ng list might be given of minor artists who were industriously
turning out work on similar lines to one or other of these masters:
Calderari, who imitates Paris Bordone as well as Pordenone; Pomponio
Amalteo, Pordenone's son-in-law, a spirited painter in fresco;
Florigerio, who practised at Udine and Padua, and of whom an altarpiece
remains in the Academy; Giovanni Battista Grassi, who helped Vasari to
compile his notices of Friulan art, and many others only known by name.

At the close of the fifteenth century the revulsion against Paduan art
extended as far as Brescia, and Girolamo Romanino was one of the first
to acquire the trick of Venetian painting. He probably studied for a
time under Friulan painters. Pellegrino is thought to have been at
Brescia or Bergamo during the Friulan disturbances of 1506-12, and
about 1510 Romanino emerges, a skilled artist in Pellegrino's Palmesque
manner. His works at this time are dark and glowing, full of warm light
and deep shadow; the scene is often laid under arches, after the manner
of the Vivarini and Cima; a gorgeous scheme of accessory is framed in
noble architecture.

Brescia was an opulent city, second only to Milan among the towns of
northern Italy, and Romanino obtained plenty of patronage; but in 1511
the city fell a prey to the horrors of war, was taken and lost by
Venice, and in 1512 was sacked by the French. Romanino fled to Padua,
where he found a home among the Benedictines of S. Giustina. Here he was
soon well employed on an altarpiece with life-size figures for the high
altar, and a "Last Supper" for the refectory. It is also surmised that
he helped in the series for the Scuola del Santo, for several of which
Titian in 1511 had signed a receipt, and the "Death of St. Anthony" is
pointed out as showing the Brescian characteristics of fine colour, but
poor drawing.

Romanino returned to Brescia when the Venetians recovered it in 1516,
but before doing so he went to Cremona and painted four subjects, which
are among his most effective, in the choir of the Duomo.

He is not so daring a painter as Pordenone, from whom he sometimes
borrows ideas, but he is quite a convert to the modern style of the day,
setting his groups in large spaces and using the slashed doublets, the
long hose, and plumed headgear which Giorgione had found so picturesque.
Romanino is often very poor and empty, and fails most in selection and
expression at the moments when he most needs to be gr