As a painter pure and simple. Titian (1177 1576 ) was the greatest of the ltali)in school. lie was the first to handle a brush with absolute freedom and facility, and in his art the sensual beauty, harmony. repose, and gorgeous glow of color of the Venetian school found its colmina. tion. He has shown us, perhaps, as no other has done. the ideal, free and happy. unfettered by the real. Among the large number of his assist ants and pupils was Paris Bordone (1500-71), whose art resembles Titian's, though it is more realistic, and found its best expression in por traits. The works of the three Bonifazi are idyllic in feeling. brilliant, and rich in color. Likewise under Palma's influence stood Rocco Marconi (born c.1505), who learned the elements of his art front Bellini.
The Renaissance lasted longer in Venice than elsewhere, and almost to the end of the century painters of the highest rank appear. Among these. Tintoretto (1518-92) sought to combine with the color of Titian the line of Michelangelo in Ins violent and impetuous style. l'aolo Veronese (152S-88) continued the original tendencies of the Venetian school, both as to color and sub ject, developing Existfr);.-.1/q/cref (painting ex pressions of the joy of living) to its highest ex tent. It was mostly decorative. Ile was par excellence the great painter of banquet scenes.
The artistic influence of Venice also extended to its subject territories on the mainland. At Udine Pellegrino (d. 1547) and Pordenone (1483-1539), a decorative painter of high dra matic power, were active. Though under Vene tian influence. the Brescian school had very dis tinct characteristics, chief among which was a silvery tone. Its chief master was Moretto (149* 1555), a very individual artist. able in com position, fine in line, and delicate in color. llis pupil Moroni (el. 15781 excelled in his portraits, which are essentially modern and realistic in spirit.
In the early sixteenth century German painting reached its highest development. Gradually itself from the detailed execution incidental to its connection with engraving. it more re gard to the ensemble, and while holding fast to the realism peculiar to German art, it aimed at a loftier and more ideal treatment. Although this change was in part due to Italian influence. Gorman art continued to maintain a distinctly national character.
It was reserved for to produce the most original and imaginative German art ist el all limes. The pupil of Wolgemut. All)recht Diirer (1471-1528), inherited the angularity of line and detail of the German school. The Italian influence I Barbari and Bellini).to which he was subjected. tended to soften and idealize his art. lint without loss of individuality. Perhaps greatest as an en graver, he was, nevertheless. strong and effective
as a painter. admirable in line and often excellent in color. His pupils Sehaufelin and Hans von kulenbach emnbined his style, the latter more to Italian methods. Followers of Diirer also were the '1.ittle _Masters.' ratite r e ngretcrs than painters. and so called la call-V of the size' Of their plates. They included such artists as Georg l'eaez (d. 1550. and the two Pechams.
In the sixteenth century the centre of the Nuabiun school shifted to where) the Renaissance developed a more re -Hill ceon• position, better use of color. anel more set se of the ensemble than anywhere else in tee rmany. The founder of the school was Hans ;lure kneeir (1473-1531), a pupil of schongauer. and about 150s Ihuts Holhein the elder adopted the Renais sance, bequeathing to his on his realistic style and conception. llolbein the younger the painter Germany ever produced, excelled in all the essentially pictorial quahties, and knew how to combine time detail with a good ensemble. Although influi-nced by Mantegna, he was sel f-sullicient and Milk iduol in his forceful realism. The other centres of the Suabian school are less important. The Item:di- same came into through Martin Schaffner I mentioned e.150(1-1535). remarkable for his graceful and tine composition: prominent as a portraitist was Bernard strigel I d. 1528'. ). At Kolmar (Alsace) flourished Matthias Griinew the 'Correggio of Germany.' unique among Ger man painters in his attention to valor, light. and atmosphere, rather than detail. The chief painter at Strassburg was Hans Baldlime. Gr;in 14%1471, 1545). whose works show the infinenee of Schein gamer and Diirer. The so-called Saxon school was founded by Lucas Crowell (1172-1553). a Fran conian )taster, whose work. though typical and interesting, is angular and strained. without shadows or M)rial perspective.
THE DEctaxE. As early as 1531) the decline of the Renaissance in Italy began. In the forms of 1Zaphael and Miehelangelo the then nenists (q.v.) executed great crowded composi tions, of exaggerated action and striking effects of light and shade. and only in portraiture were they tolerable. At Florence Bronzing (d. 1572) and Vasari (1511-74) were among the ellief masters: at Parma Parmegiano ( 1504-41) e : at rrhino Barocci who followed eer reggio ; at Rome the brothers Zuccari and many lesser master:. The Sienese school alone re mained true to nature, as did Luca ( 1527-S5) at Genoa. At Venice the came late r. and maintained still something of the glory of Venetian eolors as is evident in the dash ing technique of Palma Giovane 11544 lec2se and the tine color of Padovanino (1590-1650).