In Venice, he seemed to surpass all he had before done. The competition, or rather enmity subsisting between him and Titian, served as a spur both by day and night, to actuate him to fresh exertions. He was at times even accustomed to paint with arms at his side; and it is the opinion of many, that such emulation was of no less advantage to Titian, than was the rivalship of Michelangiolo to Raffaello. In this instance, also, the one excelled in strength, the other in grace of hand; or, as it has been observed by Zanetti, nature prevailed in Titian in a superior degree to manner, while in Pordenone both shone with an equal degree of excellence. To have competed with Titian is a circumstance not a little honourable to his name, and has acquired for him in the Venetian School the second rank at least, in a period so prolific in excellent artists. A portion of the people, indeed, then preferred him to Titian; for, as I have elsewhere observed, there is nothing so well calculated to surprise the multitude as the production of fine effect and of the chiaroscuro, in which art he is known to have first preceded Guercino. Pordenone was highly favoured, and presented with the title of cavalier by Charles V.; and being subsequently invited to the court of Ercole II. duke of Ferrara, he died there shortly after, not without suspicion of having been poisoned. We have in the next place to give an account of his school. Bernardino Licinio, from his surname probably a relation of the foregoing, was an artist who is here deserving of mention. We gather from history, as well as from his manner, that he was also a pupil of Pordenone; and there remains at the Conventuali, in Venice, an altarpiece of the usual antique composition, quite in the style of the other Licinio, from his hand. It is reported, likewise, that some of his portraits are preserved in different collections which have been erroneously ascribed to the elder Pordenone. Sandrart makes mention of Giulio Licinio da Pordenone, a nephew and scholar to Gio. Antonio, adding that he employed himself in Venice; thence transferred his residence to Augusta, where he left behind him some truly surprising specimens in fresco, which obtained for him with some a higher reputation than his uncle. He would appear to be the same Giulio Lizino, who, in competition with Schiavone, Paul Veronese, and other artists, produced the three tondi, in the library of St. Mark, in the year 1556. By Zanetti he is considered of Roman origin,[46] but this is a mistake, arising from Giulio's having assumed the title of Romano during his residence in the capital; while he retained it in Venice, the better to distinguish him from the other _Licinj_, in the same manner as we have already observed of one of the Trevisani, about the same period.