of his qualities. His best picture was painted in
1516, and is at Assisi. It represents the Madonna enthroned with three
saints on each side. In his later works he betrayed feebleness. Pictures
by Lo Spagna are often attributed to Raphael.

Giulio Pippi, surnamed Romano, born in 1492, died in 1546, was a very
different painter, while he was the most celebrated of Raphael's
scholars. He had a vigorous, daring spirit, with a free hand and a bold
fancy. So long as he painted under Raphael, Giulio followed his master
closely, especially in his study of the antique, but he lacked the
purity and grace of his teacher, on whose death, the pupil leaving Rome,
pursued his own coarser, more vehement impulses. The frescoes in the
Villa Modama, Rome, are good examples of his style, so is the
altar-piece of the Martyrdom of St Stephen in S. Stefano, Genoa. Giulio
Romano was the architect who designed the rebuilding of half Mantua.
His best easel picture in England is the 'Education of Jupiter by Nymphs
and Corybantes,' in the National Gallery. In Raphael's lifetime his
principal scholar was accustomed to work on the master's pictures, and
on his death Giulio, together with another pupil, Gianfrancesco Penni,
were left executors of Raphael's will and heirs of his designs.

Paris Bordone was born at Treviso in 1500 and died in 1570. He was
educated in the Venetian School, and remained remarkable for delicate
rosy colour in his flesh tints and for purple, crimson, and shot hues in
his draperies, which were usually small and in crumpled folds. His _chef
d'oeuvre_ is in the Venetian Academy. It is a fisherman presenting a ring
to the Doge, and is a large and fine picture with many figures. He dealt
frequently in mythological or poetic subjects. There is an example of
the first in the National Gallery. He was great in single female
subjects and women's portraits. There is a portrait by Bordone of a
lovely woman of nineteen belonging to the Brignole family, in the
National Gallery. He had often fine landscape and grand architecture in
his pictures.

Il Parmigianino, born 1503, died 1540, was a follower of Correggio's. In
Parmigianino's case the danger of the master's peculiarities became
apparent by the lapse into affectation and frivolity. 'His Madonnas are
empty and condescending, his female saints like ladies in waiting.'
Still there were certain indestructible beauties of the master which yet
clung to the scholar. He had clear warm co