The most distinguished disciple of the school of Giorgione is Sebastiano, a Venetian, commonly called, from the habit and office he afterwards assumed at Rome, Fra Sebastiano del Piombo. Having left Gian Bellini, he attached himself to Giorgione, and in the tone of his colours, and the fulness of his forms, imitated him better than any other artist. An altarpiece in S. Gio. Crisostomo, from his hand, was by some mistaken for the work of his master; so strikingly does it abound with his manner. It may be presumed, indeed, that he was assisted in the design; Sebastiano being known to possess no surprising richness of invention,--slow in the composition of most of his figures; irresolute; eager to undertake, but difficult to commence, and most difficult in the completion. Hence we rarely meet with any of his histories or his altarpieces comparable to the Nativity of the Virgin, at S. Agostino, in Perugia, or the _Flagellazione_ at the Osservanti of Viterbo, which is esteemed the best picture in the city. Pictures for private rooms, and portraits, he painted in great number, and with comparative ease; and we no where meet with more beautiful hands, more rosy flesh tints, or more novel accessaries than in these. Thus, in taking the portrait of Pietro Aretino, he distinguished five different tints of black in his dress; imitating with exactness those of the velvet, of the satin, and so of the rest. Being invited to Rome by Agostino Chigi, and there esteemed as one of the first colourists of his time, he painted in competition with Peruzzi, and with Raffaello himself; and the rival labours of all three are still preserved in a hall of the Farnesina, at that period the house of the Chigi.