ienna Acad., Munich and Nat.
Gal. Lon.; Peruzzi, fresco Fontegiuste Sienna, S. Onofrio,
S. M. della Pace Rome; Beccafumi, St. Catherine Saints
Sienna Acad., frescos S. Bernardino Hospital and S. Martino
Sienna, Palazzo Doria Rome, Pitti, Berlin, Munich Gals.

FERRARESE AND BOLOGNESE--Dosso Dossi, many works Ferrara
Modena Gals., Duomo S. Pietro Modena, Brera, Borghese,
Doria, Berlin, Dresden, Vienna, Gals.; Garofolo, many works
Ferrara churches and Gal., Borghese, Campigdoglio, Louvre,
Berlin, Dresden, Munich, Nat. Gal. Lon.; Mazzolino, Ferrara,
Berlin, Dresden, Louvre, Doria, Borghese, Pitti, Uffizi, and
Nat. Gal. Lon.; Bagnacavallo, Misericordia and Gal. Bologna,
Louvre, Berlin, Dresden Gals.

PARMESE--Correggio, frescos Convent of S. Paolo, S. Giovanni
Evangelista, Duomo Parma, altar-pieces Dresden (4), Parma
Gals., Louvre, mythological pictures Antiope Louvre, Danae
Borghese, Leda Jupiter and Io Berlin, Venus Mercury and
Cupid Nat. Gal. Lon., Ganymede Vienna Gal.; Pomponio
Allegri, frescos Capella del Popolo Parma; Anselmi, frescos
S. Giovanni Evangelista, altar-pieces Madonna della
Steccata, Duomo, Gal. Parma, Louvre; Parmigianino, frescos
Moses Steccata, S. Giovanni Parma, altar-pieces Santa
Margherita, Bologna Gal., Madonna Pitti, portraits Uffizi,
Vienna, Naples Mus., other works Dresden, Vienna, and Nat.
Gal. Lon.

CHAPTER X.

ITALIAN PAINTING.

THE HIGH RENAISSANCE. 1500-1600. (_Continued._)

BOOKS RECOMMENDED: The works on Italian art before mentioned
and also consult General Bibliography, (page xv.).

THE VENETIAN SCHOOL: It was at Venice and with the Venetian painters
of the sixteenth century that a new art-motive was finally and fully
adopted. This art-motive was not religion. For though the religious
subject was still largely used, the religious or pietistic belief was
not with the Venetians any more than with Correggio. It was not a
classic, antique, realistic, or naturalistic motive. The Venetians
were interested in all phases of nature, and they were students of
nature, but not students of truth for truth's sake.

What they sought, primarily, was the light and shade on a nude
shoulder, the delicate contours of a form, the flow and fall of silk
or brocade, the richness of a robe, a scheme of color or of light, the
character of a face, the majesty of a figu