PARMESE--Correggio, frescos Convent of S. Paolo, S. Giovanni Evangelista, Duomo Parma, altar-pieces Dresden (4), Parma Gals., Louvre, mythological pictures Antiope Louvre, Danae Borghese, Leda Jupiter and Io Berlin, Venus Mercury and Cupid Nat. Gal. Lon., Ganymede Vienna Gal.; Pomponio Allegri, frescos Capella del Popolo Parma; Anselmi, frescos S. Giovanni Evangelista, altar-pieces Madonna della Steccata, Duomo, Gal. Parma, Louvre; Parmigianino, frescos Moses Steccata, S. Giovanni Parma, altar-pieces Santa Margherita, Bologna Gal., Madonna Pitti, portraits Uffizi, Vienna, Naples Mus., other works Dresden, Vienna, and Nat. Gal. Lon. CHAPTER X. ITALIAN PAINTING. THE HIGH RENAISSANCE. 1500-1600. (_Continued._) BOOKS RECOMMENDED: The works on Italian art before mentioned and also consult General Bibliography, (page xv.). THE VENETIAN SCHOOL: It was at Venice and with the Venetian painters of the sixteenth century that a new art-motive was finally and fully adopted. This art-motive was not religion. For though the religious subject was still largely used, the religious or pietistic belief was not with the Venetians any more than with Correggio. It was not a classic, antique, realistic, or naturalistic motive. The Venetians were interested in all phases of nature, and they were students of nature, but not students of truth for truth's sake. What they sought, primarily, was the light and shade on a nude shoulder, the delicate contours of a form, the flow and fall of silk or brocade, the richness of a robe, a scheme of color or of light, the character of a face, the majesty of a figure. They were seeking effects of line, light, color--mere sensuous and pictorial effects, in which religion and classicism played secondary parts. They believed in art for art's sake; that painting was a creation, not an illustration; that it should exist by its pictorial beauties, not by its subject or story. No matter what their subjects, they invariably painted them so as to show the beauties they prized the highest. The Venetian conception was less austere, grand, intellectual, than pictorial, sensuous, concerning the beautiful as it appealed to the eye. And this was not a slight or unworthy conception. True it dealt with the fulness of material life, but regarded as it was by the Venetians--a thing full-rounded, complete, harmonious, splendid--it became a great ideal of existence. [Illustration: FIG. 47.--GIORGIONE(?). ORDEAL OF MOSES. UFFIZI.]