expression, and may be assimilated to a piece of music composed of few notes, but skilfully adapted, and delightful beyond any more noisy combination of sounds. Giorgione died at the early age of thirty-four, in 1511. Thus his productions, rather than the pupils he educated, remained to instruct the Venetians. Vasari, however, mentions several who have been contested by other writers. A Pietro Luzzo is recorded by Ridolfi;--a native of Feltre, called Zarato, or Zarotto,--who after being a pupil became a rival of Giorgione, and seduced from his house a woman, to whom he was passionately attached, at whose loss it has been asserted by some that the disappointed artist died in despair. By others, on the contrary, he is said to have died of a disease contracted during his intercourse with the same lady. This Zarato, as we read in a MS. history of Feltre, and in a MS. upon the pictures of Udine, is the same whom Vasari entitles, _Morto da Feltro_; and adds, that he went when young to Rome, and subsequently flourished in Florence and elsewhere, distinguished for his skill in grotesques; of which more hereafter. Going afterwards to Venice, he is known to have assisted Giorgione in the paintings he made for the Fondaco de' Tedeschi, about the year 1505; and, lastly, having remained some time at his native place, he embraced a military life, obtaining the rank of captain. Proceeding to Zara, he fell in battle near that place in his forty-fifth year; at least such is the account of Vasari. From the mention of his native place of Feltre, his assisting Giorgione in his works, and his surnames of _Zarato_ and _Morto_, I think there is some degree of probability in the assertion contained in these MSS. though the dates attaching to the life of Morto in Vasari, will not countenance the supposition of Ridolfi, of his being the pupil of Giorgione, a man considerably younger than himself; so that I should conjecture that Ridolfi may have denominated him a scholar of Giorgione, because, when already of a mature age, he painted under him as his assistant. Notwithstanding the assertion of Vasari, he had a tolerable genius for figures, and in the history already cited, written by Cambrucci, and in possession of the bishop of Feltre, a picture of our Lady between saints Francesco and Antonio, placed at S. Spirito, and another at Villabruna, besides a figure of Curtius on horseback, upon a house at Teggie, are attributed to his hand. We gather from the same history that another Luzzi, by name Lorenzo, a contemporary and perhaps friend of Pietro, painted very skilfully in fresco, at the church of S. Stefano; and that he was equally successful in oils, he himself assures us in his altarpiece of the proto-martyr S. Stefano, conspicuous for correctness of design, beauty of forms, force of tints, and bearing his name and the date of 1511.