The use of an external landscape to frame a nude is innovative; but in addition, to add to her mystery, she is shrouded in sleep, spirited away from accessibility to any conscious expression. It is recorded by Michiel that Giorgione left this piece unfinished and that the landscape, with a Cupid which subsequent restoration has removed, were completed after his death by Titian. The picture is the prototype of Titian's own "Venus of Urbino" and of many more by other painters of the school; but none of them attained the fame of the first exemplar. The same concept of idealized beauty is evoked in a virginally pensive "Judith" from the Hermitage Museum, a large painting which exhibits Giorgione's special qualities of color richness and landscape romance, while demonstrating that life and death are each other's companions rather than foes. Apart from the altarpiece and the frescoes, all Giorgione's surviving works are small paintings designed for the wealthy Venetian collector to keep in his home; most are under two feet (60 cm) in either dimension. This market had been emerging over the last half of the 15th century in Italy, and was much better established in the Netherlands, but Giorgione was the first major Italian painter to concentrate his work on it to such an extent—indeed soon after his death the size of paintings began to increase with the prosperity and palaces of the patrons. "The Tempest" has been called the first landscape in the history of Western painting. The subject of this painting is unclear, but its artistic mastery is apparent. "The Tempest" portrays a soldier and a breast-feeding woman on either side of a stream, amid a city's rubble and an incoming storm. The multitude of symbols in "The Tempest" offer many interpretations, but none is wholly satisfying. Theories that the painting is about duality (city and country, male and female) have been dismissed since radiography has shown that in the earlier stages of the painting the soldier to the left was a seated female nude. "The Three Philosophers" is equally enigmatic and its attribution to Giorgione is still disputed. The three figures stand near a dark empty cave. Sometimes interpreted as symbols of Plato's cave or the Three Magi, they seem lost in a typical Giorgionesque dreamy mood, reinforced by a hazy light characteristic of his other landscapes, such as the "Pastoral Concert", now in the Louvre.