ibuted to Giorgione. The church of San Antonino remains his
chief monument; but for all his travels Pellegrino remains provincial in
type, is unlucky in his selection, cares little for precision of form,
and trusts to colour for effect.

The same transition in art was taking place in other provinces. Morto da
Feltre, Pennacchi, and Girolamo da Treviso have all left work of a
Giorgionesque type, and some painters who went far onward, began their
career under such minor masters. Giovanni Antonio Licinio, who takes his
name from his native town of Pordenone, in Friuli, was one of these. All
the early part of his life was spent in painting frescoes in the small
towns of the Friulan provinces. At first they bear signs of the tuition
of Pellegrino, but it soon becomes evident that Pordenone has learned to
imitate Giorgione and Palma. Quite early, however, one of his chief
failings appears, and one which is all his own, the disparity in size
between his various figures. The secondary personages, the Magi in a
Nativity, the Saints standing round an altar, are larger and more
athletic in build and often more animated in action than the principal
actors in the scene. What pleased Pordenone's contemporaries was his
daring perspective and his instinctive feeling for movement. He carried
out great schemes in the hill-towns, till at length his reputation,
which had long been ripe in his native province, reached Venice. In
1519 he was invited to Treviso to fresco the facade of a house for one
of the Raviguino family. The painter, as payment, asked fifty scudi, and
Titian was called in to adjudicate, but he admired the work so much that
he hinted to Raviguino that he would be wise not to press him for a
valuation. As a direct consequence of this piece of business, Pordenone
was employed on the chapel at Treviso, in conjunction with Titian. At
this time the Assumption and the Madonna of Casa Pesaro were just
finished, and it is probable that Pordenone paid his first visit to
Venice, hard by, and saw his great contemporary's work. With his
characteristic distaste for fresco, Titian undertook the altarpiece and
painted the beautiful Annunciation which still holds its place, and
Pordenone covered the dome with a foreshortened figure of the Eternal
Father, surrounded by angels. Among the remaining frescoes in the
Chapel, an Adoration of the Magi and a S. Liberale are from his brush.
Fired by his success at Treviso, Pordenone offered his serv