Moretto.
| Bergamo. | Lochis: Holy Family; Christ bearing Cross; Donor. |
| Brescia. | Galleria Martinengo: Nativity and Saints; Madonna appearing to S. Francis; Saints; Madonna in Glory with Saints; Christ at Emmaus; Annunciation. |
| S. Clemente: High Altar and four other Altarpieces. | |
| S. Francesco: Altarpiece. | |
| S. Giovanni Evangelista: High Altar; Third Altar. | |
| S. Maria in Calchera: Dead Christ and Saints; Magdalen washing Feet of Christ. | |
| S. Maria delle Grazie: High Altar. | |
| SS. Nazaro and Celso: Two Altarpieces; Sacristy: Nativity. | |
| Seminario di S. Angelo: High Altar. | |
| London. | Portrait of Count Sciarra Martinengo; Portrait; Madonna and Saints; Two Angels. |
| Milan. | Brera: Madonna and Saints; Assumption. |
| Castello: Triptych; Saints. | |
| Rome. | Vatican: Madonna enthroned with Saints. |
| Venice. | S. Maria della Pietà: Christ in the House of Levi. |
| Verona. | S. Giorgio in Braida: Madonna and Saints. |
Bartolommeo Montagna.
| Bergamo. | Lochis: Madonna and Saint, 1487. |
| Berlin. | Madonna, Saints, and Donors, 1500. |
| Milan. | Brera: Madonna, Saints, and Angels. |
| Padua. | Scuola del Santo: Fresco; Opening of S. Antony’s Tomb. |
| Pavia. | Certosa: Madonna, Saints, and Angels. |
| Venice. | Academy: Madonna and Saints; Christ with Saints. |
| Verona. | SS. Nazaro e Celso: Saints; Pietà; Frescoes, 1491-93. |
| Vicenza. | Holy Family; Madonna enthroned; Two Madonnas with Saints; Three Madonnas. |
| Duomo: Altarpiece; Frescoes. | |
| S. Corona: Madonna and Saints. | |
| Monte Berico: Pietà, 1500; Fresco. |
CHAPTER XXIV
PAOLO VERONESE
Paolo Veronese, though perhaps he is not to be placed on the very highest pinnacle of the Venetian School, must be classed among those few great painters who rose far above the level of most of his contemporaries and who brought in a special note and flavour of his own. His art is an independent art, and he borrows little from predecessors or contemporaries. His free and joyous temperament gave relief at a moment when the Venetian scheme of colour threatened to become too sombre, and when Sebastian del Piombo, Pordenone, Titian himself, and above all Tintoretto, were pushing chiaroscuro to extremes. Veronese discards the deepest bronzes and mulberries and crimsons and oranges, and finds his range among cream and rose and grey-greens. Titian concentrated his colours and intensified his lights, Tintoretto sacrifices colour to vivid play of light and dark, but Veronese avoids the dark; the generous light plays all through his scenes. He has no wish to secure strong effects but delights in soft, faded tints; old rose and turquoise morte. In his colour and his subjects he is a personification of the robust, proud, joy-loving Republic, in which, as M. Yriarte says, a man produced his works as a tree produces its fruit. We get very near him in those vast palaces and churches and villas, where his heroic figures expand in the azure air, against the white clouds, and yet he is one of the artists of the Renaissance about whom we know least. Here and there, in contemporary biography, we come across a mention of him and learn that he was sociable and lively, quick at taking offence, fond of his family and anxious to do his best by them. He was, too, very generous with his work—a great contrast in this respect to Titian—and contracts with convents and confraternities show that he often only stipulated for payment for bare time. Yet he was fond of personal luxury, loved rich stuffs, horses and hounds, and, says Ridolfi, “always wore velvet breeches.”