In the gallery of the Louvre is his "Marriage at Cana." It is thirty by twenty feet in size, and many of its figures are portraits. His pictures are numerous and are seen in the European galleries. The "Family of Darius," in the National Gallery, London, cost that institution the enormous sum of thirteen thousand six hundred and fifty pounds; it was formerly in the Pisani Palace, Venice, and was said to have been left there by Veronese as payment for his entertainment during a visit he had made in the palace. In 1868, at the Demidoff sale, a portrait of his daughter sold for two thousand five hundred and twenty-four pounds. At the close of the sixteenth century a family of a father and four sons were busy painting what may rightfully be termed the earliest _genre_ pictures of Italy. This term is used to denote pictures that stand between historical and utterly imaginary subjects; that is to say, the representation of something that seems real to us because it is so familiar to our imagination, or because it is something that we know might have happened, that it has all the naturalness of an actual reproduction of a fact. There may be interior or landscape _genre_ pictures. The first represent familiar in-door scenes--the latter are landscapes with animals or figures to give a life element and to tell a story. The name of the family of which I speak was Da Ponte, but it was called Bassano, from the birth-place of JACOPO DA PONTE BASSANO (1510-1592), the father, who was the most important of the family. He studied in Venice, but returned to his native town. His portraits are fine; among them are those of the Doge of Venice, Ariosto, and Tasso. His works are very numerous and are seen in all galleries. He introduced landscapes and animals into most of his pictures, sometimes with great impropriety. We come now to ANTONIO ALLEGRI, called CORREGGIO (1493-1534), who was born at the end of the fifteenth, but did his work in the beginning of the sixteenth century. His name of Correggio is that of his birth-place, and as he was not born at any of the great art centres, and did not adopt the precise manner of any school, he, with his followers, stand by themselves, and yet, because his principal works were done at Parma, he is sometimes said to be of the school of Parma. When Correggio was thirteen years old he had learned to draw well. He studied under Andrea Mantegna and his son Francesco Mantegna. From these masters he learned to be very skilful in drawing, especially in foreshortening, or in representing objects seen aslant. But though he learned much of the science of art from his teachers, his grace and movement and his exquisite light and shade are all his own, for they did not possess these qualities. [Illustration: FIG. 47.--PORTRAIT OF CORREGGIO.]