Palma's friend and fellow-worker, Lorenzo Lotto (1480?-1556?) came from the school of the Bellini, and at different times was under the influence of several Venetian painters--Palma, Giorgione, Titian--without obliterating a sensitive individuality of his own. He was a somewhat mannered but very charming painter, and in portraits can hardly be classed below Titian. Rocco Marconi (fl. 1505-1520) was another Bellini-educated painter, showing the influence of Palma and even of Paris Bordone. In color and landscape he was excellent. Pordenone (1483-1540) rather followed after Giorgione, and unsuccessfully competed with Titian. He was inclined to exaggeration in dramatic composition, but was a painter of undeniable power. Cariani (1480-1541) was another Giorgione follower. Bonifazio Pitati probably came from a Veronese family. He showed the influence of Palma, and was rather deficient in drawing, though exceedingly brilliant and rich in coloring. This latter may be said for Paris Bordone (1495-1570), a painter of Titian's school, gorgeous in color, but often lacking in truth of form. His portraits are very fine. Another painter family, the Bassani--there were six of them, of whom Jacopo Bassano (1510-1592) and his son Francesco Bassano (1550-1591), were the most noted--formed themselves after Venetian masters, and were rather remarkable for violent contrasts of light and dark, _genre_ treatment of sacred subjects, and still-life and animal painting. PAINTING IN VENETIAN TERRITORIES: Venetian painting was not confined to Venice, but extended through all the Venetian territories in Renaissance times, and those who lived away from the city were, in their art, decidedly Venetian, though possessing local characteristics. At Brescia Savoldo (1480?-1548), a rather superficial painter, fond of weird lights and sheeny draperies, and Romanino (1485?-1566), a follower of Giorgione, good in composition but unequal and careless in execution, were the earliest of the High Renaissance men. Moretto (1498?-1555) was the strongest and most original, a man of individuality and power, remarkable technically for his delicacy and unity of color under a veil of "silvery tone." In composition he was dignified and noble, and in brush-work simple and direct. One of the great painters of the time, he seemed to stand more apart from Venetian influence than any other on Venetian territory. He left one remarkable pupil, Moroni (fl. 1549-1578) whose portraits are to-day the gems of several galleries, and greatly admired for their modern spirit and treatment.