Paris Bordone was born at Treviso in 1500 and died in 1570. He was educated in the Venetian School, and remained remarkable for delicate rosy colour in his flesh tints and for purple, crimson, and shot hues in his draperies, which were usually small and in crumpled folds. His _chef d'oeuvre_ is in the Venetian Academy. It is a fisherman presenting a ring to the Doge, and is a large and fine picture with many figures. He dealt frequently in mythological or poetic subjects. There is an example of the first in the National Gallery. He was great in single female subjects and women's portraits. There is a portrait by Bordone of a lovely woman of nineteen belonging to the Brignole family, in the National Gallery. He had often fine landscape and grand architecture in his pictures.
Il Parmigianino, born 1503, died 1540, was a follower of Correggio's. In Parmigianino's case the danger of the master's peculiarities became apparent by the lapse into affectation and frivolity. 'His Madonnas are empty and condescending, his female saints like ladies in waiting.' Still there were certain indestructible beauties of the master which yet clung to the scholar. He had clear warm colouring, decision, and good conception of human life. He was highly successful in portraits. There is a splendid portrait by Parmigianino, said to be Columbus, in Naples. Among his celebrated pictures is 'The Madonna with the Long Neck,' in the Pitti Palace. An altar-piece in the National Gallery, which represents a Madonna in the clouds with St John the Baptist appearing to St Jerome, is a good example of Parmigianino. It is said that he was engrossed with this picture during the siege of Rome in 1527. The soldiers entered the studio intent on pillage, but surprising the master at his work, respected his enthusiasm and protected him.
Federigo Baroccio, of Urbino, born in 1528, died in 1612, was also a follower of Correggio's, and made a stand against the decline of art in his day. He was tender and idyllic, though apt in his turn to be affected and sentimental. When painting in the Vatican, Rome, his rivals sought to take his life by poison. The attempt caused Baroccio to return to Urbino, where he established himself and executed his commissions.