commonwealth. He executed a picture of Christ bearing the Cross, with a Jew dragging him along, which in time was placed in the Church of S. Rocco, and which now, through the veneration that many feel for it, works miracles, as all may see. He worked in various places, such as Castelfranco, and throughout the territory of Treviso, and he made many portraits for Italian Princes; and many of his works were sent out of Italy, as things truly worthy to bear testimony that if Tuscany had a superabundance of craftsmen in every age, the region beyond, near the mountains, was not always abandoned and forgotten by Heaven. [Illustration: PORTRAIT OF A YOUNG MAN (_After the painting by =Giorgione da Castelfranco=. Berlin: Kaiser Friedrich Museum, 12A_) _Bruckmann_] It is related that Giorgione, at the time when Andrea Verrocchio was making his bronze horse, fell into an argument with certain sculptors, who maintained, since sculpture showed various attitudes and aspects in one single figure to one walking round it, that for this reason it surpassed painting, which only showed one side of a figure. Giorgione was of the opinion that there could be shown in a painted scene, without any necessity for walking round, at one single glance, all the various aspects that a man can present in many gestures--a thing which sculpture cannot do without a change of position and point of view, so that in her case the points of view are many, and not one. Moreover, he proposed to show in one single painted figure the front, the back, and the profile on either side, a challenge which brought them to their senses; and he did it in the following way. He painted a naked man with his back turned, at whose feet was a most limpid pool of water, wherein he painted the reflection of the man's front. At one side was a burnished cuirass that he had taken off, which showed his left profile, since everything could be seen on the polished surface of the piece of armour; and on the other side was a mirror, which reflected the other profile of the naked figure; which was a thing of most beautiful and bizarre fancy, whereby he sought to prove that painting does in fact, with more excellence, labour, and effect, achieve more at one single view of a living figure than does sculpture. And this work was greatly extolled and admired, as something ingenious and beautiful. [Illustration: JUDITH (_After the painting by =Giorgione da Castelfranco=. S. Petersburg: Hermitage, 112_) _M.S._] He also made a portrait from life of Caterina, Queen of Cyprus, which I once saw in the hands of the illustrious Messer Giovanni Cornaro. There is in our book a head coloured in oils, the portrait of a German of the Fugger family, who was at that time one of the chief merchants in the Fondaco de' Tedeschi, which is an admirable work; together with other sketches and drawings made by him with the pen.