ng was introduced even in the largest canvases.
Scenes from Scripture and legend turned into grand pageants of
Venetian glory, and the facial expression of the characters rather
passed out in favor of telling masses of color to be seen at a
distance upon wall or ceiling. It was pomp and glory carried to the
highest pitch, but with all seriousness of mood and truthfulness in
art. It was beyond Titian in variety, richness, ornament, facility;
but it was perhaps below Titian in sentiment, sobriety, and depth of
insight. Titian, with all his sensuous beauty, did appeal to the
higher intelligence, while Paolo and his companions appealed more
positively to the eye by luxurious color-setting and magnificence of
invention. The decadence came after Paolo, but not with him. His art
was the most gorgeous of the Venetian school, and by many is ranked
the highest of all, but perhaps it is better to say it was the height.
Those who came after brought about the decline by striving to imitate
his splendor, and thereby falling into extravagance.

These are the four great Venetians--the men of first rank. Beside them
and around them were many other painters, placed in the second rank,
who in any other time or city would have held first place. Palma il
Vecchio (1480?-1528) was so excellent in many ways that it seems
unjust to speak of him as a secondary painter. He was not, however, a
great original mind, though in many respects a perfect painter. He was
influenced by Bellini at first, and then by Giorgione. In subject
there was nothing dramatic about him, and he carries chiefly by his
portrayal of quiet, dignified, and beautiful Venetians under the names
of saints and holy families. The St. Barbara is an example of this,
and one of the most majestic figures in all painting.

[Illustration: FIG. 51.--LOTTO. THREE AGES. PITTI.]

Palma's friend and fellow-worker, Lorenzo Lotto (1480?-1556?) came
from the school of the Bellini, and at different times was under the
influence of several Venetian painters--Palma, Giorgione,
Titian--without obliterating a sensitive individuality of his own. He
was a somewhat mannered but very charming painter, and in portraits
can hardly be classed below Titian. Rocco Marconi (fl. 1505-1520) was
another Bellini-educated painter, showing the influence of Palma and
even of Paris Bordone. In color and landscape he was excellent.
Pordenone (1483-1540) rather followed after Giorgione, and
unsuccessfully competed w