Among the disciples of the School of Giorgione, were, likewise, Gio. da Udine and Francesco Torbido, a Veronese, who has been surnamed _il Moro_, and both were distinguished practisers of his tints. In regard to Giovanni, afterwards a pupil of Raffaello, we have written, and we shall again write elsewhere. Moro remained but little with Giorgione, a much longer while with Liberale. Of this last he imitated very truly both the diligence and the design, in the former even surpassing him; always a severe critic upon himself, and slow in completing his undertakings. We rarely meet with him in altarpieces, still more rarely in collections of paintings, for which he was often employed in sacred subjects and in portraits; deficient in nothing, except, perhaps, we could wish to see somewhat greater freedom of hand. In the dome of Verona, he painted several histories in fresco, among which is the Assumption of the Virgin, truly admirable; but the designs are not his, Giulio Romano having prepared the cartoons. His style of execution, however, is clearly enough perceived, which, in respect to colouring and to chiaroscuro, discovers him to be an artist, as Vasari has recorded, "as careful in regard to his use of colours, as any other who flourished at the same period." The other names that here follow, are included, according to history, in the train of Giorgione, not as his pupils, but his imitators. Yet all exhibit traces of Bellini, because the Venetian manner, up to the time of Tintoretto, did not so much aim at inventing new things, as at perfecting such as had already been discovered; not so desirous of relinquishing the taste of the Bellini, as of modernizing it upon the model of Titian and Giorgione. Hence it arose, that a people of painters were formed in a taste extremely uniform; and the exaggerated observation, "that whoever had cultivated an acquaintance with one Venetian artist of that age, knew them all," seemed to have some ground in truth. But still, as I have said, it is exaggeration, as there is certainly much diversity of style and merit when compared with one another. Among the leading disciples of Giorgione are to be ranked three, who belong to the city or territory of Bergamo, and these are Lotto, as is most generally supposed, Palma, and Cariani. They resemble their master most frequently in fulness, but in the mixture and selection of colours they often appear of the school of Lombardy. More particularly in Cariani there is apparent a certain superficies, like that of wax, equally diffused over the canvass, which shines so as to enliven the eye; and when seen at a distance, with but little light, appears in full relief, a result which others have also noticed in the works of Coreggio.