e Clement VII., to be placed with
Raphael's _Transfiguration_ in the Cathedral of Narbonne. Both pictures
were publicly exhibited in Rome, and by some people Sebastiano's was
preferred to Raphael's. According to Waagen the whole composition was
designed by Michelangelo, with whom Sebastiano had entered into the
closest intimacy; and Kugler states that the group of Lazarus and those
around him was actually drawn by the master. However that may be, we can
hardly fail to see how entirely the Venetian influence is obscured by
that of the great Florentine, and to recognise the extraordinary genius
of a painter who could do something more than imitate from such masters
as Bellini, Giorgione, Raphael and Michelangelo.

The last traces of the Vivarini influence are to be seen in the earlier
works of LORENZO LOTTO(1480-1556), who was a pupil of Alvise, though his
pictures after 1508, when he had left Venice, Treviso and Reccanti,
where he had been employed, show the effect of his changed surroundings.
To this date is assigned the _Portrait of a Young Man_, at Hampton
Court. At Rome in 1509 he was painting with Raphael in the Vatican, and
in his next dated work, the _Entombment_, at Jesi, the echoes of
Raphael's Disputation and the _School of Athens_ are clear. The Dresden
_Madonna and Child with S. John_ was probably painted at Bergamo in
1518, and the _Madonna and Saints_, lately bequeathed to the National
Gallery, is dated 1521.

At Madrid is a picture by him of _A Bride and Bridegroom_ dated 1523, to
which year probably belongs the _Family Group_ in the National Gallery.
These are early instances of the comparatively rare inclusion of more
than a single figure in a pure portrait. In our example the father and
mother and two children are composed into a delightful picture, in which
for once we may see the actual people of the time in something like
their natural surroundings, instead of being posed, however effectively,
to assist in the representation of some historic or legendary scene.

In 1527 Lotto was back again in Venice, and was probably influenced by
Palma Vecchio when he painted the superb portrait of the sculptor
_Odoni_, which is at Hampton Court. A little later the influence of
Titian is more visible. Two other portraits are in our National Gallery,
those of the Protonotary Juliano and of Agostino and Niccolo della
Torre.

BONIFAZIO DI PITATI (1487-1553), sometimes called Bonifazio Veronese or
Veneziano, was bo