:\ lost of the leaders of the movement were either born or trained at 17orence. Leonardo da Vinci (1452-1519) was the pioneer. The greatest all I mind scientist of the day, besides being a musician and a sculptor, lie was also the greatest theorist on art. which especially qualified him for teach ing. He achieved the greatest mastery hitherto attained over atmosphere, light, and modeling. Nevertheless, his paintings charm more by the sweet and majestic presence of his figures, and by mysterious sentiment, which pervades them, than by their technical qualities. Though Buonarroti (1475-1564) was primarily a sculptor, no artist of the Renaissance had a greater influence upon painting. lie made no progress over his contemporaries in the essen tially pictorial qualities, but in his great fresco cycle in the Sistine Chapel he obtained the high est possible perfection in drawing of the human figure and in decorative effect. The quality of his purely subjective art which most impressed itself on his contemporaries was his tendency toward the gigantic in form and the violent in action. Directly the opposite was Raphael (1483 15e0), the most objeetive of painters, whose art was a composite of the best elements in Middle Italian art. _Himself an Umbrian, lie acquired poetic sentiment from Thnoteo Viti and tender ness from Perugino; at Florence lie learned com position from Fra Bartolommeo, modeling and subtle clia•m from Leonardo, and from Michel angelo drawing and force. But all these quali ties were duly assimilated, and his art was per vaded by an individuality, which especially re vealed itself in a wonderful harmony.
Even after this great trinity bad left Flor ence, important artists remained. The works of Ft-a Bartolomineo (1475-1517),a pupil of Roselli, are pervaded by deep religions feeling, and re veal high technical qualities, especially in color. His co-worker Albertinelli (1474-1515) has an art resembling hi:, though it is less religious. Of greater importance than either was Andrea del Sart°, the best colorist of the Florentine school. in fresco as in oils. He attained the highest teehnical qualities that had hitherto been at tained in brushwork, irk, warmth of color. and atmos pheric effects. His chief Ull IA were Franeiabigio, yvho excelled in portrait painting, .Jacopo Pon tormo, and 11 Rosso.
At Milan, from about 1485 till 1499, Leonardo (la Vinci was at the head of the academy founded by Lodovico Sforza, exercising a pre dominant influence upon painting there. The most important of his pupils and followers were Andrea Solari (born e.1460), who attained many of his master's high qualities; Bernardino Luini (d. 1533?), the most important of the group. in whose art Leonardo's vigor is replaced by grace ful. pathetic sweetness; and Gaudenzio Ferrari (d. 1546), Who NV:1, grander in style and more brilliant in color, though often excessively senti mental. Among the less important though still good painters of the school were Ileltrallio (1467 1516), Marco d'Oggiono (d. 1530), and Cesare (la Sesto.
Properly speaking, there was no distinctly Roman school of painting, the term being ap plied to the pupils of Michelangelo and Raphael, and the Mannerists, who labored there after them. Of Michelangelo's pupils, the principal was Sebastian() del Piombo (d. 1547). a
netian, who had studied under Bellini and Giorgi( One, and attempted to unite Venetian color with Michelangelo's line; others were Mar cello Venusti (b. 1515) and Daniele da Vol terra (1509-66). Of Raphael's pupils, Giulio Pippi (Romano) (1492-1546) was the chief, but even in his work l'ilichelangelo's hilluenee is pre dominant. Though excellent as a draughtsman, his violent compositions tended toward the Baroque. Others among Raphael's pupils were Francesco Penni (died 1528), Giovanni da Udine, Perim) della Vaga (1500-47), and Polidoro da Caravaggio, the last three being mainly decora tors. Andrea Sabbatino (died c.1545) trans mitted Raphael's art to the south of Italy. where it prevailed for the remainder of the century.
At ASiena, art, which had lain dormant (lur ing the fifteenth century, was resuscitated in the sixteenth by Antonio Bazzi (1477-1549), gen e•ally known as Sodoma, a pupil of Leonardo, who treated the human figure with much grace and expression. The most important of his mtnu-rous pupils was Baldassare Peruzzi (1481 1536), an architect and a fine decprative painter. Girolamo della Pacchia (born 1477) was rather a rival than a pupil of Sodoma.
The painters of Ferro ra and Bologna are often classed as followers of Raphael. though wrongly so, since they maintained a distinct local character. Their chief characteristics were a cool though pine scheme of color, a less conventional composition than the and an original use of landscapes as background. The most important representatives were Dossn Dossi (c.1470-1542), a pupil of Costa, who was also influenced by the Venetians; Garofalo (1481-1559), best known from pictures on a small scale from Bible history, who was influ enced by Raphael. Other prominent contem porary artists of the school were Mazzolino, Baenac-a•allo. and Innocenzo da Imola. The High Renaissance of Northern Hilly (outside of Venice) found its greatest master in Correggio (1494-1534). The pupil of various obscure mas ters. but active chiefly in Parma. lie was the principal exponent of the nature worship of the Renaissance—of the material beauty of things. and of poetic sensuality. His tech mica] advances were in the treatment of light and shade, and in pe•speetiye.
The Venetian school of painting (q.v.) dif fered from others principally in this respect, that it sought only pictorial effects. Its paint ers developed color as it had been developed nowhere else in the world, treating light and shade in such a manner as to hiring out all local tints, and were the first to practice a broad and facile brushwork. The chief painters of the High Renaissance in Venice were directly' or in directly pupils of PseffMs The pioneer was Gio•gione do Castelfranco (c.1478-1511), in whose hand the new oil medium was used with subtle skill to portray the effects of light and color in landscape, which he created on a new and procedented scale. as well as upon the human figure. Palma Vecchio's (d. 152S) color was gaudier than Giorgione's, and he painteed every thing in a bright golden light. Ile is eldefly known by female portraits of highly developed charms. Lorenzo Lotto's (el. 1556) art \\ Zls more subtle, being charming, even coquettish. in style.