Lives of the Most Excellent Painters, Sculptors, and Architects/Fra Giocondo, Liberate, and others

by Giorgio Vasari

 

FRA GIOCONDO, LIBERALE, AND OTHER ARTISTS OF VERONA.

[Flourished from about the middle of the 15th century, to the early decades of the 16th century.]

If it were given to the writers of history to live some few years beyond the number commonly granted as the extent of human life, I make no doubt but that after a certain time they would make numerous additions to •such things as they had previously written; for as it is not possible that any one man, however diligent he may be, can make himself certain in the short time accorded to him, of the exact truth of all that he is required to record, so is it clear as the sun at noonday, that Time, who is said to be the father of truth, is daily making known new verities to those who are studious of such. Had I, many years since, when I first wrote and published these Lives of the Painters and other Artists, then possessed that full notice with which I have since been furnished of the Veronese Fra Giocondo, a man of extraordinary and universal distinction in all praiseworthy acquirements, I should without doubt have made that honourable mention of him which I am now about to make for the advantage of artists generally, or rather of the world; nay, this may be said not of him only, but of many other Veronese masters, who have likewise been truly excellent in our vocation.

Nor let any marvel that I range them all under the effigy of one only, for I am compelled to do this, because I have not been able to procure the portraits of all, but not on that account shall the renown of any one among them be defrauded of its just extent, so far as in me lies to prevent it; each shall have what is due to him, but since the order of time and of their merits so demands, I propose to begin with Fra Giocondo.^[1]

When the subject of the present memoir took the habit of San Domenico,^[2] he was called not Fra Giocondo merely, but Fra Giovanni Giocondo: how he dropped the name of Giovanni I know not, but I know that he was always called Fra Giocondo by every one.^[3] The time of Fra Giocondo was principally occupied with learning and the sciences, he was a philosopher, a theologian, and an excellent Greek scholar, which was a rare thing at that time, seeing that learning was then but just beginning to revive in Italy. Fra Giocondo was moreover an admirable architect, and constantly found the utmost pleasure in the exercise of that vocation, as is related by Scaliger in his letter to Cardanus, and as we find mentioned by the learned Budoeus in his book De Asse, who also refers to the subject again in his observations on the Pandects.

Fra Giocondo then, renowned as a man of letters, an excellent architect, and well versed in the laws of perspective, was for many years near the person of the Emperor Maximilian, and was master in the Greek and Latin tongues to the very learned Scaliger,^[4] who affirms that he has heard him engaged in profound and able disputations on the most recondite subjects in the presence of the Emperor Maximilian. There are persons still living who remember and relate that in the lifetime of that Monarch, the bridge called Della Pietra,^[5] in Verona, had to be restored which was done at the time when that city was subjected to the above-named Emperor. Fra Giocondo gave the model for the works, the central pier requiring to be refounded and entirely rebuilt, seeing that it had aforetime been more than once destroyed by floods; for all which Giocondo gave directions, and this he did in such sort, not for constructing only, but for defending and preserving also, that the bridge thenceforward has incurred no danger of falling.

The mode in which Fra Giocondo proceeded for securing the safety of the piers was as follows: he caused double piles of considerable depth to be firmly bound together and fixed in the water entirely around the piers, to the end that these might prevent the stream from undermining the foundations, seeing that the principal force of the waters is brought to bear upon that point, while the bed of the river is so soft that no resting place of sufficient firmness could be found whereon to lay secure foundations. And of a truth the measures thus taken by Fra Giocondo were the best that could be, as has been proved by the result, since from that time to this the bridge has maintained its position, and still continues to do so, without showing the smallest disposition to yield in any part, nay, there is hope that by the observation of such rules as were laid down by that good father, it may continue to stand without injury through all time.

In his youth Fra Giocondo passed many years in Rome, zealously occupied with the examination and study of antiquities, and not of the buildings only but of inscriptions also, such as they exist among the sepulchral monuments and in other edifices; nor did he confine his attention to Rome, but extended his researches to all the surrounding parts, and continuing them through various districts of Italy, he collected all these inscriptions with other memorials into a most admirable and beautiful book. This he then sent, according to what is affirmed by the people of Verona, as a present to the magnificent Lorenzo de’ Medici the Elder:^[6] to whose service, as being the most powerful friend and support of all men of letters and distinction, both Fra Giocondo and his companion Domizio Calderino, also a Veronese, were ever most devoutly inclined. Of this book Poliziano makes mention in his Mugellane^[7] wherein he has availed himself thereof as authority, extolling Fra Giocondo at the same time as a writer profoundly versed in all matters connected with antiquities.

Fra Giocondo likewise wrote a treatise, which has been printed,^[8] on the Commentaries of Caesar; he was the first who made a design of the bridge constructed by Caesar on the Rhone, and which the latter has described in the Commentaries: but this description was misunderstood in the time of Fra Giocondo, as we find remarked by the above-named Budoeus, who calls Fra Giocondo his teacher in architecture, and thanks God that he was furnished with so learned and so diligent a preceptor, after the errors of Vitruvius, in whom a vast amount of faults had remained undetected, until made known and rectified by Fra Giocondo.^[9] And this that monk might very well do, seeing that he was skilled in all learning, as well as in the Greek and Latin, of which he had the most minute knowledge. Thus much and more is affirmed of Fra Giocondo by Budoeus, who furthermore extols him as an excellent architect: he adds the remark, that by his means the greater part of Pliny’s Epistles were discovered in an ancient library of Paris, and these having ceased to be found in the hands of men, were then printed by Aldus Minutius,^[10] as may be read in a Latin Epistle written by Fra Giocondo, and which is printed with the same.^[11]

Being in Paris, and in the service of the King, Louis XII., Fra Giocondo constructed two most magnificent bridges over the Seine^[12] they are furnished with shops, and the work is one altogether worthy of that great King’s magnanimity, as well as of the admirable genius wherewith Heaven had endowed Fra Giocondo. Wherefore the latter obtained, as he deserved, not only the inscription to his praise, which is still to be seen on those works themselves, but also the following most beautiful distich, composed to his honour by the distinguished poet Sannazzaro:—^[13]

Jocundus geminum imposuit tibi, Sequana, pontem;
Hunc tu jure potis discere Pontificem.

Fra Giocondo executed many other works for that King in various parts of his kingdom, but I make mention of these alone, as being the principal, and do not propose to speak of others. Repairing afterwards to Rome, and being in that city at the time of Bramante’s death. Fra Giocondo was entrusted with the charge of continuing the church of San Pietro, a commission which he held in conjunction with Raffaello da Urbino and Giuliano da San Gallo, to the end that the fabric commenced by the above named Bramante might be carried forward. But certain parts of the building were giving evidence of weakness and decay, from having been hastily executed, as well as from other causes, of which mention has already been made in another place. By the advice of Fra Giocondo, Raffaello, and Giuliano, therefore, the foundations were in a great measure renewed, in which process, persons who were present thereat and are still living, declare that they pursued the methods hereafter described. They caused numerous cavities of large size to be dug beneath the foundations at due distance from each other, and in the manner of wells, but of a square form; these they filled with masonry, and between every two of these piers, for so the excavations thus filled may be called, they threw very strong arches, which, crossing the ground beneath, eventually supplied a new foundation, on which the whole fabric was thus placed without having suffered injury or disturbance, while the building was secured from all danger of further deterioration. But the work for which, as it appears to me, Fra Giocondo merits the utmost praise, is one for which not only the Venetians but all the world may be said to have eternal obligation to his memory. Well perceiving that the duration of the Venetian Republic depended on the preservation of its inexpugnable position on the Lagoons, in the midst of which that city is erected, almost as it were, by miracle. Fra Giocondo likewise remarked, that in proportion as the Lagoons should become choked with debris, so would the air be rendered insalubrious, and thus the place would gradually be found to be uninhabitable, or would at the least be exposed to all such dangers, from infection or otherwise, as are wont to assail the cities of the main land. He, therefore, set himself to consider in what manner he might provide for the preservation of the Lagoons and for the continual retention of the city in that site whereon she had been constructed at the first.

Having found what he sought. Fra Giocondo then declared to the Signori that it was time they took measures for the prevention of an evil which, if they deferred their resolution to that intent much longer, would certainly cause them to repent their delay in a very few years, as they might easily judge from what they already saw to have happened in part; adding, that they would then discover their error, when it might be too late to prevent the remedy. Aroused by these warnings, and having heard the powerful reasons of Fra Giocondo, the Signori assembled a council of the most distinguished engineers and architects then to be found in Italy, by whom many opinions were given and various plans proposed; but that of Fra Giocondo was considered to be the best, and was selected to be put in execution. Thereupon was commenced the preparation of an immense excavation, by means of which it was proposed to divert from their course two-thirds, or at least the half, of the waters brought down by the river Brenta, these waters to be then conducted by a long bend to debouch in the lagoon of Chioggia; all which being done, this river no longer pouring its waters into the lagoon at Venice, has not brought down the earth, which might have filled them, as it has filled the lagoons of Chioggia, which it has choked up and filled in such sort, that where the waters formerly were, are now good lands and many dwellings, to the great profit of the city of Venice.

Many persons affirm, therefore, and more particularly the illustrious Messer Luigi Cornaro, a Venetian noble of great prudence, experience, and learning, that if it had not been for the forethought of Fra Giocondo, all that collection of earth which has filled the lagoon of Chioggia, and perhaps more, would have been brought into those of Venice, to the indescribable injury, or almost to the ruin of that city. The same noble, who was the intimate friend of Fra Giocondo, as he ever was and is of all able men, affirmed, moreover, that his country has on this account an eternal debt to the memory of Fra Giocondo, who may justly be called the second founder of Venice; nay, that the latter may be said to merit higher praise for having by the means thus adopted, preserved the amplitude and nobility of a city so admirable and so potent, than do those who first erected it with but weak and inconsiderable commencements; seeing that the benefit thus conferred will ever be, as it hitherto has been, of inconceivable utility and advantage to Venice.

No long time after this holy work had been perfected by Fra Giocondo, the Bridge of the Rialto in Venice was consumed by fire, to the great loss of the citizens, since the magazines of their most precious merchandize, and as it may almost be called the richest treasures of that city are there accumulated. This happened, too, precisely at the moment when the republic had been reduced, by long-continued wars and by the loss of almost all her possessions on the main land, to a very much straightened condition. The Signori then governing stood in doubt therefore, and remained unresolved as to what they ought to do: still, as the reconstruction of that edifice was of the very highest importance, the determination was at length formed that in any case it should be reinstated. That resolved on, it was further determined that, to render it worthy of the greatness and magnificence of that republic, and for the more honourable and suitable execution of the same. Fra Giocondo, whose ability and the powers he possessed in architecture were already known to the Signori, should receive orders to prepare the design for the fabric, when he fulfilled his commission in the following manner.

He determined to occupy all the space to be found between the canal of the slaughter-houses of the Rialto and the smaller canal of the corn magazines, taking all the ground between the two in such a manner as to form a perfect square. He proposed, that is to say, that the length to be given to the entire front of the edifice should be equal to the space which we now find in walking from the debouchure of one of these waters into the G-rand Canal to that of the other: and furthermore, he proposed that these two streams should be furnished with an outlet on the other side, by means of a canal common to both, and by which each could pass into the other: by this means the new building would stand entirely surrounded by water, having the Grand Canal on one side, the two smaller canals before-mentioned on two others, and the new one that was to be made on the fourth.

It was also the intention of Fra Giocondo that between the water and the edifice, entirely around the whole square that is, there should be formed, or should remain a tolerably broad shore or quay, to be used as a market, wherein might be sold, in their due localities, the vegetables, fruits, fish, and other merchandize which were brought from various quarters to the city. Fra Giocondo was also of opinion that shops exclusively serving for the sale of eatables should be constructed around the exterior of the square, and looking into the piazza, and in all the four sides of the square he proposed to have four principal entrances, one placed in the the centre of each side that is to say, and immediately opposite each other. But before attaining to the central piazza, at the entrance, by whichsoever side it was made, there would thus have been found a street, both to the right hand and to the left, the which, running entirely around the square, presented shops on each side of it, with fine workshops above them, and magazines for the use of the said shops, all of which were to be devoted to the traders in woven fabrics or drapery; cloths of fine wool that is to say, or of silk, which are both among the principal manufacturing arts practised in that city: here, in short, were to be established all those shops called the Tuscans’ and silk dealers’.

From these double ranges of shops, which were to have their outlets by the four principal gates, the spectator was to enter upon the centre of the building, into a very large piazza namely, entirely surrounded by wide and handsome loggie, for the convenience of the merchants and the use of that vast assemblage of people perpetually resorting, for the purposes of their trade and commerce to that city, which is the Custom House of all Italy, or rather of Europe. Under these loggie were then to be arranged the shops of the bankers, goldsmiths, and jewellers, and in the centre of all there was to be a most beautiful church, dedicated to St. Matthew, in v/hich the noble gentlemen wont to assemble there might have attended divine service in the mornings. It is nevertheless affirmed by some, that as to the church, Fra Giocondo had altered his mind, and had determined to make two beneath the loggie instead of one in the centre, to the end that the Piazza itself might remain unencumbered. This most superb edifice was furthermore to have had many other conveniences, embellishments, and decorations of various kinds, and they who now see the design which Fra Giocondo had prepared to that intent, declare that nothing more beautiful can be conceived, nor could the highest inspiration of genius in the most exalted artist imagine any thing more magnificent, more perfectly ordered, and in every way more admirable than it would have been.

