John the Baptist appears naked according to the rules of the most learned schools; while the arm of S. Augustine is seen, as it were, stretched forth out of the picture, an effect of perspective this artist has repeated in various other places. The most beautiful of his pieces in Piacenza, where he had established himself, is his picture of the Marriage of S. Catherine, upon a dark ground, which gives a roundness to the whole of the figures; it is full of grace in those of a more tender character, and displays grandeur in the forms of S. Peter and S. Paul, represented on the two sides; in the last of whom, as well as in the S. Rocco of Pordenone, he gave a portrait of himself. But his works in fresco display the highest degree of merit; great part of which he produced in the Friuli, besides numerous others scattered throughout castles and villas, no longer distinguished by strangers, except from the circumstance of possessing some painting of Pordenone. Such places are Castions, Valeriano, Villanova, Varmo, Pallazuolo, where he is with certainty known to have employed his talents. A few remnants are likewise preserved in Mantua, in the Casa de' Cesarei, and in the palazzo Doria, at Genoa; some at S. Rocco, and the cloisters of S. Stefano, in Venice, and many specimens in high preservation in the dome of Cremona, and at Santa Maria di Campagna, in Piacenza, where, in collections, and in the façades of houses, other pieces of his are pointed out. His labours in fresco, however, are not all equally studied and correct; more particularly those in his native Friuli, which he produced at an early age in great abundance, and for a small price. He is more select in his male forms than in those of his women, whose model he appears to have frequently taken from very robust rather than very beautiful subjects, most probably met with in the adjacent province of Carnia, where he is said to have indulged his early passions. But in every thing he undertook we may invariably trace the workings of a vigorous fancy, rich in conceiving, in varying, and developing his ideas; powerful in his exhibition of the passions, displaying the master-hand that encounters the difficulties of the art with the most novel combinations in the science of foreshortening, with the most laboured perspective, and with a power of relief which appears perfectly starting from the canvass.