as it will be perceived we have done, followed by the authority of Padre Federici. Finally, in this list must be enumerated Gio. Antonio Licinio, either Sacchiense, or Cuticello,[44] until such period, as happening to be wounded in the hand by his brother, he renounced all title to his family name, assuming the appellation of Regillo. He is commonly, however, called Pordenone, from his native place, formerly a province, and now a city of the Friuli. "In this province," it is observed by Vasari, "there flourished, during his time, a great number of excellent artists, who had never visited either Florence or Rome; but he stood pre-eminent above all, surpassing his predecessors in the conception of his pieces, in design, in boldness, in the use of his colours, in his frescos, in rapidity, in grandeur of relief; and, indeed, in every other attribute of the arts." It is uncertain whether he attended the School of Castelfranco, as it has been supposed by some, and much more so, whether he was a fellow student along with him and Titian, under Giovanni Bellini, a supposition started by Rinaldis, (p. 62). To me, the opinion reported by Ridolfi appears nearer the truth, that having first studied, in his youth, the productions of Pelligrino, at Udine, he subsequently adopted the manner of Giorgione, following the bias of his own genius, invariably the artist's safest guide in the formation of a style. Other disciples of Giorgione, more or less resembled him in manner, but Pordenone seemed to vie with him in spirit, a spirit equally daring, resolute, and great; surpassed by no other, perhaps, in the Venetian School. Yet in lower Italy he is little known beyond his name. The picture with the portraits of his family, preserved in the Palazzo Borghese, is the best production of his that I have met with in these parts. And elsewhere, indeed, we rarely behold such histories as his exquisite picture of the Raising of Lazarus, in possession of the Conti Lecchi, at Brescia. Nor does he abound in altarpieces, beyond the province of Friuli, which boasts of several in different places, though not all equally genuine. The few executed in Pordenone, are unquestionably his, inasmuch as he has himself described them in a memorial still extant.[45] The collegiate church possesses two of these; one consisting of a Holy Family, with S. Christopher, executed in 1515, very finely coloured, but not exempt from some inaccuracies. The other bears the date of 1535, representing S. Mark in the act of consecrating a bishop, along with other saints, and with perspective; a piece, says its author, _posta in opera, non finita_, begun, indeed, but not finished. A more complete specimen was to be seen at San Pier Martire di Udine, in his Annunciation, since re-touched and destroyed. Some there are who have preferred, before every other, that preserved in S. Maria dell'Orto, at Venice. It consists of San Lorenzo Giustiniani, surrounded by various saints; among whom S.