For the perfection of the whole, it was then proposed to construct the Bridge of the Rialto of stone, under the direction of the same master, with shops along its whole length. The entire work would, without doubt, have been a most admirable thing; but there were two causes wherefore these plans were never carried into execution: the first was that the republic, exhausted by the enormous expenses incurred in that war, was without money; and the other reason was that there then lived a gentleman in Yenice, it is said of the Valeresa family, who had great power, and was in much authority at that time, and who having but little judgment in matters of the kind, and moved perhaps by circumstances of private interest, began to favour a certain Maestro Zanfragnino,^[14] who, as I am told, is still living, and who had been employed by this gentleman for the private buildings. This Zanfragnino (a worthy and convenient name whereby to express the eminence of the master) made the design for that mass of confusion which was afterwards executed, and which is still to be seen: a most senseless clioice, of which many still living, who perfectly remember the circumstances, never cease to bewail the absurdity.

But Fra Giocondo, having seen how much more is sometimes to be d,one with nobles and great people by favour than by merit, was so much displeased at finding this awkward unmeaning plan preferred to the beautiful design which he had prepared, that he departed from Venice, and never more, however frequently entreated to return, would he consent to enter that city. The design here described, with many others, remained in the house of the Bragadini family, opposite to Santa Marina; it belonged to the Frate Angelo, who was a member of that family and a monk of San Domenico; this Frate Angelo was afterwards promoted to the Bishopric of Vicenza as a consequence of his numerous excellencies.

Fra Giocondo was a man of universal attainment; and in addition to the pursuits above-described he found pleasure in the most simple occupations, among others in agriculture and gardening. On this subject the Florentine Messer Donato Giannotti, who was his intimate friend during many years that they spent together in France, relates that Fra Giocondo, while they were thus living in the French court, once reared a peach-tree in an earthen vase, when the little tree, prospered so well, and was loaded with such a large quantity of fruit, that it was a marvel to behold. Thereupon he was one day advised by some of his friends to set it in a place which the king was to pass, and where he could not fail to see it; which he did. But it happened that certain of the courtiers came by first, and these men, as is the fashion of such gentry, gathered all the fruit off the little tree, to the great displeasure of Fra Giocondo, and what they could not eat, they scattered along the whole length of the street. The matter coming to the knowledge of the king, he amused himself for a time over the jest with his courtiers; but then, returning thanks to the monk for what he had done to give him pleasure, his majesty caused a gift of such value to be presented to him that Fra Giocondo was consoled.

A man of a most holy and excellent life was Fra Giocondo, and very much was he beloved by all the greatest and most distinguished men of letters of liis time. Among the more intimate of his friends were Domizio Calderino, Matteo Bosso,^[15] and Paolo Emilio, who wrote the History of France, all three compatriots of Fra Giocondo. Sannazzaro was also one of his most attached friends, as was the learned Budoeus. He was likewise on terms of intimacy with Aldus Minutius, and with all the Academy of Rome. Giulio Cesare Scaliger, one of the most learned men of our times, considered himself the disciple of this monk. The death of Fra Giocondo did not take place until he was very old, but the exact time of its occurrence is not known,^[16] nor can I ascertain in what place he died, for which reason I do not know where he was interred.

As it is true that the city of Verona is very similar to that of Florence in position, manners, and other characteristics, so is it also true that in the one, as well as in the other, there have ever flourished men of the finest genius, and of the highest distinction in every vocation. To say nothing of the learned, since these are not very rare, and to confine myself still to the discussion of those connected with our own arts, and who have always found a most honourable abode in that right noble city, I proceed to speak of the Veronese Liberate. This artist was the disciple of Vincenzio di Stefano,^[17] also of Verona, of whom mention has been made in another place, and who painted a Madonna, in the year 1463, for the monks of San Benedetto, in the church of Ogni-Santi, at Mantua, which was a work very highly extolled at the time. Liberate imitated the manner of Jacopo Bellini, seeing that when he was very young, the above-named Jacopo was painting the chapel of San Niccolo in Verona, and Liberate then devoted himself with so much zeal to the study of his art, beneath the guidance of Bellini,^[18] that, forgetting all which he had previously learned from Vincenzio di Stefano, he adopted the manner of Jacopo, and retained it ever after.^[19]

The first works of Liberate were performed at the chapel of the Monte della Pieta, in the church of San Bernardino, in his native city, where he painted a Deposition from the Cross, with Angels as the principal picture. Some of these angels bear in their hands what are called the Mysteries of the Passion, and all give evidence, in their weeping faces, of the sadness they feel for the death of the Saviour; they are in truth, exceedingly natural, as are other works of similar character by this master,^[20] who has frequently taken pains to show his power of depicting the weeping countenance. In the church of Sant’ Anastasia, for example, which is also in Verona, and belongs to the Domenican Monks, there is a picture of the Dead Christ^[21] wept over by the Maries; this is in the chapel of the Buonaveri family, and there are many others of the same kind by Liberale, scattered about among the dwellings of numerous families in Verona.

In the chapel of the Buonaveri family just alluded to, there is a figure, also by this painter, of God the Father, surrounded by Angels singing and playing on different instruments,^[22] with three figures of Saints standing on each side, San Piero, San Domenico, and San Tommaso d’Aquino, are on one side; Santa Lucia, Sant’ Agnese, and another female Saint, on the other; but the three first-mentioned figures are in every respect superior to the three last: they are executed in a better manner, and have more relief. On a wall of the same chapel, Liberale painted the Madonna with the Infant Christ, who espouses the Virgin Martyr, Santa Caterina; and in this work the artist has exhibited the portrait of Messer Piero Buonaveri, the owner of the chapel. Around the group are angels presenting flowers, with some heads, the smiling countenances of which have so

$ much grace in their cheerfulness of aspect, that they prove Liberale to have possessed the power of rendering smiles quite as well as the tears which he has exhibited in the before-mentioned pictures. For the altar-piece of this chapel, our artist depicted Santa Maria Maddalena in the heavens, supported by Angels, with Santa Caterina beneath; a work which has been considered very fine. In the church of Santa Maria della Scala, which belongs to the Servite Monks, Liberale painted an Adoration of the Magi, for the altar of the Madonna. The story is depicted on two folding doors, and these serve to close up that Madonna, which is held in the highest veneration throughout Verona; but this work had not been long there before it was found to be injured by the smoke of the candles; the doors were therefore taken away and placed in the sacristy, where the painting continues to remain an object of much admiration to the Veronese artists.^[23]

In the central aisle of the church of San Bernardino,^[24] and over the chapel which belongs to the Brotherhood of the Magdalene, Liberale painted the story of the Purification. The figure of Simeon in this work has received much commendation, as has that of the Infant Christ, whom the old man, holding in his arms, embraces with great affection. A priest who is standing on one side of the picture is also very beautiful; he lifts his face to heaven, and spreading forth his arms, appears to be returning thanks to God for the salvation of the world. Beside this chapel, and by the hand of the same master, is the Adoration of the Magi, with the death of the Madonna above it, in small figures, which have been much extolled. And, of a truth, Liberale took so much pleasure in the execution of small figures, and always finished them with so much care, that they seem to be depicted in miniature, as may be seen in the cathedral^[25] of that city, where, in a picture by his hand, there is a story of the Magi, with an immense number of small figures, horses, dogs, and other animals of various kinds. There is also a’group of Cherubim, of a roseate tint, which serve as the support of the Madonna. In this work, the heads are finished in such a manner, and the whole work is so treated, that it has the appearance, as I have said, of having been done in miniature.

For the chapel of the Madonna, in the cathedral of Verona, Liberale painted pictures of similar character, on a small predella. They exhibit events from the life of Our Lady, but were afterwards removed from that place by Monsignore Messer Giovanni Matteo Giberti, Bishop of Verona, who placed the predella in the chapel of the Episcopal Palace, where those bishops have their residence, this being the chapel in which they hear mass every morning.^[26] In the place which it now occupies, this predella is accompanied by a Crucifix of the most beautiful rilievo by the Veronese sculptor,^[27] Giovanni Battista, who is now living in Mantua. Liberale also painted a picture for the chapel of the Allegni family, which is in the church of San Vitale,^[28] wherein he depicted the Confessor, San Mestro,^[29] a Veronese and a man of great sanctity. The artist has placed him between San Francesco and San Domenico. In the Vittoria, a church and convent of certain Eremite Friars, this master painted a picture for the Scaltritegli family, in the chapel of San Girolamo namely. The subject is San Girolamo himself, in his habit as a Cardinal, with San Francesco and San Paolo, all much commended.^[30]

In the rood-loft of the church of San Giovanni-in-Monte, Liberale painted the Circumcision of Christ, with other pictures, which were destroyed no long time since, because that fabric was removed as being considered to diminish the beauty of the church. Being then invited by the General of the Monks of Monte Oliveto to Siena, Liberale painted in miniature or illuminated many books for that order; and these he did in so admirable a manner, that he was afterwards commissioned to complete the illumination of some which had remained unfinished, being merely written that is to say, in the library of the Piecolomini.^[31] Liberate also decorated certain choral books in miniature, for the cathedral of Siena,^[32] and would have remained there executing many other works, but, being driven thence by envy and persecution, he departed, and returned to Verona. He carried with him eight hundred scudi, which he had gained in Siena, and which he afterwards lent to the monks of Monte Oliveto, at Santa Maria-in-Organo, from whom he received interest, which contributed to his daily necessities. Having thus settled himself again in Verona, Liberale gave his attention for the most part to miniature painting during the remainder of his days. At Bardolino, a place upon the Lago di Grarda, he painted a picture which is in the Chapter House, and another which is in the church of St. Thomas the Apostle. For the church of San Fermo likewise, which is a monastery belonging to the Franciscans, he painted a figure of San Bernardo in the chapel dedicated to that saint, depicting stories from the life of the same in the predella.^[33]

In the same place, and in some others, Liberale painted many pictures for espousals, one of which is now in the house of Messer Vincenzio de’ Medici, at Verona. This represents Our Lady with the Divine Child in her arms; the latter is in the act of espousing the Martyr, Santa Caterina. On an angle of the house of the Cartai, as you turn round to go from the Ponte Nuovo, in Verona, to Santa Maria-inOrgano, there is a fresco by Liberale, which has received high commendations;^[34] the subject is our Lady with St. Joseph. Liberale had desired to paint the chapel of the Rivi family, in the church of Sant’ Eufemia, which had been constructed in honour of Giovanni Rivo, a leader who had fought at the battle of the Taro; but he did not receive that commission, which was accorded to certain foreigners, and Liberale was told that, having become aged, his sight would no longer serve him sufficiently well. When the chapel was given to view, there were found to be many faults in the work, whereupon Liberate remai ned, “that those who had chosen such an artist had proved themselves to have worse sight than himself.”

Finally, having attained to something more than his eighty-fourth year. Liberate permitted his kinsmen to manage his affairs, resigning himself more especially to the care of a married daughter, but this woman treated him very badly, as did all the rest of his kinsfolk; wherefore, being much displeased with her and his other relations, he appointed Francesco Torbido, called II Moro, who was then a youth under his care, to be the heir of his possessions, a house and garden namely, which he had at San Giovanniin-Valle, an exceedingly agreeable part of Verona; with him, therefore, who was a most affectionate disciple, and very diligent painter. Liberate established himself, declaring that he would rather see one who loved the right and good enjoy his property, than bestow it on those who had no regard for their nearest relative. But no long time elapsed after he had made that disposition of his affairs, before Liberate died; this event happened on St. Clara’s day, in the year 1536, and in the eighty-fifth year of our artist’s age. He was buried in San Giovanni-in-Valle.

The disciples of this master were Giovanni Francesco Caroto, and Giovanni Caroto; Francesco Torbido, called II Moro, and Paolo Cavazzuola, of whom, since they were of a truth very excellent masters, I propose to make mention in their due order.

Giovan Francesco Caroto^[35] was born at Verona in 1470, and after having been taught the first rudiments of learning, he was induced, by his inclination for painting, to abandon the further study of letters, and to place himself with the Veronese Liberate, for the purpose of acquiring the art of the limner, promising to remunerate the master for his pains. Though still very young, Giovanni Francesco then devoted himself with so much love and diligence to design, that in that particular, as well as in the use of colours, his services were of great value to Liberate, even in the first years of his career. No long time afterwards, and when his judgment had increased with his years, he saw the works of Andrea Mantegna in Verona, and as it appeared to him that these were, as indeed was the truth, of another manner and better quality than those of his master Liberale, he prevailed on his father to permit him to repair to Mantua, where he was allowed, with the full consent and favour of Liberale, to place himself with Mantegna.

Here Giovanni Francesco acquired so much and so rapidly, under his new master, that in a short time Andrea Mantegna was enabled to send forth works of the disciple as those of his own hand. Many years had not elapsed, in short, before Caroto became a very able artist. The first works which he executed after leaving Mantegna, were the folding-doors which close in the Altar of the Three Kings, in the church of the Hospital of San Cosimo,^[36] on which he depicted the Circumcision of Christ, the Flight into Egypt, and other figures, besides those of the Holy Family. In the church of the Frati Ingesuati, called San Girolamo, Caroto painted the Madonna, with the Angel of the Annunciation, in two angles of a chapel;^[37] and for the Prior of the Monks of San Giorgio, he executed a small picture of a Presepio, in which he was seen to have greatly ameliorated his manner; the heads of the shepherds, and, indeed, of all the other figures in this work, exhibiting an expression so pleasing and so beautiful, that the work has been much and greatly extolled; nay, were it not that the ground of this picture was badly prepared, insomuch that it has peeled ofij and the work is by consequence becoming spoiled, this painting alone might have sufficed to keep the memory of the artist ever living in the recollections of his fellow citizens.

