Garofalo's works are very numerous; many of them are in France and in Rome, and in our own Gallery he is well represented. "He was conscientious and truthful within his scope, and the ease and delicacy with which he carried out his smaller works could hardly be exceeded." He was an eclectic rather than an original painter, though he remained Ferrarese throughout in his system of colouring. "His fellow-countrymen have called him the 'Ferrarese Raphael,' in the same way that the Milanese have called Luini the 'Lombard Raphael,' and, if properly understood, both appellations have their meaning; for these painters occupy much the same position in their respective schools as did Raphael in the Umbrian, Andrea del Sarto in the Florentine, etc., though the individual gifts of each were of course very different." (Morelli's _Borghese and Doria-Pamfili Galleries_, pp. 200-214, contains a detailed account of Garofalo. His theory that the works attributed to Ortolano are in reality early works of Garofalo is very doubtful. See on this point under 699, and _cf._ Venturi's criticism in the Catalogue of the Ferrarese Exhibition at the Burlington Fine Arts Club). A well-known incident in the life of St. Augustine, Bishop of Hippo in Africa (A.D. 354-430), one of the "doctors" of the Christian Church whose writings have had a greater effect than those probably of any one man on the beliefs and lives of succeeding Christian ages. Whilst busied, he tells us, in writing his discourse on the Trinity, he one day beheld a child, who, having dug a hole in the sand, was bringing water, as children at the seaside do, to empty the sea into his hole. Augustine told him it was impossible. "Not more impossible," replied the child, "than for thee, O Augustine! to explain the mystery on which thou art now meditating" ("Canst thou by searching find out God? canst thou find out the Almighty unto perfection? It is as high as heaven; what canst thou do? deeper than hell; what canst thou know? The measure thereof is longer than the earth, and broader than the sea," Job xi. 7-9). The painter shows the visionary nature of the scene by placing beside St Augustine the figure of St. Catherine, the patron saint of theologians and scholars, and in the background, on a little jutting cape, St. Stephen, whose life and actions are set forth in St. Augustine's writings. The saint himself receives the child's lesson with the contemptuous impatience of a scholar's ambition; but all the time the heavens whose mysteries he would fain explore are open behind him, and the angel choirs are singing that he who would enter in must first become as a little child, "for of such is the Kingdom of Heaven." 82. THE HOLY FAMILY. _Mazzolino_ (Ferrarese: 1480-1528). _See_ 169. For better examples of this painter, _see_ Nos. 169 and 641. 84. MERCURY AND THE WOODMAN.