Bergamo,
and died in 1528. He is believed to have studied under Giovanni Bellini,
while he is also the chief follower of Giorgione. His characteristics
are ample forms and gorgeous breadth of drapery. His female saints, with
their large rounded figures, have a soft yet commanding expression. He
had an enchanting feeling for landscape, which seems to have been the
birthright of the Venetian painters. To Palma is owing what are called
'Santa Conversazione,' where there are numerous groups round the Virgin
and Child, as if they are holding a court in a retired and beautiful
country nook. Palma rivalled Giorgione and Titian as a painter of
women's portraits. Among these is that of his daughter Violante,
believed to have been loved by Titian. 'Palma's three Daughters,' in the
Dresden Gallery, is a masterpiece of 'fair, full-blown beauty.' The hair
of the women is of the curiously bleached yellow tint affected then by
the Venetian ladies. Palma painted many pictures, leaving at his death
forty-our unfinished.

Giovanni Antonio da Pardenone, born 1483, died 1538. He had many names,
'Pardenone' from his birth-place, 'Corticellis' from that of his father,
and he is believed to have assumed the name 'Regillo' after he received
knighthood from the King of Hungary. He was Venetian in his artistic
qualities. Many of his works are in his native Pardetowns near. All have
suffered and some are now hidden by whitewash. His chief strength lay in
fresco. His scenes from the Passion in the cathedral, Cremona, are
greatly damaged and wretchedly restored, but they still reveal the
painter as a great master. They have 'fine drawing, action, excellent
colouring, grand management of light and shade, with freedom of hand and
dignity of conception.' In the prophets and sibyls around the cupola of
the Madonna di Campagna, Piacenza, Pardenone's power is fully proven.
His immense works in fresco account for the rarity of his oil pictures
and their comparative inferiority. There is only one picture, and that a
portrait, indisputably assigned to Pardenone in England, in the Baring
Collection.

Giovanni di Pietro, known as Lo Spagna (the Spaniard), was a
contemporary of Raphael's, a fellow-pupil of his under Perugino. There
is no record of the time and place of Lo Spagna's birth. He died in
1533. He was a careful, conscientious follower of Perugino and Raphael,
doing finished and delicate work; an 'Assumption' in a church at Trevi
is a fine example