PAINTING. oa 
and the same painting, make his works deficient in historical truth. His 
draperies and architecture are excellent and effective; and his colors, 
boldly laid on, are fresh and bright, with clear and transparent reflected 
lights. He died in 1582. 
But from this point the Venetian school, which had now reached the 
pinnacle of its greatness, began to decline. Giacomo Palma the Younger 
(b. 1544, d. 1628) was the first to enter upon the downward path; for 
although he took Titian and Tintoretto, Michael Angelo and Caldara for 
his models, he worked far too hurriedly to attain to any degree of excel- 
lence. The number of his productions is excessively great. His example 
was followed by a long series of artists, none of whose names enjoy much 
celebrity. The Venetian painters, in the most flourishing period of their 
school, had created for it a certain national character; and although each 
of its greatest masters, Titian, Bassano, Tintoretto, and Paul Veronese, had 
a style peculiar to himself, it was derived in each case from nature, and 
their combination formed the national style, which was also adhered to by 
their pupils, although in their hands it underwent a gradual deterioration. 
The Venetian school, however, notwithstanding the constancy with which 
it had at first opposed itself to every foreign influence and even to the great 
inundation of Buonarottists, was at last forced to submit, and, Mingling 
with these, to bow to its utter fall. Of the late masters of the Venetian 
school the following only are deserving of mention. Giovanni Battista 
Piazetta (b. 1682, d. 1754) studied diligently the works of the Caracci and. 
of Guercino, and distinguished himself by his admirable handling of 
chiaroscuro ; for by means of models of his figures he placed nature before 
his eyes and investigated the effects of light and shade: hence too he was: 
able to manage the reflected lights exceedingly well. His coloring is pale 
and chalky, and his draperies heavy, which last defect doubtless originated in 
his modelled figures, where the folds of the small garments on account of 
their want of amplitude could never be made to fall naturally. His best 
picture is the Beheading of John the Baptist, in the church of St. Anthony 
in Padua. Giovanni Battista Tiepolo (b. 1693, d. 1769) manifested remark- 
able talents in his youth and formed his manner on the works of Paul. 
Veronese. He made long journeys even to Germany, where he painted, 
especially in Wurtzburg. We desiderate in his pictures a rather more 
correct drawing. The Banquet of Antony and Cleopatra, in Dresden, with 
figures of the size of life, is a splendid picture. Tiepolo also executed 
various engravings, apparently on tin. 
We must here mention one other master, although he does not properly 
belong to the Venetian school, since all that he was he became through his 
own exertions, and he preserved his individuality to the last. We allude 
to Antonio Allegri, called Antonio da Correggio, born 1499. His father 
was named Pellegrino, and he received his first instructions from his uncle, 
Lorenzo Allegri; but as Lorenzo was no artist, these instructions were of 
little account. Hence Correggio was soon reduced to the necessity of 
depending upon himself, and his genius was lofty enough to enable him 
to surmount all opposing obstacles. Accordingly we never meet in his 
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