=XII. Lotto.=--It is scarcely to be wondered at that the Venetian artist in whom we first find the expression of the new feelings, should have been one who by wide travel had been brought in contact with the miseries of Italy in a way not possible for those who remained sheltered in Venice. Lorenzo Lotto, when he is most himself, does not paint the triumph of man over his environment, but in his altar-pieces, and even more in his portraits, he shows us people in want of the consolations of religion, of sober thought, of friendship and affection. They look out from his canvases as if begging for sympathy. But real expression for the new order of things was not to be found by one like Lotto, sensitive of feeling and born in the heyday of the Renaissance, to whom the new must have come as a disappointment. It had to come from one who had not been brought in personal contact with the woes of the rest of Italy, from one less conscious of his environment, one like Titian who was readier to receive the patronage of the new master than to feel an oppression which did not touch him personally; or it had to come from one like Tintoretto, born to the new order of things and not having to outlive a disappointment before adapting himself to it. =XIII. The Late Renaissance and Titian.=--It is as impossible to keep untouched by what happens to your neighbours as to have a bright sky over your own house when it is stormy everywhere else. Spain did not directly dominate Venice, but the new fashions of life and thought inaugurated by her nearly universal triumph could not be kept out. Her victims, among whom the Italian scholars must be reckoned, flocked to Venice for shelter, persecuted by a rule that cherished the Inquisition. Now for the first time Venetian painters were brought in contact with men of letters. As they were already, fortunately for themselves, too well acquainted with the business of their own art to be taken in tow by learning or even by poetry, the relation of the man of letters to the painter became on the whole a stimulating and at any rate a profitable one, as in the instance of two of the greatest, where it took the form of a partnership for mutual advantage. It is not to our purpose to speak of Aretino's gain, but Titian would scarcely have acquired such fame in his lifetime if that founder of modern journalism, Pietro Aretino, had not been at his side, eager to trumpet his praises and to advise him whom to court.