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 408 Painting The easel-pictures universally agreed to be by him aie — The Virgin and Child with ) r, n/ 7 . n . 7 , o^,- jct-u t r In the Church of Castelfranco. S. Francis and S. Liberale. J A Concert. In the Pitti Palace, Florence. The Judgment of Solomon. In the Uffizi, Florence. The Miracle of the little Moses. In the Uffizi, Florence. The Judgment of Solomon. At Kingston-Lacy, near Wim- borne. Adoration of the Kings. At Leigh Court, near Bristol. A Knight in Armour. In the National Gallery. Christ bearing his Cross. In the Casa Loschi, Vicenza. Three Astrologers. In the Belvedere, Vienna. A Death of Peter Martyr, in the National Gallery, and the famous Concert in the Louvre, are among a numerous class of works commonly ascribed to him, but doubted by various critics. Sebastiano Luciani, called del Piombo (1485 — 1547), if not actually the pupil of Giorgione, was much influenced by his style, and attained to considerable fame as a colourist and portrait painter. His Raising of Lazarus, in the National Gallery, is generally considered his master- piece : the group of Lazarus and the figures near him was designed by Michelangelo, under whom he worked for some time. The greatest Venetian painter of the sixteenth century was, however, Tiziano Vecellio, commonly known as Titian (1477 — 1576), who first studied with a painter named Zuccato, then with Gentile Bellini, and subsequently with Giovanni, in whose studio he laboured side by side with Giorgione. Titian's first patron was Alfonso I., Duke of Ferrara, for whom he executed several of his masterpieces.