Having then received a commission from the men who ruled in the Brotherhood of the Angel Kaphael, to paint a chapel which belonged to them in the church of Sant’ Eufemia, II Caroto depicted therein two stories of the Angel Raphael in fresco, with three figures of large size in oil as the altar piece, all representing Angels, Raphael in the centre that is to say, with Gabriel and Michael on each side; these figures also were executed with very good design, and exceedingly well coloured.^[38] It is true that the artist was reproached with having made the legs of those angels too slender, and not sufficiently round and soft, to which replying pleasantly, Giovan Francesco remarked, that since angels were represented as having wings, and with bodies as it were celestial and aerial, as if they were birds, so he thought it might be well permitted to give them light and slender limbs, to the end that they might rise into the air and take flight with the greater case.

In the church of San Giorgio, and at the altar where there is a Christ bearing the Cross, Giovan Francesco painted San Kocco and San Bastiano, with stories in the Predella, the figures of which are small and exceedingly beautiful.^[39] For the Company of the Madonna in San Bernardino he painted two pictures; these are on the predella of the altar belonging to that Company, and represent the Birth of the Madonna and the Slaughter of the Innocents, the latter exhibiting a rich variety in the attitudes of the executioners, as well as in those of the groups of infants, who are defended by the mothers with infinite animation. This work is held in the utmost veneration, and is covered that it may be the more effectually preserved. Its merits caused the master to receive a commission from the men of the Brotherhood of San Stefano, a confraternity which belongs to the ancient cathedral of Verona, and for whom he painted three pictures of similar figures for their altar. The subjects are all taken from the life of Our Lady, and exhibit her Marriage, the Birth of the Saviour, and the Adoration of the Magi.^[40]

These works being completed, it appeared to Giovan Francesco that he had obtained a sufficient reputation in Verona; he had, therefore, determined to depart, and seek other fields of exertion, but his friends and relations reasoned with him so effectually that they prevailed on him to remain: they furthermore caused him to take a young woman of noble birth, and the daughter of Messer Braliassarti Grandoni to wife, whom he conducted to his home in the year 1505. But after having presented her husband with a son, this lady died in child-birth, when having nothing further to detain him in Yerona, Giovan Francesco departed and went to Milan. Here he was at once employed by the Signor Anton Maria Visconti, who received him into his house, and caused him to execute numerous works for the decoration of the same.

Now at this time it chanced that a Fleming had brought to Milan the portrait of a youth taken from life, and painted in oil, which was much admired by every one in that city: but when Giovan Francesco saw it he laughed, and said, I would take it upon me to produce a better than that whereupon the Fleming, making a jest of his remark, the matter, after many words, came to this, that Giovan Francesco should make the trial, losing his picture, with twentyfive scudi, if he lost; but if he won, receiving the picture of the Fleming with twenty-five scudi to boot.

Having set himself to work accordingly with his very best endeavours, Giovan Francesco depicted an aged Gentleman with shaven beard, and holding a Falcon on his hand; but, although the portrait was a faithful likeness, the head of the Fleming was adjudged to be the best. Giovan Francesco had not made a good choice; he had selected a subject which could scarcely do him honour, but if he had taken the head of a youth and copied that as closely as he did the head of the old man, he would at least have equalled the portrait of his antagonist, if he had not surpassed it. Nor indeed did the work of the Veronese artist fail to receive commendation, and the Fleming, treating him very liberably, declared himself content with the head of the old shaven man alone, nor would he accept (courteous and noble person as he was) the twenty-five ducats on which they had agreed. This picture ultimately passed into the hands of Madonna Isabella d’Este, Marchioness of Mantua, who paid a good price for it to the Fleming, and placed it as a work of rare merit in her study, wherein she had collected many fine medals and coins, with other works in marble, painting, and bronze.

After having completed the works undertaken for the Visconti, Giovan Francesco, being invited by Guglielmo, Marquis of Montferrat, went very willingly to do him service, which he had been earnestly requested to do by the Visconti, and having arrived, a good provision was at once assigned to him. He commenced his work immediately, and in Casale he painted a chapel for Guglielmo, that namely wherein it was the custom of the Signor Marquis to hear mass, executing as many pictures for the same as sufficed to adorn it on all sides, and fill it entirely. The subjects chosen were stories from the Old and New Testaments, all painted with the utmost care, and this commendation may be extended to the altar-piece which Giovan Francesco likewise painted. For the apartments of the Castle also our artist afterwards painted many pictures which acquired him very great renown and in the church of San Domenico he painted the whole of the principal chapel, by command of the same Signor; those decorations being intended for the adornment of the sepulchre wherein the Marquis was ultimately to be laid. In this work Giovan Francesco acquitted himself in such a manner that his merits were acknowledged and remunerated by the liberality of the Marquis with the most honourable rewards: nay, furthermore, that noble conferred on our artist the office of chamberlain to himself, as may be seen by an instrument to that effect now in the possession of the painter’s heirs in Verona. Giovan Francesco took the portrait of the Marquis Guglielmo with that of his consort, and painted a vast number of pictures which were sent into France: he executed the portrait of their first-born son Guglielmo likewise, he being then but a child, with those of their daughters, and of all the ladies who were in the service of the Marchioness.^[41]

On the death of the Marquis Guglielmo, Giovan Francesco sold all his possessions in those parts and left Casale to return to Verona, where he arranged his affairs and those of his son, to whom he then gave a wife, and it was then found that his riches amounted to more than seven thousand ducats: but not for this did he abandon painting; nay, rather, he devoted himself thereto with more devotion than ever, having his mind at peace, and not being compelled to distract his thoughts with cares for his subsistence. It is true, that either from envy or some other cause, he was reproached as being an artist who was capable of executing small figures only; wherefore, to prove that he was thereby wronged and calumniated, he painted a picture for the chapel of the Madonna in San Fermo, which belongs to a monastery of Franciscan Monks, making the figures larger than life, and painting them so well that they were the best ever depicted by his hand. In the upper part of this work is Our Lady reclining on the lap of Sant’ Anna, with Angels who are reposing amidst the clouds, and beneath are San Piero, San Giovanni Battista, San Pocco, and San Sebastiano; in the distance is a beautiful landscape, with San Francesco, who is receiving the Stigmata: a picture which has not failed to be held by artists in due estimation.^[42]

In San Bernardino, a place of the Barefooted Friars, Giovan Francesco painted a figure of Jesus Christ in the chapel of the cross; our Saviour is represented kneeling before the Madonna, of whom he is taking leave.^[43] This work he performed in emulation of the many renowned pictures by the hand of other masters, which are in that place, and made great efforts to surpass them all. He consequently acquitted himself exceedingly well, and was extolled by all who beheld his work, the intendant of the monastery alone excepted: this man, like the dunce and solemn owl that he was, reproved the artist with bitter words, declaring that he had made the Saviour show too little reverence to his mother, seeing that he knelt to her on one knee only, to which Giovan Francesco replied, and said, “Father, do me first the kindness to kneel down and rise up again, and then I will tell you wherefore I have depicted the Saviour thus.” The intendant, after many persuasions, at length knelt down, putting first the right knee to the earth and then the left, and in rising again he lifted first the left knee and then the riglit. This being done, Giovanni Francesco said, “Have you remarked. Father Intendant, that you did not kneel down with both knees at once, and that you have not risen up from both knees at one time? I tell you therefore, that this my figure of Christ is as it should be, since he may be taken to be in the act of kneeling before liis mother, or, having been kneeling for a time, he is about to rise up, and lifts one leg to do so.” With, this the Intendant was fain to appear somewhat pacified, but nevertheless went away grumbling to himself in low tones.

Giovan Francesco was ready and acute in reply; and I find it related, that being once told by a priest that his figures were too attractively beautiful for altar-pieces, he made answer, “You are indeed sensitive, if the mere painted figure have power to move you so much, think then, how is one to trust you where there are living and breathing forms?” In the church of the Barefooted Friars at Isola, a place on the Lago di Garda, this master painted two pictures; and at Malsessino, which is situate on the banks of the same lake, he painted a most beautiful Madonna over the door of a church, with certain Saints within the church, which he did at the request of Fracastoro, a poet of great repute and the intimate friend of the artist. For the Count Giovanni Francesco Giusti, our artist painted a picture which that signor himself invented.^[44] The subject of this work was a Youth almost entirely nude; in an attitude of indecision he is half rising up and half disposed to remain in his position; on one side of him is a beautiful Virgin representing Minerva, who is pointing with one hand to a figure of Fame in the heavens, and with the other is urging him to follow her, but Idleness and Indolence are standing behind the youth and do their best to retain him. Beneath is a figure with a coarse clownish countenance, that of a slave or plebeian, rather than of a noble or freeborn man; two immense snails are attached to his elbows, and he is seated on a crab; near him is another figure whose hands are filled with poppies.

This work, which is further enriched by other fanciful inventions and particulars of great beauty, was executed by Giovan Francesco with singular diligence and love, it serves as the head-board of a couch, which that signor caused to be made for a most pleasant dwelling which he possessed near Verona, called Santa Maria della Stella. For the Count Baimondo della Torre the same artist decorated a small chamber with historical representations in small figures, and as he took much pleasure in works in relief, so are there not only such models as he required for his various purposes and for the arrangement of his draperies to he still found by his hand, but also many other fanciful things of his own contrivance, of which many are still in the possession of his heirs; among these may be more particularly remarked a story in mezzo-rilievo, which is not without a tolerable share of merit. Giovan Francesco executed portraits in medallions also, and of these there are some still to be seen, as for example that of Guglielmo Marquis of Montferrat, which has a Hercules slaying........for the reverse, with the motto Monstra domat. This master painted the portraits of the Count Raimondo della Torre, of Messer Giulio his brother, and of Messer Girolamo Fracastoro.

But when Giovan Francesco became old, he began to give evidence of deterioration in his art, as may be seen from the folding doors of the organ, in Santa Maria della Scala, in the picture which belongs to the Movi family, and wherein there is a Deposition from the Cross, and in the chapel of San Martino, which is one of those in the church of Sant’ Anastasia:^[45] Giovan Francesco had always a very high opinion of himself, insomuch that no consideration would have induced him to copy any thing designed by another. Wherefore, the Bishop Giovan Matteo Giberti,^[46] desiring to have him paint stories from the hfe of the Madonna in the great chapel of the cathedral, caused the designs for the same to be made in Rome by his intimate friend Giulio Romano, (Giberti being then in that city in his capacity of Datary to Pope Clement VII.) But when the Bishop returned to Verona he could by no means prevail on Giovanni Francesco to execute those designs; the bishop therefore, very much displeased, caused them to be put in execution by Francesco, called Il Moro.^[47]

Giovan Francesco held an opinion, wherein he was not far from the truth, that varnishing spoils the pictures to which it is applied, causing them to become old before they would otherwise do so; he therefore used his varnish and certain oils carefully purified, in the shadows w^hile painting: this artist was the first Veronese painter who executed landscapes well; some of those to be seen in that city by his hand are very beautiful. Finally, having attained his seventysixth year Griovan Francesco died^[48] in the manner of a good Christian, leaving his nephews and Griovanni Caroti his brother in tolerably easy circumstances. The latter, after having acquired the first principles of art under his own guidance, had been for some time in Venice, and had returned to Verona immediately before Griovan Francesco departed to another life; he was thus on the spot and able to take account with the nephews of such property connected with art as had been left to them by his brother. Among these things was found the portrait of an old man wearing armour, and admirably executed whether as regards design or colouring, the best work indeed ever known to have proceeded from the hand of Griovan Francesco. There was also a small picture, the subject of which is the Deposition from the Cross; this was presented to the Signor Spitech,^[49] a man in great authority with the king of Poland, who had at that time come to those parts for the purpose of using certain baths which are situate in the territory of Verona. Giovan Francesco was buried in Santa Maria dell’ Organo and in the chapel of San Niccolo, which he had decorated with his paintings.

Giovanni Caroti, the brother of Giovan Francesco, was a follower of the last-named artist’s manner, but did not obtain so high a reputation in painting as his brother: he painted the altar-piece in the above-named cliapel of San Niccolb, representing Our Lady enthroned amid the clouds, and placing his own portrait, taken from the life, beneath, with that of Placida his wife.^[50] On the altar of the Schioppi family in the church of San Bartolommeo, he painted certain small figures of Saints, and there he also depicted the portrait of Madonna Laura degli Schioppi, who had caused this chapel to be constructed, and who was much celebrated by the writers of that time for her great abilities and virtues as well as for her beauty. In the church of San Griovanni-in-Fonte, which is near the cathedral, this artist painted a small picture of San. Martino; he also took the likeness of Messer Marc Antonio della Torre, who was at that time very young, hut afterwards became a very learned man and held lectures in Padua and Pavia; he painted that of Messer Giulio likewise; both these heads are now in the possession of their heirs at Verona. For the Prior of San Giorgio he painted a picture of Our Lady, which has ever since been preserved as a good painting in the apartment of the priors, where it still remains. A picture representing Actseon transformed into a Stag was painted by this artist for the organist Brunetti, by whom it was presented to Girolamo Cicogna, an excellent worker in embroidery and engineer to the Bishop Giberti, this is now in the possession of Messer Vincenzio Cicogna his son.

