Early in the sixteenth century, when people began to want pictures in their own homes as well as in their public halls, personal and religious motives combined to dictate the choice of subjects. In the minds of many, painting, although a very familiar art, was too much connected with solemn religious rites and with state ceremonies to be used at once for ends of personal pleasure. So landscape had to slide in under the patronage of St. Jerome; while romantic biblical episodes, like the "Finding of Moses," or the "Judgment of Solomon," gave an excuse for _genre_, and the portrait crept in half hidden under the mantle of a patron saint. Its position once secure, however, the portrait took no time to cast off all tutelage, and to declare itself one of the most attractive subjects possible. Over and above the obvious satisfaction afforded by a likeness, the portrait had to give pleasure to the eye, and to produce those agreeable moods which were expected from all other paintings in Giorgione's time. Portraits like that of Scarampo are scarcely less hard to live with than such a person himself must have been. They tyrannize rather than soothe and please. But Giorgione and his immediate followers painted men and women whose very look leads one to think of sympathetic friends, people whose features are pleasantly rounded, whose raiment seems soft to touch, whose surroundings call up the memory of sweet landscapes and refreshing breezes. In fact, in these portraits the least apparent object was the likeness, the real purpose being to please the eye and to turn the mind toward pleasant themes. This no doubt helps to account for the great popularity of portraits in Venice during the sixteenth century. Their number, as we shall see, only grows larger as the century advances. =X. The Young Titian.=--Giorgione's followers had only to exploit the vein their master hit upon to find ample remuneration. Each, to be sure, brought a distinct personality into play, but the demand for the Giorgionesque article, if I may be allowed the phrase, was too strong to permit of much deviation. It no longer mattered what the picture was to represent or where it was going to be placed; the treatment had to be always bright, romantic, and joyous. Many artists still confined themselves to painting ecclesiastical subjects chiefly, but even among these, such painters as Lotto and Palma, for example, are fully as Giorgionesque as Titian, Bonifazio, or Paris Bordone.