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.
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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-