Giovanni took the ground-plans of all the antiquities to be found in Verona, the triumphal arches and the Colosseum, all which were revised by the architect Falconetto,^[51] to be used for adorning the book which had been written by Messer Torello Saraina, concerning the Antiquities of Verona, who described them from observations taken on the spot, and ultimately had the whole printed, when it was sent for myself by Giovanni Caroto to Bologna, where I then was, being occupied with the works of the Refectory of San Michele in Bosco, and where I received the same, together with the portrait of the reverend Father Don Cipriano da Verona, who was twice general of the monks of Monte Oliveto. This last was sent to me by Giovanni, to the end that I might avail myself thereof for one of the paintings in that refectory, and it is now in my house at Florence, with many other paintings by the hands of different masters.

Giovanni died at about sixty years of age, having lived without children and without ambition, but with very sufficient means; he departed from life rejoicing at the sight of many of his disciples who had attained to good reputation; Anselino Canneri^[52] for example, and Paolo Veronese,^[53] who is now working in Venice, and is considered a good master.^[54] Anselmo has produced many pictures both in oil and fresco, more particularly at Soranza on the Tesino, and in the palace of the Soranzi family at Castelfranco. Anselmo worked in many other places also, as at Vicenza. But returning to Giovanni Caroto, we have further to remark that this artist was entombed in the church of Santa Maria dell’ Organo, where he had painted a chapel with his own hand.

Francesco Torbido, called II Moro, a painter of Verona, received the first principles of his art while still but a youth from Giorgione da' Castel Franco, and ever afterwards imitated that master in colouring and in softness. But while Francesco was thus studying his art, he fell into strife with I know not whom, and managed to handle his antagonist in such sort that he was compelled to leave Venice and return to Verona. Here he laid aside painting for some time, and being somewhat free of his hands, nor ever backward in a fray, he maintained a close intercourse with the young nobles of the city, living among them as one of their equals (for he had very good breeding), and remaining for some time at his leisure and without any occupation. He was more particularly intimate with the Counts Sanbonifazi and the Counts Giusti, two of the most illustrious families of Verona, with whom he became so familiar^ that not only did he dwell in their palaces as if he had been born in them, but after no great lapse of time he received from Count Zenovello Giusti a natural daughter of his own for a wife, and was furthermore supplied with apartments in the palace for himself, for his wife, and for whatever children might be born to them.

I find it related that while Francesco was thus living in the service of these nobles, he had ever a pencil in his pocket, and wherever he went would be always depicting some head or other object, on the walls or elsewhere, as he found opportunity; the Count Zenovello, perceiving him to be thus strongly disposed to painting, took care to set him free from every other kind of occupation, that he might devote himself wholly to art. And as it was found that Francesco had all but forgotten every thing, he was enabled by the favour of that noble, a very generous person, to place himself under Liberale, who was then a famous painter and miniaturist. From that time, never neglecting his studies, and the opportunity of practice with the master, II Moro daily made so much progress that not only were all the forgotten instructions recalled to his memory, but in a short time he had acquired so much from the new master as sufficed to render him an able artist; but although Francesco always followed the manner of Liberale, yet he did not fail to remember and to imitate the softness and harmonious colouring of Giorgione, his first instructor, seeing that the works of Liberale, although he thought them good in other respects, yet appeared to him to be a little dry.

Now Liberale, perceiving the fine genius of Francesco II Moro, conceived so great an affection for him, that at his death he left him heir to all his possessions, treating and loving him as his own son. Being thus put well into the way, Francesco, on the death of Liberale, obtained numerous commissions for works which are now in private houses; but those of his performances in Verona, for which he more particularly merits praise, are first, the four large pictures which he painted in fresco, on the vaulting of the principal chapel in the cathedral.^[55] The subjects of these are the Birth of the Madonna, and the Presentation in the Temple, with the Assumption of Our Lady in the centre. This last exhibits three Angels hovering in the air, and with figures which are much foreshortened; they hold a crown of stars wherewith they are about to crown the Virgin, who is represented in the recess as ascending towards heaven, surrounded by many other angels. The Apostles, in various attitudes, are gazing upwards at the ascending Madonna; and these figures of the Apostles are twice the size of life. All the paintings here alluded to were executed by II Moro, from the designs of Giulio Pomano, as was the wish of the Bishop Giovan Matteo Giberti,^[56] who caused these pictures to be executed, and who was an intimate friend, as we have said, of Giulio Romano.

No long time after having completed this work, Francesco adorned the fa9ade of the house which the Manuelli family had erected on the pier of the Ponte Nuovo, with that of the Doctor Torello Saraina, who wrote the above-mentioned book of the Antiquities of Verona. In Friuli, Francesco painted, also in fresco, the principal chapel of the Abbey of Rosazzo, which he did for the Bishop Giovan Matteo, who held that abbey in commendam, and by whom, as a truly religious and excellent Signor, the edifice was reconstructed, seeing that it had been wickedly suffered to fall into ruin, as almost all of these livings are found to be, by those who had previously held them in commendam, and who had thought of nothing but drawing a revenue from them, without having the heart to spend the smallest coin thereof in the service of God and the church.

Il Moro afterwards painted many pictures in oil, both at Verona and in Venice; and for the church of Santa Maria-in-Organo, in the first-named city, he painted those figures in fresco which are on the principal front,^[57] those of the Angels Michael and Raphael excepted, which are by the hand of Paolo Cavazzuola. Francesco also painted the altarpiece for the chapel, but this is in oil, and here, in the figure of San Jacopo, he has placed the portrait of Messer Jacopo Fontani, at whose cost the work was executed; there are besides Our Lady and other very beautiful figures in this painting, above which, and in a large semicircle occupying the entire width of the chapel, is the Transfiguration of Our Lord, with the Apostles beneath, also by the hand of Francesco; these are considered to be the best figures ever produced by that master. For the chapel of the Bombardieri, in the church of Sant’ Eufemia, he painted a picture representing Santa Barbara appearing in the heavens; beneath is Sant’ Antonio; he is standing with the hand placed on the beard: and this is indeed a most beautiful head. On the other side is San Rocco, which is also held to be a very fine figure, nay, the whole work is very deservedly considered to be one of great merit, being executed with infinite care, and exhibiting great harmony of colour.^[58]

In the church of the Madonna della Scala, and at the altar of the Sanctificazione, Francesco painted the figure of San Sebastiano, in a picture which he executed in competition with Paolo Cavazzuola, who painted the figure of San Rocco in another picture.^[59] He afterwards produced a painting, which was taken to Bagolino, a place in the mountains of Brescia. This master painted numerous portraits, and of a truth his heads are beautiful to a wonder; they are besides faithful resemblances of those for whom they are taken. In Verona he took the likeness of Count Francesco San Bonifazio, called, on account of his height, the Long Count, with that of one of the Franchi, a magnificent head.^[60] II Moro likewise painted the portrait of Messer Girolamo Verita, but since Francesco was rather dilatory in the execution of his works, this remains incomplete. In its unfinished state as it is, however, it is still in the possession of the sons of that good Signor Girolamo. Among many other portraits, he also took that of the Venetian, Monsignore de’ Martini, a knight of Rhodes, and to the same cavalier he sold a head of marvellous beauty and excellence, which he had painted many years previously, as the portrait of a Venetian gentleman, the son of one who was then a captain in Verona; but as this had been left in the hands of II Moro because the avarice of the owner had prevented him from paying for it, the former sold it, as we have said; having first changed it somewhat in character, for M-onsignor Martini, by giving it the dress of a shepherd or herdsman, in place of the Venetian habit. This head, which is as beautiful a thing as ever proceeded from the hands of an artist, is now in the house of the heirs of the above-named Monsignore de’ Martini, where it is held, as it well merits to be, in the highest admiration.

In Venice, Francesco painted the portrait of Messer Alessandro Contarino, procurator of St. Mark’s, and proveditor of the fleet and armj, with that of Messer Michele San Michele, the last being executed for one of Messer Michele’s dearest friends, who took it with him to Orvieto. It is said, too, that he took another likeness of the same Messer Michele the architect,^[61] which last is now in the possession of Messer Paolo Ramusio, son of Messer Giovanni Battista.^[62] Francesco likewise depicted the renowned poet, Fracastoro, and this he did at the instance of Monsignor Giberti, bj whom it was presented to Giovio, and the latter placed it in his museum. II Moro executed many other works, of which I do not make mention, although they are all entirely worthy of a memorial, seeing that this master was as careful a colourist as any artist living at his time, and bestowed much time and labour on all his works; nay, so great was the diligence of II Moro, that he sometimes incurred blame—as is even yet occasionally seen to happen—because he would accept all the works that were offered him, permitted himself to receive earnest money for all, and then brought the work to conclusion when it pleased God. And if he did this in his youth, we may leave every one to imagine what he was likely to do in his last years, when the tediousness which naturally supervenes with old age was added to his accustomed tardiness; in effect H Moro brought many embarrassments upon himself by this mode of proceeding, and involved himself in more disputes than he would willingly have encountered. Wherefore, Messer Michele San Michele, moved to compassion by these his troubles, took him into his own house, in Venice, and treated him as a friend and distinguished artist.

Finally, being reealled by his ancient patrons, the Giusti, to Verona, II Moro died, no long time after his return to that city, in their beautiful palace of Santa Maria in Stella. He was buried in the church of that domain, being accompanied by all those most friendly nobles to his tomb; nay, rather laid therein with their own hands, and with the utmost affection, seeing that they loved him as a father, from having all been born and brought up while he was an inmate of their house. II Moro was a man of much personal address; in his younger days he was very brave, and used all kinds of arms with great dexterity. He was most faithfully attached to his friends and patrons, and evinced a decided elevation of spirit in all his actions. Among his more particular friends, were the architect, Messer Michele San Michele, Danese da Carrara, the excellent sculptor,^[63] and the very reverend and most learned Fra Marco de’ Medici, who would frequently pay a visit to II Moro after he had finished his studies for the day, watching him while at his work, and conversing with him by way of unbending his thoughts, when he had become wearied by long-continued research.

The disciple and son-in-law of Il Moro, who had two daughters, was Battista d’Agnolo, who was afterwards called Battista del Moro; he has had no little trouble with the affairs which his father-in-law had left to his care in a state of much confusion, but has nevertheless executed numerous works which are not without considerable merit. This artist painted a figure of San Giovanni Battista, in the church of the Nuns of San Giuseppe,^[64] at Verona; and in the church of Sant’ Eufemia, he painted a fresco in the middle aisle. This is over the altar of San Paolo, and the subject is the history of that Saint, showing him when, being converted by Christ, he presents himself to Ananias, and, although the artist was then very young, the work is much extolled.^[65] For the Counts Canossi, Battista painted two chambers, and in one of the halls of their palace he executed a frieze, battlepieces namely, which are very beautiful, and are highly commended by all who see them. In Venice he painted the façade of a house near the Carmine, not a work of great extent, but much admired. He there depicted a figure of Venice, crowned and seated on a Lion, the device of that republic. For Camillo Trevisano he painted the façade of his house at Murano; and in company with Marco, his son, he decorated the inner court of the same with historical representations in chiaro-scuro, which are exceedingly beautiful.^[66] In competition with Paolo Veronese, Battista then painted a large apartment in the vsame house, and this was so beautiful that it gained him great honour as well as advantage.^[67]

This master performed many works in miniature, and last of all, a singularly beautiful one representing Sant’ Eustachio in the act of Adoring Our Lord, who has appeared to him between the horns of the hind; two dogs which are near the Saint are so finely done, that nothing can possibly be more perfect; there is besides a landscape with numerous trees, which, receding into the distance and gradually diminishing, is a work of extraordinary beauty. This production has been highly extolled by the many persons who have seen it, but more particularly by Danese da Carrara, who saw it when he was at Verona busied with the works of the chapel of the Signori Fregosi, an edifice distinguished among all that is most beautiful in Italy. Danese, I say then, having seen this performance, remained lost in astonishment at the perfection of its beauty, and exhorted the above-named Fra Marco de’ Medici, his old and particular friend, on no account to suffer such a treasure to slip through his fingers, but at once to secure and place it among the many valuable examples of all the arts which he has in his possession. Whereupon Battista, having heard that the before-mentioned Fra Marco had a wish for the work, and knowing the friendship which he had entertained for his father-in-law, presented him with the same, and compelled him, so to speak, to accept that gift, Danese being present at the time. The good father was not ungrateful for so much courtesy on the part of Battista, but since that master and his son Marco are both still living and continue their works, I will say nothing more of them for the present.

Il Moro had another disciple, called Orlando Fiacco,^[68] who became a very good master, and is an able artist in portrait painting, as is proved by the numerous very beautiful works which he has produced, all of which are faithful likenesses also. Orlando painted the portrait of Cardinal Caraffa, when that prelate was on his return from Germany, stealing the likeness as the Cardinal sat at supper by torch-light, in the Episcopal Palace of Verona. This portrait is so close a resemblance to the original, that it could not possibly have been better. He also, and in a most animated manner, depicted the portrait of the Cardinal of Lorraine, when, on leaving the Council of Trent, that prelate passed through Verona in his way to Rome, as he did those of the two Bishops, Lippomani of Verona; Luigi, the uncle that is to say, and Agostino the nephew; these heads the Count Giovanni Battista della Torre now has in one of his apartments. Another portrait by Orlando Fiacco, was that of the canon, Messer Adamo Fumani, a very learned gentleman of Verona; he also depicted those of Messer Vincenzio de’ Medici, of Verona, and Madonna Isotta his consort, the last under the semblance of Sant’ Elena, with that of Messer Niccolo their nephew.

