sidering the painting should be evaluated on what Giorgione finally decided he wanted the viewer to see, though none of which is uncontested in the field.
             In 2003 S. Campbell argued that the Tempest was "a portrait of didactic or philosophical poetry," whose source could be found in the "De Rerum Natura," the most famous work of the Roman poet and philosopher, Lucretius.4 Campbell devoted much attention to the lightning since Lucretius took such pains to de-mystify this natural phenomenon. He mentioned the connection to the Cambrai War discussed earlier by P. Kaplan but tends to downgrade any historical context.5 Also, he ignored the prominent plant in the foreground.
             In Rudolf Schier's "Giorgione's Tempesta, a Virgilian Pastoral," we have another attempt to find the subject of the Tempest in the writings of a Roman poet.6 Schier argues that the source of the Tempesta can be found in the Eclogues of Virgil, specifically the 1st and the 4th.7 Schier's interpretation centers on the man in the painting who he claims is the poet/ shepherd of the Eclogues. Most importantly, Schier fails to explain the nudity of the Woman of the Tempest. He also does not even attempt to discuss the white cloth draped over
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