The painter who was thus able to unveil personality had evidently a mind that was aware of itself, that looked forward to a wider civilisation and a more earnest and intimate religion. His life seems to have been one of some sadness, and crowned with only moderate success. He speaks of himself as "advanced in years, without loving care of any kind, and of a troubled mind." His will shows that his worldly possessions were few and poor, and that he had no heir closer than a nephew; but he leaves some of his cartoons as a dowry to "two girls of quiet nature, healthy in mind and body, and likely to make thrifty housekeepers," on their marriage to "two well-recommended young men," about to become painters. His sensitive and introspective temperament led him to prefer the retirement and the quiet beauty of Loreto to the brilliant society of which he was made free in Venice. "His spirit," says Mr. Berenson, "is more like our own than is perhaps that of any other Italian painter, and it has all the appeal and fascination of a kindred soul in another age." PRINCIPAL WORKS _Palma Vecchio._ Bergamo. Lochis: Madonna and Saints (L.). Cambridge. Fitzwilliam Museum: Venus (L.). Dresden. Madonna; SS. John, Catherine; Three Sisters; Holy Family; Meeting of Jacob and Rachel (L.). London. Hampton Court: Santa Conversazione; Portrait of a Poet. Milan. Brera: SS. Helen, Constantine, Roch, and Sebastian; Adoration of Magi (L.), finished by Cariani. Naples. Santa Conversazione with Donors. Paris. Adoration of Shepherds. Rome. Villa Borghese: Lucrece (L.); Madonna with Saints and Donor. Capitol: Christ and Woman taken in Adultery. Palazzo Colonna: Madonna, S. Peter, and Donor. Venice. Academy: St. Peter enthroned and six Saints; Assumption. Giovanelli: Sposalizio (L.). S. Maria Formosa: Altarpiece. Vienna. Santa Conversazione; Violante (L.); Five Portraits of Women. _Lorenzo Lotto._