Nature in her most
luxuriant mood.

[Illustration: PALMA VECCHIO.--SANTA CONVERSAZIONE.]

For a collection of Palma's pictures, we should choose at least four
to represent his treatment of the Santa Conversazione: those at
Naples, Dresden, Munich, and Vienna. The Naples picture is considered
the most successful of Palma's large pictures of this kind, but it is
not easy for the less critical observer to choose a favorite among the
four. One general formula describes them all: a sunny landscape with
hills clad in their greenest garb; a tree in the foreground, beneath
which sits the Virgin, a comely, country-bred matron, who seems to
have drawn her splendid vigor from the clear, bright air. On her lap
she supports a sprightly little boy, who is the centre of attention.

In the simpler compositions the Madonna is at the left, and at the
right kneel or sit two saints. One is a handsome young rustic, unkempt
and roughly clad, sometimes figuring as St. John the Baptist, and
sometimes as St. Roch. With him is contrasted a beautiful young female
saint, usually St. Catherine. Where the composition includes other
figures, the Virgin is in the centre, with the attendant personages
symmetrically grouped on either side. In the Vienna picture the two
additional figures at the left are the aged St. Celestin and a fine
St. Barbara.

Of all schools of painting, the Venetian is the least translatable
into black and white, so rich in colors is the palette which composed
it. This is especially true of Palma, and to understand aright his
Santa Conversazione, we must read into it the harmony of colors which
it expresses, the chords of blue, red, brown, and green, the
shimmering lights and brilliant atmosphere.

[Illustration: FILIPPINO LIPPI.--MADONNA IN A ROSE
GARDEN.]

The subject of the Santa Conversazione should not be left without a
brief reference to other Venetians, who added to the popularity of
this charming style of picture. Berenson mentions seven by Palma's
pupil, Bonifazio Veronese, a