Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/408

 a great master in the full meaning of the term, he nearly equalled his two great contemporaries. As a colourist he recalls Giovanni Bellini, and in other respects Cima and Carpaccio. Like Giorgione, he was fond of natural backgrounds and loved to paint smiling landscapes, but he approached that master more nearly in his portraits of women, which are remarkable for brilliancy of tint, softness of tone, and richness of costume. Among his many pictures are: Christ and Apostles, Venice Academy; Madonna, Palazzo Colonna, Rome; Madonna (3), Lochis Carrara, Bergamo; Virgin Enthroned, Church of Zerman; St. Peter Enthroned, Venice Academy; St. Barbara, S. M. Formosa, Venice; Glory of Constantine and Helena, Brera, Milan; Virgin Enthroned, S. Stefano, Vicenza; Santa Conversazione, Naples Museum; Entombment, Brussels Museum; Adoration of the Shepherds, Madrid Museum; do., National Gallery, Edinburgh; Visitation, Santa Conversazione, Vienna Museum; Madonna, Louvre; do., and two portraits, Berlin Museum; Venus at Toilet, Andromeda freed by Perseus, Cassel Gallery; Holy Family (3), Three Graces, Dresden Museum; Madonna with Saints, Portrait of the Artist, Old Pinakothek, Munich; Adoration of the Shepherds, Madonna with Saints, Holy Family, Hermitage, St. Petersburg. Among his single figures and portraits are: Venus, Dresden Museum; Adam and Eve, Brunswick Gallery; Judith, Uffizi, Florence; La Schiava, Palazzo Barberini, Rome; Female Portraits (4), Lucretia, Violante, Vienna Museum; Venus, Dresden Museum.—C. & C., N. Italy, ii. 456; Vasari, ed. Mil., v. 243; ed. Le Mon., ix. 140; Burckhardt, 713, 722, 806; Seguier, 147; Ch. Blanc, École vénitienne; Dohme, 2iii.; Lermolieff, 14; Lübke, Gesch. ital. Mal., ii. 500; Zeitschr. f. b. K., iii. 214; xviii. 96.

PALMA, GIACOMO, called Palma Giovane (the younger), born in Venice in 1544, died there in 1628. Venetian school; son and pupil of Antonio Palma, a mediocre painter, and nephew of Palma Vecchio. Afterwards studied the works of Titian, and later, during an eight years' sojourn in Rome under the protection of the Duke of Urbino, the compositions of Michelangelo, Raphael, and Caravaggio. Although Tintoretto and Paolo Veronese were in high favour when Palma returned to Venice (1568), he nevertheless obtained important commissions through the friendship of the architect and sculptor Alessandro Vittoria, who had quarrelled with Tintoretto and Veronese. He was, says Lanzi, the last painter of the good, and the first of the bad, epoch in Venice. Vigorous but not always correct in design, having great facility, and distinguished for the freshness of his colouring, which, though less lustrous than that of Paolo Veronese, is often more pleasing than that of Tintoretto, he gives evidence of carelessness in his later pictures, and may be justly called one of the corrupters of taste in his age. There are several pictures by him in the Palazzo Ducale, Venice, the best of which are the Last Judgment, and the Saviour adored by Two Doges. Other works from his hand are: Tarquin and Lucretia, Venus and Cupid, and Per