etian School. In 1482, it will be remembered, Leonardo went to Milan,
where he remained till the end of the century; and the extent of his
influence may be judged from many of the productions of BERNADINO LUINI
(1475-1532) and GIOVANNI ANTONIO BAZZI, known as SODOMA (1477-1549). Of
AMBROGIO DI PREDIS we have already heard in connection with the painting
of our version of Leonardo's _Virgin of the Rocks_. GIOVANNI ANTONIO
BOLTRAFFIO (1467-1516) was a pupil of VINCENZO FOPPA, but he soon
abandoned the manner of the old Lombard School, and came under the
influence of the great Florentine, of whom he became a most enthusiastic
disciple.

More independent--indeed, he is officially characterised as "an isolated
phenomenon in Italian Art"--was ANTONIO ALLEGRI, commonly called
CORREGGIO, from the place of his birth. In 1518 he settled at Parma,
where he remained till 1530, so that he is usually catalogued as of the
School of Parma, which for an isolated phenomenon serves as well as any
other. Of late years his popularity has been somewhat diminished by the
increasing demands of private collectors for works which are
purchasable, and most of Correggio's are in public galleries. At Dresden
are some of the most famous, notably the _Nativity_, called "La Notte,"
from its wonderful scheme of illumination, and two or three large
altar-pieces. The _Venus Mercury and Cupid_ in our National Gallery,
though sadly injured, is still one of his masterpieces. It was purchased
by Charles I. with the famous collection of the Duke of Mantua. Our
_Ecce Homo_ is entitled to rank with it, as is also the little _Madonna
of the Basket_.

[Illustration: PLATE X.--CORREGGIO

MERCURY, CUPID, AND VENUS

_National Gallery, London_]

_VENETIAN SCHOOLS_

I

THE VIVARINI AND BELLINI

In Venice the Byzantine style appears to have offered a more stubborn
resistance to the innovators than in Tuscany, or, in fact, in any other
part of Italy. Few, if any, of the allegorical subjects with which
Giotto and his scholars decorated whole buildings are to be found here,
and the altar pictures retain longer than anywhere else the gilt
canopied compartments and divisions, and the tranquil positions of
single figures. It was not until a century after the death of Cimabue
and Duccio that the real development of the Venetian School was
manifested, so that when things did begin to move the conditions were
not the same, and the results accordingly we