JACOPO See also:

• JACOPO PALMA (c. 1480-1528)
• PALMA, or PALMA DE MALLORCA
• PALMA, or SAN MIGUEL DE LA PALMA

PALMA (c. 1480-1528)  , See also:

• ITALIAN

Italian painter of the Venetian school, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Serinalta near See also:

• BERGAMO
• BERGAMO (anc. Bergomum)

Bergamo, towards 1480, and died at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of See also:

• FORTY

forty-eight in See also:

• JULY

July 1528 . He is currently named See also:

• PALMA, JACOPO (c. 1480-1528)
• PALMA, or PALMA DE MALLORCA
• PALMA, or SAN MIGUEL DE LA PALMA

Palma Vecchio (Old Palma) to distinguish him from Palma Giovane, his See also:

• GRAND

grand-See also:

• NEPHEW

nephew, a much inferior painter . His grandfather's name was Negretto . He is reputed to have been a See also:

• COMPANION (through the O. Fr. compaignon or compagnon, from the Late Lat. companio,—cum, with, and panis, bread,—one who shares meals with another; the word has been wrongly derived from the Late Lat. compagnus, one of the same pages or district)

companion and competitor of Lorenzo See also:

• LOTTO (Ital. for " lot ")
• LOTTO, LORENZO (c. 1480-1556)

Lotto, and to some extent a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian, after arriving in See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early in the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century; he may also have been the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of Bonifazio . His earlier See also:

• WORKS

works betray the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of the See also:

• BELLINI
• BELLINI, LORENZO (1643-1704)
• BELLINI, VINCENZO (1801--18J5)

Bellini; but modifying his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style from the study of See also:

• GIORGIONE
• GIORGIONE (1477-1510)

Giorgione and Titian, Palma took high See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank among those painters of the distinctively Venetian type who remain a little below the leading masters . For richness of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour he is hardly to be surpassed; but neither in invention nor vigorous draughtsmanship does he often attain any See also:

• PECULIAR

peculiar excellence . A See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face frequently seen in his pictures is that of his (so-called) daughter Violante, of whom Titian was said to be enamoured . Two works by, Palma are more particularly celebrated . The first is a See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of six paintings in the Venetian See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of S . Maria See also:

• FORMOSA
• FORMOSA (called Taiwan by the Chinese, and following them by the Japanese, into whose possession it came after their war with China in 1895)

Formosa, with St See also:

• BARBARA, SAINT

Barbara in the centre, under the dead See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ, and to right and See also:

• LEFT

left SS . See also:

• DOMINIC, SAINT (1170-1221)

Dominic, See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian, See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Baptist and See also:

• ANTHONY, SAINT
• ANTHONY, SUSAN BROWNELL (1820-1906)

Anthony . The second See also:

• WORK

work is in the See also:

• DRESDEN

Dresden See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, representing three sisters seated in the open See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air; it is frequently named " The Three See also:

• GRACES, THE, (Gr. X&panes, Lat. Gratiae)

Graces." A third See also:

• FINE

fine work, discovered in Venice in r9oe), is a portrait supposed to represent Violante .

Other leading examples are: the " Last Supper," in S . Maria Mater Domini; a " Madonna," in the church of S . Stefano in See also:

• VICENZA

Vicenza; the " See also:

• EPIPHANY, FEAST OF

Epiphany," in the Brera of See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan; the " See also:

• HOLY

Holy See also:

• FAMILY

Family, with a See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young shepherd adoring," in the Louvre; " St See also:

• STEPHEN
• STEPHEN (1097?-1154)
• STEPHEN (ISTVAN) BATHORY (1533-1586)
• STEPHEN, SIR JAMES (1789-1859)
• STEPHEN, SIR JAMES FITZJAMES, BART
• STEPHEN, SIR LESLIE (1832-1904)

Stephen and other See also:

• SAINTS, BATTLE OF THE

Saints," " Christ and the Widow of Nain," and the " See also:

• ASSUMPTION, FEAST OF

Assumption of the Virgin," in the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy of Venice; and "Christ at See also:

• EMMAUS

Emmaus," in the Pitti Gallery . The beautiful portrait of the See also:

• NATIONAL

National Gallery, See also:

• LONDON

London, with a back-ground of foliage, originally described as " See also:

• ARIOSTO, LODOVICO (1474-1533)

Ariosto•" and as by Titian, and now reascribed to that master, was for some years assumed to be an unknown poet by Palma Vecchio . It is certainly much more like the work of Titian than of Palma . In 1907 the'Staedel See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

Institute in See also:

• FRANKFORT

Frankfort acquired an important work by Palma Vecchio, identified by its director as an See also:

• ILLUSTRATION

illustration of See also:

• OVID [PUBLIUS OvID1us NASO] (43 B.C.–A.D. 17)

Ovid's second See also:

• METAMORPHOSIS

Metamorphosis, and named " See also:

• JUPITER

Jupiter and Calisto." Palma's grand-nephew, Palma Giovane, was also named Jacopo (1544 to about 1626) . His works belong to the decline of Venetian See also:

• ART

art . (W . M .