The Count Antonio della Torre, the Count Girolamo Canossi, with the Count Ludovico, and the Count Paolo, his brothers, were in like manner among those persons portrayed by this master, as was the Signor Astor Baglioni, CaptainGeneral of all the light cavalry of Venice, and Governor of Verona, the latter being fully armed in white armour, and presenting a singularly beautiful aspect; his consort, the Signora Ginevra Salviati was also taken by Orlando. The distinguished architect, Palladio,^[69] and many other persons, were likewise depicted by the hand of this master, who continues to exercise his vocation, and is proceeding to render himself an Orlando in painting, as remarkable as was the great Paladin of France, so named. Now, as from the time of Fra Giocondo, a remarkable degree of attention has ever been devoted to the arts of design in this noble city of Verona, whereof we are now speaking, so has it been always richly furnished with excellent masters in painting and architecture, as will now be seen, in addition to all we have yet related from the lives of Francesco Monsignori, Domenico Moroni, and Francesco his son; as also from those of Paolo Cavazzuola, of the architect Falcorietti, and, finally, from those of the miniaturists, Francesco and Girolamo.

Francesco Monsignori,^[70] the son of Alberto, was born ♦at Verona, in the year 1455, and having attained a fitting age, was advised by his father, who had always greatly delighted in painting, to devote himself to the arts of design, although Alberto had never practised painting himself, except for his pleasure: Francesco accordingly went to Mantua, there to seek Mantegna, who was then working in that city, and under whom he laboured with so much zeal, impelled by the fame of his instructor, that no long time elapsed before Francesco, second Marquis of Mantua, who found great pleasure in painting, took him into his own service, gave him a house to dwell in within the city of Mantua, and assigned him an honourable j)rovision. For these benefits Francesco was not ungrateful, but always served that prince with the utmost fidelity and afiection; wherefore he became daily more and more beloved by the Marquis, insomuch that the latter was unwilling to leave the city, for however short a time, unless he were attended by Francesco, on whom he was constantly conferring new benefits, and was once heard to declare that the artist was as dear to him as his whole state.

The latter executed numerous works for the Marquis Francesco therefore, not only in the Palace of San Sebastiano in Mantua, but at the Castello di Gonzaga, and in the beautiful Palace of Marmitolo.^[71] At the last mentioned place, after having completed many other pictures, he brought to a conclusion certain triumphal processions and portraits of different gentlemen belonging to the court; and this happened on Christmas Eve, in the year 1499, on which occasion the Marquis bestowed on him an estate, comprising a large number of fields, at a place called Marzotta in the Mantuan territory, with a house fit for a gentleman, a garden, grounds,, and many other fine advantages. Now, Francesco was excellent at taking portraits from the life; the Marquis, therefore, caused him to depict very many of these, himself, for example, his sons, and many other nobles of the house of Gonzaga; some of which were sent into France and Germany, to be given to different princes, and many others still remain in Mantua. A portrait of the Emperor Frederick Barbarossa is among those by this artist which are still in the abovenamed city; as are those of Barbarigo, Doge of Venice; of Francesco Sforza, Duke of Milan; of the Signor Ercole di Gonzaga, who afterwards became a Cardinal; of the Duke Federigo, his brother, depicted as a youth; of the Signor Giovan Francesco Gonzaga; of Messer Andrea Mantegna, the painter; and of many others, copies of all which in chiaro-scuro and on paper were preserved by Francesco, and these copies are now in Mantua, in the possession of his heirs.^[72]

In the church of San Francesco, in the above-named city, and which belongs to the Bare-footed Friars, our artist painted figures of San Ludovico and San Bernardino over the pulpit: they are holding a large circle, whereon is inscribed the name of our Lord Jesus^[73] f and in the refectory of those Friars is a large picture of great size on cloth by his hand; it extends along the whole width of the upper end of the chamber, and presents a perspective view of the Saviour with the twelve Apostles. This is an exceedingly fine work, the figures very beautiful, and giving evidence of much judgment and consideration: among the other apostles is the traitor Judas, with a countenance wholly diflerent from those of the remainder, and in an attitude of much constraint; all the rest appear to be deeply intent on the words of their Master, who is speaking to them, he being near his Passion.^[74] On the right hand of this work is a figure of San Francesco, of the size of life. This also is a most beautiful thing, and the expression of the countenance exhibits all that piety which was indeed peculiar to that holy man. The Saint is in the act of recommending to the mercy of Christ the Marchese Federigo, who is kneeling at his feet; this last-named figure is a portrait from the life, and is clothed in a long mantle, which is plaited and stiffened in accordance with the custom of that day, being furthermore adorned with an embroidery of white crosses, perhaps because he may then have been holding the office of General to the Venetians; before the Marquis is his first-born son, who was afterwards the Duke Federigo, but was then a most beautiful child: he has his hands joined in prayer.

On the other side of the picture is a figure of San Bernardino,^[75] equal in excellence to that of San Francesco, and who is in like manner presenting to Christ the Cardinal Sigismondo Gonzaga, brother of the above-named Marchese. This also is a portrait from the life; the Cardinal wears the rochet and his robes as a prelate; he too is kneeling, and before him is the Signora Leonora, daughter of the Marquis Francesco, then a girl, but afterwards Duchess of Urbino. The whole work here described is considered most admirable by the best and most eminent artists. This master likewise painted a picture of San Sebastiano,^[76] which was afterwards placed in the church of the Madonna delle Grazie, outside the city of Mantua: in the execution of this work he used extraordinary care, and painted many parts of it from the life. I find it related, that while Francesco was occupied witii this picture, the Marquis went one day to see him work, us he was accustomed frequently to do, when he remarked, “Now, Francesco, for this saint you will require to have a fine figure for your modelto which the painter replied, “I am taking that of a porter who has a very beautiful person, and whom I can bind to the stake as I best please for the purpose of making my work natural.” ‘‘ The limbs of your saint are nevertheless not true to the life,” rejoined the Marquis, ‘‘since they give no evidence of being drawn forcibly to the stake, nor does the figure express the fear proper to a man who is bound and about to be shot with arrows; but whenever you please I will take it on myself to show you what you have to do, for the purpose of making your figure complete.” “I entreat you to do so, my lord,” replied Francesco; and the Marquis said, “When next you have your porter bound here, cause me to be summoned, and I will show you what you ought to do.”

The following day, therefore, when Francesco had fastened up the porter in the manner he thought best, he caused the Marquis to be secretly called, but without knowing what the latter intended to do. Shortly afterwards, the Prince burst forth from a neighbouring apartment in a state of great fury, and with a cross-bow ready charged in his hand: “Traitor,” he exclaimed in a loud voice, rushing on the porter, “traitor, thou art a dead man; I have caught thee at last as I would have thee! ” with other exclamations of similar character. The unlucky porter, hearing these words, and considering himself in danger of death, made the most desperate efforts to break the ropes wherewith he was bound, and in struggling with his fetters, and in the agitation he betrayed, did truly represent one who was on the point of being shot to death with arrows; his countenance and the distortion of his struggling limbs alike betokening his fear and horror of death, with the efforts he made to escape the peril by flight.^nota

That done, the Marquis said to Francesco, “Now he is precisely in the condition that he ought to be, the rest I leave to yourself;” which the master having well considered, then gave his figure all the perfection that could be imagined. Many other things were painted by Francesco in the Gonzaga Palace,^nota the Election of the first Lords of Mantua for example, with the Tournaments which were held on the Piazza di San Piero, a perspective view of which is here given.

Now it chanced that the Grand Turk had sent a man of ^{[77] [78]} his to present to the Marquis a beautiful dog, a bow and a quiver; whereupon the Marquis caused Francesco to paint the dog, the Turk who had brought it, and the other things in the Gonzaga Palace; and that being done, he desired to see whether the dog thus painted were sufficiently similar to the life, he consequently had one of the dogs of his court, which was of a breed inimical to that of the Turkish dog, conducted to the apartment where the work of Francesco was placed on a pedestal painted to imitate stone. The living dog, having been brought accordingly, no sooner beheld the painted one than, precisely as he would have done had the animal been real and the very creature that he mortally hated, he flew upon him with eager impetuosity to tear him in pieces, forcing along with him the man by whom he was led, and rushing forward with such rage that, striking his head against the wall, he dashed his skull to pieces.

A story somewhat similar is related of another work by Francesco, and is told by persons who were eye-witnesses of the scene. His nephew, Benedetto Baroni, had a small picture in oil, of little more than two palms high, in which Francesco had depicted Our Lady, a half-length of about the size of life, with the Infant Christ in the lowermost corner, the Divine Child being visible from the shoulder upwards only, and having one arm extended, in the act of caressing the Virgin Mother; now it chanced that while the Emperor was master of Verona, the renowned captain, Don Alonso di Castiglia and Alarcone was there on behalf of his majesty the Catholic King, and being in the house of the Veronese Count Ludovico da Sesso, expressed a great desire to see this painting. Having sent for it therefore one evening, the company were looking at it with a good light, and all were admiring the perfection of art displayed, in the work, when the Signora Caterina, wife of the Count, walked into the apartment with one of her little sons; the child had on his wrist one of those green birds called in Verona terrazzani^[79] because they make their nests on the earth, and are trained to sit on the wrist, as does the falcon. It happened then that as the lady was standing with the. rest to examine the picture, this bird, seeing the extended arm and hand of the painted child, flew forward to perch itself thereon, and falling to the ground, since he could not find a resting place on the painted surface, he twice returned to make the same attempt, seeking each time to place himself on the wrist of the painted child, exactly as if it had been one of those living children which were accustomed to be constantly holding it on their hands. Amazed at what they beheld, those nobles would fain have bought the picture from Benedetto, offering him a very great price for the same, but it was not possible by any means to make him relinquish it. Some time afterwards a plan was laid by the same persons to rob him of the picture, and this was to be accomplished on occasion of the festival of San Biagio, which was held in the church of San Nazzaro, but the owner, having received information of the design, took care to render it unsuccessful.

For the church of San Paolo at Verona,^[80] Francesco painted a picture in water-colours which is exceedingly beautiful, and another which is no less beautiful for the chapel of the Bandi family in the church of San Bernardino.^[81] While at Mantua he painted a picture to be sent to Verona, and this is in that chapel of the church of San ISazzaro which belongs to' the Black Friars, and wherein are deposited the remains of San Biagio. The work presents two singularly beautiful nude figures, and the Madonna seen in the clouds above with the Divine Child in her arms; she is accompanied by Angels, which are admirable figures.^[82]

Francesco was a man of holy life, and the enemy of every vice; he would never paint subjects of a licentious character, and refused such as he could not approve when proposed to him by the Marcjiese; his brothers were equally excellent with himself, as will be related in the proper place. Finally, having become old and suffering from internal disease, Francesco, by the advice of the physicians and with the permission of the marquis, repaired to the baths of Caldero in the Veronese territories, accompanied by his wife and attended by their servants, proposing to take the waters at that place. But one day, after he had drunk the water accordingly, he permitted himself to be overcome by drowsiness, his wife indulging his wish to do so from compassion for his sufferings; hut it is very dangerous for those who have just taken those waters to sleep after them, and Francesco was seized with a violent fever, and finished the course of his life on the 2nd of Julv. 1519. When this event was made known to the marquis, he sent immediate orders by a courier to the effect that his body should be transported to Mantua, and this was done, though much against the will of the Veronese, and he was most honourably entombed at Mantua in the burial place of the Compagnia Segreta of San Francesco. This master lived to the sixty-fourth year of his age; his portrait, which is in the possession of Messer Fermo, was taken when he was fifty. Many eulogies were composed to his honour, and he was lamented by all who knew him as the good and pious man that he was. Francesco took for his wife. Madonna Francesca Gioacchini of Verona, but never had children.

The eldest of Francesco’s three brothers was called Monsignore; being a person weU versed in letters he received offices in Mantua from the marquis, who gave them to him from love to his brother, and from these he derived a good income. He lived eighty years, and left children by whom the family of the Monsignori is kept alive in Mantua. The second brother of Francesco was called Girolamo while he remained in the world, but among the Barefooted Brotherhood of San Francesco he was named Fra Cherubino: he was a fine calligrapher and admirable miniaturist. Francesco’s third brother, who was a monk of the Observantines of San Domenico, was called Fra Girolamo; his humility caused him to become a lay-brother, he was a man of good and holy life, and a tolerably able painter, as may be seen by a very beautiful picture of the Last Supper which he painted in the refectory of the convent of San Domenico in Mantua. He performed many other works in the same place besides that here mentioned; among them is the Passion of Our Lord, but this was left unfinished at his death. The singularly beautiful Last Supper in the refectory of the very rich abbey which the monks of San Benedetto possess in the Mantuan territory, is by this master,^[83] and he painted the Altar of the Rosary in the church of San Domenico: for the convent of Sant’ Anastasia in Verona also, he painted a Madonna in fresco, with the Bishop San Remigio,^[84] and Sant’ Anastasia.^[85] In a small arch over the second door of the inner cloister is another figure of Our Lady, painted by the hand of this artist, with San Domenico and San Tommaso d’ Aquino, all very ably executed.

Fra Girolamo was a man of the utmost simplicity of character, and was totally regardless of worldly affairs. To avoid noise and disturbance he dwelt for the most part at a farm belonging to the Brotherhood, and such money as was sent to him for his works, and which he used for the purchase of colours or other materials, it was his custom to keep in a basket without a cover which was hung up to the ceiling in the midst of his chamber, that all who might require to use it might take therefrom; and that he might not have the trouble of taking thought each day for what he was to eat. Fra Girolamo would boil a good kettle of beans every Monday, which then served him for the whole week.

