Giorgio[121] of Castelfranco, called Giorgione, George the Great,--a name given him, according to Vasari, "because of the gifts of his person and the greatness of his mind,"--is one of the most renowned of the old masters, and exercised a deeper influence upon the artists of his time than any other painter. He was the fellow-pupil with Titian of Bellini at Venice, and after executing works at his native place was employed in Venice. Here by way of exhibiting a specimen of his ability, he decorated the front of his house with frescoes. He was afterwards employed in conjunction with Titian there to decorate the façade of the Fondaco de' Tedeschi. These paintings have been destroyed by the sea-winds.[122] But what was more original in Giorgione's work was his small subject pictures. He was, says Pater, "the inventor of _genre_, of those easily movable pictures which serve for uses neither of devotion, nor of allegorical or historical teaching--little groups of real men and women, amid congruous furniture or landscape--morsels of actual life, conversation or music or play, refined upon or idealised, till they come to seem like glimpses of life from afar." Some of Bellini's late works are already of this kind; but they were a little too austere and sober in colour for the taste of the time. Carpaccio was full of brilliancy, fancy, and gaiety, but he painted few easel pictures. Giorgione brought to the new style all the resources of a poetical imagination, of a happy temper, and of supreme gifts as a colourist. He was, says Ruskin, one of "the seven supreme colourists."[123] The chief colour on his palette, it has been said, was sunlight. In the glowing colour with which he invested the human form "the sense of nudity is utterly lost, and there is no need nor desire of concealment any more, but his naked figures move among the trees like fiery pillars, and lie on the grass like flakes of sunshine" (_Modern Painters_, vol. ii. pt. iii. sec. i. ch. xiv. § 20). Giorgione, says Mr. Colvin, came to enrich Venetian painting further, with "a stronger sense of life and of the glory of the real world as distinguished from the solemn dreamland of the religious imagination. He had a power hitherto unknown of interpreting both the charm of merely human grace and distinction, and the natural joy of life in the golden sunlight among woods and meadows." Giorgione, by his originality and his exact correspondence with the spirit of the time, created a demand which other painters were forced to supply. His influence, says Morelli, is not only to be traced in the early work of Titian; it stands out broadly in the paintings of nearly all his Venetian contemporaries--Lotto, Palma,