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.