When the plague broke out in Mantua, and the sick were abandoned by all but himself, as happens in such cases. Fra Girolamo, moved by the deepest compassion, would never consent to leave the poor infected fathers; nay, he continued to attend upon and serve them with his own hands. Thus, not regarding the loss of his life for the love of God, he caught the malady while engaged in that work of charity, and died, to the great regret of all who had known him, in the sixtieth year of his age.

But to return to Francesco Monsignore: this artist took the portrait, which I had forgot to mention above, of Count Ercole Giusti of Verona. This is of the size of life, the dress is a robe of cloth of gold, which it was the habit of Count Ercole to wear; a very beautiful portrait it is, as may be seen in the house of the Count Giusto his son.^[86]

Domenico Moroni was born at Verona, about the year 1430; he learned the art of painting from certain artists who were disciples of Stefano,^[87] and from such works as he saw and copied of the above-named Stefano, of Jacopo Bellini, of Pisano,^[88] and of other masters. 1 make no mention of certain pictures which he executed after the manner of those times, and which are in monasteries and private houses, but will not omit to record that he decorated in chiaro-scuro of terra verde the façade of a house on the Piazza called that of the Signori in Verona, and which belongs to the municipality of that city. Here Domenico represented numerous stories in the ancient manner, with figures and vestments very well arranged in the fashion of former days and a vast number of ornaments. But the best work to be seen by the hand of this master is in the church of San Bernardino: the subject of this picture is Christ led to the Cross; it comprises a large mass of people and many horses, and will be found on the wall above the chapel of the Monte di Pieta,^[89] where Liberale painted his picture of the Deposition from the Cross, and the Weeping Angels.

The chapel next to that was also painted by the same master at great cost; it was richly decorated with gold inside and out, by command and at the expense ' of the Cavaliere Messer Niccolo de’ Medici, who was at that time considered to be the most wealthy man in Verona; he spent much money in this and other pious works to which he was inclined by nature. This gentleman, after having built many churches and monasteries, and leaving scarcely any part of the city wherein he had not expended large sums to the honour of God, selected the above-named chapel for his burial-place, and in the decoration of the same he availed himself of the services of Domenico, wlio was at that time in higher repute than any other painter of Verona, Liberale being then at Siena.

In the interior of the above-named chapel, then, Domenico painted the Miracles of St. Anthony of Padua, to whom it is dedicated, and placed therein the portrait of Messer Niccolb; this is an old man with white hair and shaven beard, he is without any covering for the head, but wears a long vestment of cloth of gold, such as it was the custom at that time for knights to wear. This, for a work in fresco, is very well designed and executed.^[90] In the exterior vaulting lastly, which is richly gilded, are circular compartments wherein our artist painted the four Evangelists; and on the pilasters, both those of the interior and exterior, he executed ligures of saints, among others that of Sant’ Elizabetta of the third Order of San Francesco, with those of Sant’ Elena and Santa Caterina, all exceedingly beautiful and much commended for the excellence of the design, the beauty of the colouring, and the grace imparted to the whole work. This performance may at a word be considered as affording good testimony to the merits of Domenico^[91] as well as to the liberality of the knight Messer Niccolò de’ Medici.

Domenico Moroni died at a very advanced age; he was buried in the church of San Bernardino, wherein are the works by his hand above alluded to, and left his son Francesco Moroni, heir to his property as well as to his endowments. It was under the discipline of his father that this Francesco acquired the first rudiments of his art, but he afterwards devoted himself with so much assiduity to the study of the same that he became a much better master than his father had been: of this we have convincing proof in the works which Francesco executed in emulation of those performed by his father. In the above-named church of San Bernardino for example, and beneath the picture executed by his father for the altar of the Monte, Francesco painted two folding doors, erected to close in the work of Liberale,^[92] depicting a figure of the Madonna on the inside of one and San Giovanni Evangelista on that of the other; both are of the size of life, they are weeping, and their sorrowful countenances are very beautiful, as are the draperies and every other part of the work.

In the same chapel, and on the lower part of the central or principal wall, Francesco painted the Miracle performed by Our Saviour, with the five loaves and two fishes, where- •with he satisfies the multitude. We have here many beautiful figures and numerous portraits from the life, but that which is most of all commended is the figure of San Giovanni Evangelista, a slight form with the back partially turned to the spectator. In the same place he shortly afterwards produced two figures whmh he depicted on the void spaces beside the picture above-named; these are the Bishop San Ludovico, who was a Franciscan Monk, and another figure: within a concave compartment of the same ceiling Francesco also painted certain heads which are foreshortened: all these works are greatly extolled by the artists of Verona. For the altar of the Cross, which is one of those in the same church, and stands between the chapel just mentioned and that of the Medici, our artist painted a picture in addition to the many previously placed there; this stands in the centre above all the others, and represents our Saviour Christ on the Cross, with the Madonna and San Giovanni, a very beautiful thing:^[93] he likewise painted another picture on the left side of the altar. Our Lord, who is washing the feet of the apostles namely; these last stand around in various attitudes, and in this work the painter is said to have portrayed himself in the figure of one who is attending on the Saviour, and is in the act of bearing water for his use; the picture is placed over that executed in the same place by Caroto.^[94]

For the chapel of the Emilj in the cathedral, Francesco painted figures of San Jacopo and San Giovanni, with Our Saviour Christ bearing his Cross,^[95] between them. The same master painted many pictures at Lonico, for an abbey which belongs to the Monks of Monte Oliveto, and is a place whereunto there resort vast crowds of people, drawn thither by a figure of the Madonna, which performs a good number of miracles in that place. Francesco was the most intimate friend of, and as it were a brother to, the painter and miniaturist Girolamo dai Libri,^[96] wherefore they undertook to execute in company the folding doors for the organ in the church of Santa Maria-in-Organo, which belongs to the Monks of Monte Oliveto, and on the exterior of one of thern^ Francesco painted figures of San Benedetto clothed in white vestments, and San Giovanni Evangelista, while he placed the Prophets Daniel and Isaiah, with two angels, in the air above on the inner side of the same: the ground beneath is wholly occupied by landscapes of exquisite beauty. He afterwards painted the tympan over the altar of the Muletta,^[97] depicting thereon a figure of San Piero with that of San Giovanni, both about a braccio high, but executed so admirably, and finished with such care and delicacy, that they have the appearance of miniatures. The carvings for his work were prepared by Fra Giovanni of Verona, a master of intarsiatura and carving.

Two paintings in fresco were executed by Francesco on the wall of the choir in the same church. They represent the Saviour when he enters Jerusalem riding on an ass, and when he is praying in the Garden. In the latter there is a body of armed men; they are approaching in the distance, guided by Judas, to take Christ prisoner.^[98] But more beautiful than all the other works of Francesco is the sacristy of this church, the ceiling of which is entirely covered with paintings, all by his hand; the figure of St. Anthony flagellated by Demons excepted, which is said to be by his father Domenico. In this sacristy then, Francesco, besides the Saviour and the fore-shortened angels of the ceiling, painted figures of the Pontiffs ranged in pairs in the lunettes, every niche containing two Popes clothed in their pontifical vestments. They comprise all those Brethren of the Order of San Benedetto who have been exalted to the pontificate. Around the sacristy and beneath the above-named lunettes, there is a frieze of the depth of four feet, and divided into compartments, wherein are represented figures of emperors, kings, dukes, and other princes, who, having abandoned their sovereign condition, have made themselves Monks of that Order. Among these figures, Francesco portrayed from the life many of the monks who were dwelling in the convent while he was occupied with this work, or who were making their temporary abode in that monastery. Many of the novices also, and other monks of all kinds are here depicted, all heads of extraordinary beauty and executed with the utmost care.

This sacristy, by the ornaments thus given to it, was of a truth rendered the most beautiful then existing in all Italy,^[99] seeing that in addition to the effect derived from the grandeur and correctness of its proportions, and from the pictures above-named, which are singularly fine, there is also a range of seats enriched with intarsiatura and carvings representing perspective views, so admirably done, that in those times—nay, perhaps in our own also, indeed—it would scarcely be possible to find anything greatly superior to them.^[100] Fra Giovanni of Verona, by whom this part of the works was executed, was of a truth most excellent in that art, as we have already observed in the life of Rafiaello da Urbino, and as is fully proved by the examples of his skill to be found at Rome, in the papal palace,^[101] at the Monastery of Monte Oliveto di Chiusuri, in the Sienese territory, at many other convents of his order, and in various places besides.

But of all the works performed by Fra Giovanni, those of this sacristy may truly be called the best, and we may safely affirm, that whereas in the rest he did but excel other masters, in this work he surpassed himself. Among the various works carved by Fra Giovanni for the Sacristy of Santa Maria, is a chandelier more than fourteen feet high, and intended for the Easter candle; the material is walnut-wood, and the carving is finished with such extraordinary care and patience, that I do not think it possible for a work of the kind to be done better.^[102]

We will now return to Francesco, by whom was depicted the Madonna which is in the Chapel of the Counts Giusti, in the same church. In this picture our artist has also portrayed Sant’ Agostino and San Martino, both in episcopal vestments; and in the cloister of the church he has painted a Deposition from the Cross, with the Maries and other Saints. This is a work in fresco, which is greatly extolled by the Veronese.^[103] In the Church of the Vettoria, Francesco painted the Chapel of the Fumanelli family; this was built near the choir by the cavalier, Messer Niccolo de’ Medici. He likewise painted a Madonna in fresco, in the cloister,^[104] and afterwards portrayed from the life, Messer Antonio Fumanelli, a physician most famous for the works which he has written on subjects connected with his own vocation. On a house which is seen on the left hand, as you cross the “Ship-bridge” to go to San Polo, Francesco painted a Madonna in fresco, with numerous Saints; this work is considered to be a very good one, whether as regards design or colouring. In the Brà,^[105] moreover, above the House of the Sparvieri, and opposite the Garden of the Monks of San Fermo, he painted a picture of similar character, and other works were in like manner performed by him; but of these we need make no further mention, seeing that we have named the chief of them; let it suffice to say, that he imparted to his pictures design, grace, harmony, and a pleasing and animated colouring, equal to that of any other painter. Francesco lived fifty-five years, and died on the 16th of May, 1529; he was buried in the church of San Domenico, beside his father,^[106] and was borne to his grave clothed as he had desired to be, in the vestments of a Monk of San Francesco. This master was so good a man, so religious and so orderly, that no word which was not a praiseworthy one was ever known to proceed from his mouth.

A disciple of Francesco, and one who knew much more than his master, was the Veronese, Paolo Cavazzuola,^[107] by whom very many works were performed in his native city; I say in his’ native city, because it is not known that he ever worked in any other place. At San Nazzaro,^[108] a cloister of the Black Friars in Verona, Cavazzuolo depicted many subjects in fresco near those executed by his master Francesco, but the whole of these have been destroyed, that church having been rebuilt by the pious munificence of the reverend Father Don Mauro Lonichi, a noble Veronese, and the Abbot of that monastery. He likewise painted a fresco in the old house of the Fumanelli^[109] family in the Via del Paradiso, depicting thereon the Sybil, who is showing to the Emperor Augustus, Our Saviour in the air, and borne in the arms of his Mother. This is a work, for one of those first executed by the master, of very tolerable merit.^[110] For the Chapel of the Fontani in Santa Maria-in-Organo our artist painted, also in fresco, the two Angels San Michele and San Raffaello;^[111] they are on the outer side of the chapel. At Sant’ Eufemia also, in the street which is opposite to the chapel of the Angel Raphael, and over a window which gives light to a landing-place in the staircase of that chapel, Paolo depicted the Angel with Tobit, whom he is guiding on his way; a very beautiful little work.^[112]

Over the door of the bell-tower of San Bernardino, Paolo Cavazzuola painted a figure of that Saint in fresco, and within a circular frame-work;^[113] and on the same wall, but lower down, and over the entrance to a confessional, is a figure of San Francesco^[114] by the same master, and also within a circular frame, similar to that of San Bernardino; they are both beautiful, and exceedingly well done. These are all the works that Paolo is known to have executed in fresco.^[115] Among those painted in oil, is a figure of San Rocco,^[116] at the altar of the Purification, in the church of the Madonna della Scala, and this he did in rivalry of the San Sebastiano,^[117] painted in the same place by II Moro. Now this San Rocco is a very beautiful figure; but the best ever painted by this master is one in the church of San Bernardino, where all the large pictures surrounding that on the tympan of the altar of the cross are by his hand, that of the Crucifix, with the Madonna and San Griovanni, which is above all the rest, alone excepted, and this is by the hand of Francesco his master.^[118]

But near to and above the Crucifix by Francesco, Paolo Cavazzuola painted two large pictures, one representing Christ bound to the column and scourged; the other showing the Coronation of Our Lord, and comprising a considerable number of figures somewhat larger than life. Lower down, in the first range, and forming the principal picture thereof, is a Deposition from the Cross, with the Madonna, the Magdalen, Nicodemus, and Joseph. In one of these figures, a young man with a red beard, standing near the shaft of the cross^[119] presents the portrait of the master himself; he wears a head-dress of the form usually worn in those days, and is depicted with such truth to the life, that he appears to be indeed a breathing man. On the right hand side, our artist represented the Saviour in the Garden, with the three Disciples near him; and on the left is Our Lord with the Cross on his shoulders, about to be be led to Calvary. The excellence of these works, which have here to support the comparison with those of his master, will ever secure to Paolo a place among the best artists.

