eat, but he is
successful in the golden style he adopted after his closer contact
with the Venetians, and his draperies and flesh tints are extremely
brilliant. He is, indeed, inclined to be gaudy and careless in
execution, and even the fine "Nativity" in the National Gallery gives
the impression that size is more regarded than thought and feeling.

Moretto is perhaps the only painter from the mainland who, coming within
the charmed circle of Venetian art and betraying the study of Palma and
Titian and the influence of Pordenone, still keeps his own gamut of
colour, and as he goes on, gets consistently cooler and more silvery
in his tones. He can only be fully studied in Brescia itself, where
literally dozens of altarpieces and wall-paintings show him in every
phase. His first connection was probably with Romanino, but he reminds
us at one time of Titian by his serious realism, and finished, careful
painting, at another of Raphael, by the grace and sentiment of his
heads, and as time goes on he foreshadows the style of Veronese. In the
"Feast in the House of Simon" in the organ-loft of the Church of the
Pieta in Venice, the very name prepares us for the airy, colonnaded
building, with vistas of blue sky and landscape, and the costly raiment
and plenishing which might have been seen at any Venetian or Brescian
banquet. In his portraits Moretto sometimes rivals Lotto. His personages
are always dignified and expressive, with pale, high-bred faces, and
exceedingly picturesque in dress and general arrangement. He loved to
paint a great gentleman, like the Sciarra Martinengo in the National
Gallery, and to endow him with an air of romantic interest.

One of those who entered so closely into the spirit of the Venetian
School that he may almost be included within it, is Savoldo. His
pictures are rare, and no gallery can show more than one or two
examples. The Louvre has a portrait by him of Gaston de Foix, long
thought to be by Giorgione. His native town can only show one
altarpiece, an "Adoration of Shepherds," low in tone but intense in
dusky shadow with fringes of light. He is grey and slaty in his shadows,
and often rough and startling in effect, but at his best he produces
very beautiful, rich, evening harmonies; and a letter from Aretino bears
witness to the estimation in which he was held.

It is not easy to say if Brescia or Vicenza has most claim to
Bartolommeo Montagna, the early master of Cima. Born of Brescian
pa