The pursuit of art was equally open to them and women were pupils in all the schools and in the studios of many masters; even Titian instructed a woman, and all the advantages for study enjoyed by men were equally available for women.  Many names of Italian women artists could be added to those of whom I have written in the biographical portion of this book, but too little is known of their lives and works to be of present interest.  There is, however, little doubt that many pictures attributed to “the School of” various masters were painted by women.

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Art did not reach its perfection in Venice until later than in Florence, and its special contribution, its glorious color, imparted to it an attraction unequalled on the sensuous plane.  This color surrounded the artists of that sumptuous city of luxurious life and wondrous pageants, and was so emphasized by the marvellous mingling of the semi-mist and the brilliancy of its atmosphere that no man who merited the name of artist could be insensible to its inspiration.

The old Venetian realism was followed, in the time of the Renaissance, by startling developments.  In the works of Tintoretto and Veronese there is a combination of gorgeous draperies, splendid and often licentious costumes, brilliant metal accessories, and every possible device for enhancing and contrasting colors, until one is bewildered and must adjust himself to these dazzling spectacles—­religious subjects though they may be—­before any serious thought or judgment can be brought to bear upon their artistic merit; these two great contemporaries lived and worked in the final decades of the sixteenth century.

We know that many women painted pictures in Venice before the seventeenth century, although we have accurate knowledge of but few, and of these an account is given later in this book.

We who go from Paris to London in a few hours, and cross the St. Gothard in a day, can scarcely realize the distance that separated these capitals from the centres of Italian art in the time of the Renaissance.  We have, however, abundant proof that the sacred fire of the love of Art and Letters was smouldering in France, Germany, and England—­and when the inspiring breath of the Renaissance was wafted beyond the Alps a flame burst forth which has burned clearer and brighter with succeeding centuries.

From the time of Vincent de Beauvais, who died in 1264, France had not been wanting in illustrious scholars, but it could not be said that a French school of art existed.  Francois Clouet or Cloet, called Jehannet, was born in Tours about 1500.  His portraits are seen in the Gallery of the Louvre, and have been likened to those of Holbein; but they lack the strength and spirit of that artist; in fact, the distinguishing feature of Clouet’s work is the remarkable finish of draperies and accessories, while the profusion of jewels distracts attention from the heads of his subjects.