In the basement, Cavazzuola painted half-length figures of Saints, which are for the most part portraits taken from the life. The first figure, which is in the habit of a Franciscan Monk, and representing a Beato, is the likeness of Fra Girolamo Recalchi, a Veronese noble. The figure beside this, and which is intended for San Bonaventura, is the portrait of Fra Bonaventura Recalchi, brother of the above-named Fra Girolamo. The head of San Giuseppe is that of a Steward of the Marquis Malespini, who had at that time been charged by the Brotherhood of the Cross to see the work executed; all these heads are works of extraordinary beauty and excellence. In the same church Paolo painted the altar-piece for the chapel of San Francesco, in which, the last work that he ever performed, the master surpassed himself.^[120] There are here six figures larger than life; Sant’ Elizabetta, of the third order of San Francesco, a beautiful figure, with a smiling expression and graceful aspect, having her lap filled with roses; she is looking all joyous at the sight of that miracle of God by which the bread which she herself, a great lady, was bearing to the poor, has been transformed into roses, in token that her humility and charity in thus serving the poor with her own hands, was highly acceptable to God. This Sant’ Elizabetta is the portrait of a gentlewoman who was a widow of the Sacchi family.

Among the other figures are the Cardinal San Bonaventura and the Bishop San Ludovico, both monks of San Francesco, and near them are St. Louis, king of France, St. Eleazer, in grey clothing, and St. Ivo, in his priestly vestments: above all is the Madonna enthroned in the clouds with San Francesco. The other figures which are around them are said not to be by the hand of Paolo, but by a friend of his, who assisted him with this picture. It is, indeed, easy to perceive that these figures are not of equal excellence with those beneath. The portrait of Madonna Caterina de’ Sacchi, taken from the life, is to be seen in this picture, which had been undertaken by her command, and at her cost.

Paolo had set his heart on becoming great and renowned; to this end he subjected himself to immoderate labours, and, becoming sick, died while yet in his youth, and when he had but attained the age of thirty-one,^[121] departing at the moment when he was beginning to afford evidence of his power, and to show what might be hoped from his endeavours at a riper age. It is, indeed, certain, that if fortune had not opposed her adverse influence to the activity of Paolo, he would without doubt have attained to the highest honours and the best position that could be desired by the painter. His loss was therefore deeply regretted, and not by his friends alone, but by all men of distinction, nay, by every one who knew' him; the more so, as he was a young man of blameless life and untainted by the reproach of vice. He was laid to rest in the church of San Polo, having rendered himself immortal by the admirable works which he left behind him.

Stefano Veronese,^[122] an excellent painter of his time, as we have before said, had a brother who was called Giovan-Antonio,^[123] but who never became anything beyond a very common-place painter, although he acquired his art from the above-named Stefano; yet that he possessed nothing to distinguish him is apparent in his works, of which there is no need to make further mention. This Giovanni was the father of a son who was in like manner a painter of commonplace subjects, and was named Jacopo. To this Jacopo were born two sons, the one called Giovanni Maria, and surnamed Falconetto, whose life we are now about to write, and the other named Giovan-Antonio; which last, devoting himself likewise to painting, performed numerous works at Roveredo, a place of considerable importance in the neighbourhood of Trent, with not a few pictures in Verona, w^hich are dispersed about among the dwellings of the citizens. He painted many pictures also in the Valley of the Adige above Verona, and in Sacco, which is opposite to Roveredo, he produced a picture of San Niccolo, with many animals. Other works were also executed by his hand in considerable numbers, and finally he died at Roveredo, to which place he had repaired for the purpose of making his abode there. GiovanAntonio was particularly happy in the representation of animals and fruits, of which many beautiful examples in miniature were taken to France by the Veronese Mondella,^[124] and many others were presented by his brother Agnolo to Messer Girolamo Lioni of Venice, a gentleman of great endowments.

But to come at last to Giovan-Maria, the brother of Giovan-Antonio: the first lessons in painting were taught to him by his father,^[125] on whose manner he enlarged and improved greatly, although he never himself became a painter of any great reputation. That he did not possess remarkable powers is indeed evident from his works in the chapels of the Matfei and Emilj, families in the Cathedral of Verona; in the upper part of the cupolo of San Nazzaro;^[126] and in other places. Perceiving, therefore, that his works in painting were not likely to attain to any great degree of perfection, and delighting beyond measure in architecture, Giovan-Maria set himself to examine and to design with infinite diligence all the antiquities in his native city of Verona. He subsequently determined to visit Rome, and there to acquire the knowledge of architecture from the study of those wonderful remains which are indeed the true masters of that art, and repaired thither accordingly, remaining there fully twelve years. This period GiovanMaria employed for the most part in the examination and copying of all those admirable antiquities, exploring every place wherein there were such to be found, until he had seen and taken the ground-plans, relative proportions, and dimensions of all; nor did he leave anything of this kind in Rome, whether columns, cornices, or capitals, of whatsoever order they might be, which he did not design with his hand, giving to all their due admeasurements.

Giovan-Maria likewise designed all the sculptures which were discovered at that time, insomuch that, after twelve years thus expended, he returned to his native place rich in all the treasures of that art. Nor did he content himself with such things as were to be found in Rome itself, but designed everything that was good or beautiful in all the Campagna of Rome, nay, even to the kingdom of Naples were his researches extended on the one hand, while they were carried to the Duchy of Spoleto on the other, and to many parts besides. Giovan-Maria was meanwhile very l^oor, and had not the means of living, or of supporting himself in Rome; wherefore, they say, that it was his custom to employ two or three days of each week in helping at some one or other of the works in painting which were then in progress, and by means of what he thus gained, the masters being then well paid and the necessaries for living cheap, he contrived to exist on the other days of the week, and so pursue his studies in architecture. He thus designed and copied all these antiquities, completing thenf as though he had found them entire, restoring them to perfection in his drawings that is to say, being enabled to furnish the parts wanting, with the utmost truth and in all their integrity, by means of the information supplied to him by such portions and members as were found still remaining in their places; all which he did with such care and exactitude in the measurements, and with such perfect justice of proportion, that he avoided all liability to errors, nor did he commit such, in any part whatever.

Having returned to Verona, Giovan-Maria could find no opportunity for the exercise of his acquirements in architecture, his native land being involved, by a change of the government, in sore trouble and confusion; he therefore gave his attention for the time to painting, and executed numerous works. Over the house of the Torre family, for example, he painted a large escutcheon of arms with certain trophies added thereto; and for two German nobles, counsellors of the Emperor Maximilian, he painted one side of the small church of San Giorgio, in fresco, the subjects being taken from Scripture. He depicted the portraits of these two nobles likewise thereon, both of the size of life and kneeling, one on one side of the picture and one on the other.^[127] At Mantua, moreover, Giovan-Maria performed a considerable number of works for the Signor Luigi Gonzaga, with some others at Osimo, in the March of Ancona; and while the city of Verona was under the dominion of the Emperor, this artist painted the Imperial Arms on all the public buildings, an office for which he not only received good remuneration, but valuable privileges also by special grant, from which we see that many favours and exemptions of various kinds were conceded to him. Nor were these granted wholly on account of his services in matters of art, for Giovan-Maria was besides a man of a great spirit, brave and bold, nor ever averse to take arms in his hands, so that with these, which were also his familiar weapons, very good and faithful service might safely be expected from him.

Now this his disposition was all the more important and serviceable, seeing that he had great credit with all his neighbours, and drew after him the whole mass of the people dwelling iif the suburb of San Zeno, which is an exceedingly populous part of Verona, and wherein it was that GiovanMaria was born. He had besides taken a wife there, one of the family of the Provali, and for all these causes he was so implicitly followed by all the people of his district that he was called in the city by no other name than the “Red-head ” of San Zeno. Thus, when the condition of Verona was once more changed, and the town returned to place itself under the rule of its ancient masters the Venetians, GiovanMaria, as one who had attached himself to the Imperial party, was compelled to depart thence for the safety of his life: he therefore proceeded to Trent, where he remained for some time, painting certain pictures in the meanwhile. But when matters were at length somewhat arranged, our artist repaired to Padua, where he was first presented to and afterwards greatly favoured by the most reverend Monsignore Bembo, who subsequently made him known to the illustrious Messer Luigi Cornaro, likewise a Venetian gentleman of a truly regal mind and most exalted intellect, as is clearly proved by the many noble works undertaken and honourably carried through by his means.

This noble, therefore, being one who, in addition to his many other fine qualities, had a great delight in works of architecture, the knowledge of which is worthy of any prince however great, had studied the works of Vitruvius, of Leon Battista Alberti, and of others who have written on that subject, and desired to put the knowledge which he had acquired into practice. Having seen the designs of Falconetto, therefore, and perceiving the intimate acquaintance with his subject which was possessed by that artist, with the luminous explanations which he gave on every question that could arise respecting architecture; seeing all this, I say, and observing his profound knowledge of the most minute points connected therewith, Luigi Cornaro conceived so great a liking for him, that he caused him to dwell in his own house, where he entertained him honourably for the space of twenty years, during which period it was that the remainder of Giovan-Maria’s life endured.

Very numerous were the labours executed in those years byFalconetto for Messer Luigi Cornaro; and the latter, feeling a desire to behold and to examine those antiquities of Home which he had seen in the drawings of the artist, took the latter with him, and proceeded to that city, where, having Falconetto constantly in his company, he took care to examine every building minutely. This done, they both returned to Padua, where Messer Luigi, with the advice and after the designs of Giovan-Maria, set himself to erect that most beautiful and richly adorned Loggia, now to be seen in the Casa Cornara,^[128] which is near the Santo;^[129] and afterwards he proceeded to construct the Palace itself, which was built after a model prepared by Messer Luigi with his own hand: on this Loggia the name of Giovan-Maria is sculptured,^[130] it will be found on one of the pilasters. By the same architect is the grand and magnificent Doric portal of the governor’s palace,^[131] which portal, as a work in the purest and most correct taste, has been infinitely commended by every one.^[132] Giovan-Maria likewise erected two very beautiful gates for the city, one, called that of San Giovanni, which opens on the road to Vicenza, and is particularly handsome, as well as commodious for the soldiers who guard the same; the other, called that of Savonarola, and which is a work giving evidence of much merit and judgment in the architect.^[133] The design and model for the church of Santa Maria delle Grazie, which belongs to the Monks of San Domenico, were in like manner given by Falconetto, who also laid the foundations of that building. This work, as may be seen by the model, is so admirably arranged as well as so beautiful, that one of equal size which could be in all respects compared with it^[134] has perhaps never been seen in any other place. The model of a most superb palace was likewise prepared by Giovan-Maria for the Signor Girolamo Savorgnano, at his strongly fortified castle of XJsopo in Friuli: the foundations were laid and the walls had begun to rise above the earth, but the Signor Girolamo having died, the work remained at that point and never proceeded further; had it been completed it would without doubt have been a most magnificent erection.

About this time, Falconetto repaired to Polo in Istria for the sole purpose of examining and designing the Theatre, Amphitheatre, and Arch of Triumph still remaining in that most ancient city. Giovan-Maria was the first by whom theatres and amphitheatres were thus designed and by whom their ground plans were first made out, for all that we see in this kind, more especially as regards Verona, proceed from him and were caused to be painted or engraved by others after his designs. This master had a great and most exalted mind, he had never given his attention to works less important than the best and grandest of those remaining from the ancient masters, and had no other wish than that of being furnished with opportunities for the construction of edifices equal in grandeur to those of antiquity. He would not unfrequently prepare plans and designs with as much care and exactitude as he could have given had he been at once to have put the same in execution; nay, in such occupations as these, he lost himself, if we may so speak, to such a degree, that he would not deign to prepare designs for private dwellings of the gentry, whether for the city or the country, although very frequently urged to do so.

Giovan-Maria Falconetto frequently visited Rome, having been there many times besides those here named; the journey thither was consequently so familiar to him, that he would undertake it on any occasion, however slight, while his youth and vigour remained to him. On this subject people still living relate that, being one day in dispute with a foreign architect, who chanced to be in Yerona, respecting the proportions of some ancient cornice, I know not what, in Rome, Giovan-Maria, after many wmrds had passed, remarked, “On this point I will soon make myself certain,” and departing at once to his house, he set off without more ado to Rome.

This architect gave two very beautiful designs for places of sepulture, which were to be erected for the Cornaro family, in the church of San Salvadore at Venice; one of these was intended for the Queen of Cyprus, who belonged to the above-named house of Cornaro: the other was for the Cardinal Marco Cornaro, who was the first of that family honoured with the dignity of the purple. With the view to carrying these designs into execution, marbles to a large amount were prepared at Carrara, and transported to Venice, where they still remain in that fragmentary condition in the palace of the above-named Cornari.

Giovan-Maria was the first architect by whom the good and true methods of building were carried to Verona, to Venice, and to all parts where, before himself, there had not been any single person who could ever have produced a cornice or a capital, or who understood the measures and proportions of a column or the arrangement of any building according to rule, as may be clearly perceived in the fabrics erected before his day- The knowledge of these things was much promoted and advanced by Fra Giocondo, who was contemporary with. Giovan-Maria, and received its ultimate perfection from Messer Michele San Michele. The people of these parts are, therefore, under an eternal obligation to the Veronese, in whose country were born these three most excellent architects, who were indeed all living therein at one and the same time. To them succeeded Sansovino, who to Architecture, which he found well grounded and established by the three masters above-named, added Sculpture, which he carried thither, to the end that their buildings might be furnished with all the ornament that can be desired for such: but for this they are indebted, if it be permitted so to speak, to the ruin of Rome;^[135] for, as in consequence of that event the masters were dispersed, the beauties of these arts were then communicated to all Europe.

