the development of the full Renaissance types and the full Renaissance
methods of execution. There can be small doubt that this particular
theory of the indefatigable critics, to whom the history of Italian art
owes so much, will little by little be allowed to die a natural death,
if it be not, indeed, already defunct. More and more will the view so
forcibly stated by Giovanni Morelli recommend itself, that Palma in many
of those elements of his art most distinctively Palmesque leans upon the
master of Cadore. The Bergamasque painter was not indeed a personality
in art sufficiently strong and individual to dominate a Titian, or to
leave upon his style and methods profound and enduring traces. As such,
Crowe and Cavalcaselle themselves hesitate to put him forward, though
they cling with great persistency to their pet theory of his influence.
This exquisite artist, though by no means inventive genius, did, on the
other hand, permanently shape the style of Cariani and the two elder
Bonifazi; imparting, it may be, also some of his voluptuous charm in the
rendering of female loveliness to Paris Bordone, though the latter must,
in the main, be looked upon as the artistic offspring of Titian.

It is by no means certain, all the same, that this question of influence
imparted and submitted to can with advantage be argued with such
absoluteness of statement as has been the rule up to the present time,
both on the one side and the other. It should be remembered that we are
dealing with three young painters of about the same age, working in the
same art-centre, perhaps, even, for a time in the same studio--issuing,
at any rate, all three from the flank of Giovanni Bellini. In a
situation like this, it is not only the preponderance of age--two or
three years at the most, one way or the other--that is to be taken into
account, but the preponderance of genius and the magic gift of
influence. It is easy to understand how the complete renewal, brought
about by Giorgione on the basis of Bellini's teaching and example,