Giovan-Maria caused certain works in stucco to be executed in Venice, teaching the methods by which it is necessary to proceed for that purpose. Some affirm that in his youth Falconetto directed the adornment of the ceiling in the chapel of the Santo, which was executed in stucco work by Tiziano da Padova,^[136] with many others: there are besides various decorations of this kind executed under his direction in the Casa Cornara, and which are exceedingly beautiful. This master taught his art to two of his sons; to Ottaviano that is to say, who was also like himself a painter as well as architect; and to Provalo, his second son; Alessandro, the third, gave his attention in his youth to the vocation of an armourer, but afterwards betook himself to the profession of arms and became a soldier; he was three times victor on the battle-field, and finally, being then a Commander of Infantry, he died bravely fighting before Turin in Piedmont, having received his death from a cannon ball.

Falconetto himself, after having been for some time disabled by the gout, ultimately finished the course of his life at Padua, and in the house of the above-named Messer Luigi Cornaro, who had always loved him as a brother, yea, rather, as himself: wherefore, and to the end that death might not separate the bodies of those who had ever been conjoined in soul by friendship and love of art in this world, Messer Luigi had proposed that the remains of GiovanMaria should be deposited with his own in the tomb that was to be erected for them, and which he furthermore intended to share with the humorous poet Ruzzante, also his intimate friend, and who likewise lived and died in his house. But whether or not this design of the illustrious and magnificent Cornaro was carried into effect, I cannot say.

Giovan-Maria was a man of much eloquence, acute in repartee, and very pleasing and courteous in conversation; Cornaro was wont to affirm that an entire book might be made of Falconetto’s admirable sayings. Though lamed by the gout, as we have said, Giovan-Maria lived cheerfully, and therefore extended his life to the age of seventy-six, when he died in the year 1534.^[137] He had six daughters, five of whom he did himself bestow in marriage, and the sixth was married after his death by her brothers to the Veronese, Bartolommeo Ridolfi, who performed many works of stucco in their company, and greatly surpassed them in that branch of art, wherein he was a much better master than they. This may be seen from the works executed by him in many places, but more particularly at Verona, at the house of Fiorio della Seta, which is above the Ponte Nuovo, and where there are many apartments very beautifully decorated by his hand. There are, besides, numerous works of the same kind by Bartolommeo in the house of the Counts Canossi, which are truly admirable, as are likewise those which he performed in the house of the Murati, which is near to San Nazzaro, for the Signor Giovanni Battista della Torre: with others for the beautiful villa of the Veronese banker, Cosimo Moneta,^[138] and many besides in different places, all of which are exceedingly beautiful. Palladio, who is an excellent architect, affirms that he does not know any one possessed of so fine a power of invention in this matter, or who understands so well how to decorate apartments with admirable divisions of stucco work, as does this Bartolommeo Ridolfi. The latter, not many years since, was taken by Spitech Giordan, a Polish noble of great authority with the king of his country, to Poland, where he entered the service of the monarch with very honourable appointments. Here he has performed, and still continues to execute numerous works in stucco, large figures for example, and medallions; he also prepares designs for palaces and other buildings with the aid of his son, who is in nowise inferior to the father.

It is not known exactly at what time the elder Francesco dai Libri of Verona, of whom we are now to speak, was born, but it was some time previous to the birth of Liberale. He was called Dai Libri (“of the books”), because he exercised the art of illuminating books, having lived before that of printing had been invented, and exactly at the time when the latter was just beginning to be brought into use. Since, therefore, there were brought to him books from all quarters, to the intent that he should adorn them with miniatures, so was he known by no other name than that of Francesco of the Books, in the illumination whereof he was most excellent. And he executed vast numbers of them, seeing that whosoever could endure the cost of having them written, which was very great, desired also to have them adorned, so far as was within their means with miniatures. This artist illuminated many of the choral books which are now in the church of San Giorgio at Verona, as well as those belonging to Santa Maria-inOrgano, and San Nazzaro, both in the same city, all of which books are exceedingly beautiful. But the most beautiful of all is a small book, or rather two small j^ictures which close together in the manner of a book; on one side of which there is a San Girolamo, executed with the most delicate minuteness and finished with extraordinary care, and on the other a San Giovanni in the Isle of Patmos, and exhibited in the act of writing his book of the Apocalypse. This work, which was bequeathed to the Count Agostino Giusti by his father, is now in San Leonardo, which belongs to the Canons Regular, to which convent the father Don Timoteo Giusti, son of the above-named Count, belongs. Finally, and after having executed many works for divers noblemen, Francesco died, content and happy, seeing that in addition to the quiet of mind and peace of soul which he derived from his integrity of life, he had also a son, called Girolamo, who had attained to such eminence in art, that he saw him before his death become a much greater master than he had ever been himself.

This Girolamo then, was born at Yerona in the year 1472, and at the age of sixteen, he painted the altar piece for the chapel of the Lischiin the church of Santa Maria-in-Organo. When this work, therefore, was uncovered and fixed in its place, the whole city hastened to embrace Francesco his father, and to rejoice with him thereon.^[139] The subject of this picture is a Deposition from the Cross, which is very beautifully rendered; but among many sorrowful heads of exquisite expression, the best of all are those of Our Lady and San Benedetto, which have ever been and continue to be highly extolled by all artists: there is a landscape likewise and a part of the city of Verona, which is tolerably well copied from the reality. Encouraged by the commendations which he heard bestowed upon this work, Girolamo painted the Altar of the Madonna in the church of San Polo, which he did with much ability. In the church of the Scala also, the picture of the Madonna with Sant’ Anna^[140] is by his hand, and is placed between the San Sebastiano of II Moro and the San Rocco of Cavazzuola.

For the church of the Yittoria, Girolamo painted the tympan of the high altar by command of the family of the Zoccoli, and near this is the picture of Sant’ Onofrio, depicted by the same artist for the family of the Cipolli, eonsidered to be the best, whether as regards design or colouring, ever executed by Girolamo. In San Leonardo del Monte near Yerona, he also painted the picture of the high altar, the commission for which he received from the Cartieri family. This work also, which is a large one and eomprises numerous figures, is highly esteemed by all, and exhibits among other things, a singularly beautiful landscape. But a circumstance, which is not unusual in our days, then awakened extraordinary admiration for the picture now in question; this was a tree, against which a large seat or tlirone whereon the Madonna is seated appears to be supported; this tree, which seems to be a laurel, projects considerably forward and overshadows the throne; but that which surprised all men at the time we refer to was, that, between the branches, which are not very thick, there appears the clear heaven so pure and beautiful that the tree really seems to be a real and living one; very graceful is it withal, and so natural, that birds, which have by chance entered the church through its different openings, have been many times seen to fly towards it for the purpose of alighting thereon, more particularly the swallows which have their nests among the beams of the roof, and which, as well as their little ones, have been seen to do this, as is affirmed by persons entirely worthy of credence and more times than one. Among others who declare this to be a fact is the Padre Don Giuseppe Mangiuoli, a Veronese, who has been twice General of his order, and is a person of a most holy life, who would not for all that the world could offer assert a thing that was not entirely true. The father Don Girolamo Volpini also, a Veronese, and many other persons relate the same thing.

For Santa Maria-in-Organo, where Girolamo had executed his first work, he painted one of the folding doors of the organ (the other being decorated by Francesco Morone his companion^[141]), representing two Saints on the outside, and a Presepio, or the Manger of the Nativity, within. On a picture opposite to his first work moreover, he portrayed another Nativity, with the Shepherds, finelandscapes, and very beautiful trees; but more particularly natural and life-like are two Rabbits which are depicted in this work, and are finished with so much care that every separate hair may be distinguished in the skin.^[142] For the chapel of the Buonalivi he painted another picture, the subject of which is Our Lady seated between two other figures and with angels beneath, the latter singing. At the altar of the sacrament, Girolamo painted three small pictures in miniature^[143] within the ornament or frame-work executed by Fra Giovanni da Verona. That in the centre is a Deposition from the Cross, with two Angels, and in those of each side are six Martyrs, three in each picture that is to say, all kneeling with their faces towards the sacrament, and all being saints whose remains have been deposited within the altar itself. The first three are Canzio, Canziano, and Canzianello, who were nephews of the Emperor Diocletian; the three others are Protos, Grisogonos, and Anastasius, who sutfered martyrdom at a place near Aquileia, called ad aquas gradatas; all these figures are in miniature as we have said, and are very beautiful, Girolamo being distinguished in that branch of art above all of his time in Lombardy and the State of Venice.

This artist illuminated many books for the Monks of Monte Scaglioso in the Kingdom of Naples, with some for the church of Santa Giustina in Padua, and many others for the Abbey of Praia in the territory of Padua. He likewise executed some few at Candiana, a very rich monastery belonging to the Canons Regular of San Salvadore, to whose house he went in person for the purposes of his labour, a thing which he would never do for any other place. While Girolamo was at that monastery, Don Giulio Clovio,^[144] who was one of the monks thereof, acquired the first principles of that art in which he afterwards became what he now is, the greatest miniaturist in Italy. At Candiana Girolamo illuminated a leaf with a Kyrie, which is a very extraordinary work, and for the same Monks he executed the first leaf of a Psalter to be used in the choir. In Verona likewise he produced various works of this kind for Santa Maria-in-Organo, and for the Monks of San Giorgio.^[145] For the Black Friars of San Nazzaro in Verona he executed many beautiful miniatures in like manner.^[146]

But that which surpassed all the other works of this artist, which were, nevertheless, divinely beautiful, w^as a leaf on which he had depicted in miniature the Terrestrial Paradise, with Adam and Eve driven forth by the Angel, who is following them with the sword in his hand: not to be enumerated or described are the numbers, beauty, and variety of the trees, fruits, flowers, animals, birds, and other objects, which are represented in this work, a stupendous production, which was executed by command of Don Giorgio Cacciamale of Bergamo, then Prior of San Giorgio in Verona, and who paid Girolamo sixty crowns of gold for the same, conferring on him many favours and marks of courtesy in addition. This work was afterwards presented by the above-named father, Don Giorgio, to a Cardinal in Pome, who was then Protector of that Order. He showed it to many nobles in Rome, when it was declared to be the most perfect example of miniature painting ever seen up to that time.^[147]

Girolamo painted flowers with so much care, he made them so true, so beautiful, and so natural, that they appeared to the spectator to be real; he would likewise imitate small cameos, or other engraved jewels and precious stones, in such a manner that nothing could possibly be more exaetly similar. Among his figures are some, as in his imitations of cameos and other precious stones, which are not larger than a small ant, and of which one can, nevertheless, distinguish all the limbs, nay, all the museles, so clearly, that the effect could not well be believed by one who had not seen it. In his last years Girolamo was accustomed to declare that he then understood his art better than he had ever done, and knew where to look for all he w^anted, but that when he attempted to take up the pencils they all turned the wrong way, and neither eye nor hand would serve him any longer. This artist died at the age of eighty-three, and on the second day of July, in the year 1555; he was buried at San Nazzarro, in the burial-place of the Brotherhood of San Biagio.

This master was a good and upright man, one who never had contention or strife with any one, and led a very innocent life: among other children he had a son named Francesco, who acquired the art of miniature painting from himself, and performed such marvels therein while still but a child, that Girolamo declared he could not himself have done so much at that age as was accomplished by his son. But the youth was led away from his studies by an uncle, the brother of his mother, who, being a somewhat wealthy man and not having children, took his nephew to his home in Vicenza, where he set him to take charge of a furnace for glass-making, which belonged to himself. When Francesco had spent his best years at this, the wife of his uncle died, the latter thereupon took another wife, and had children of his own; the hopes of Francesco were thus destroyed, and he found that he had lost his time as well as the prospect which he previously had of being his uncle’s heir.

Having then returned, after an absence of six years, to his early art, and having made some progress in the acquirement of the same, he began to work. Among other things he constructed a large globe of wood, hollow within, and being four feet in diameter; this he then covered externally with a strong glue, so that there should be no danger of cracks or other injury. Now, the globe or ball thus constructed was to serve as a terrestrial globe, wherefore, when it had been carefully divided and exactly measured under the direction and in the presence of Fracastoro and Beroldi, both well versed in physics, and distinguished as cosmographers and astrologers, it was afterwards to be painted by Francesco for the Venetian gentleman, Messer Andrea Navagero, a most learned orator and poet, who intended to make a present of the same to the King Francis of France, to whom he was about to be sent as ambassador from the Republic. But scarcely had Navagero arrived in France and entered on his office, when he died: the work consequently remained unfinished, which was much to be regretted, since, executed by Francesco, under the guidance and with the advice and assistance of two men so distinguished as were Fracastoro and Baroldi, it would doubtless have turned out a very remarkable production. It remained unfinished, however, as I have said, and what is worse, even that which had been done received considerable injury, I know not of what kind, in the absence of Francesco: yet, spoiled as it was, the globe was purchased by Messer Bartolommeo Lonichi, who has never been prevailed on to give it up, although he has been frequently much entreated to do so, and offered large sums of money for it.

Francesco had made two smaller globes before commencing this large one; and of these one is now in the possession of Mazzanti, Archdeacon of the Cathedral of Verona; the other belonged to the Count Raimondo della Torre, and is now the property of his son, the Count Giovanni Battista, by whom it is very greatly valued, seeing that this also was constructed with the assistance and after the measurements of Fracas tor0, who was a very intimate friend of the Count Raimondo.

Finally, becoming weary of the excessive labour demanded by works in miniature, Francesco devoted himself to painting and architecture, in which he became a very able artist, and executed numerous works in Venice and Padua. Now, at that time there came into Italy a rich and noble Fleming, the Bishop of Tournay, whose object was the cultivation of letters, an examination of the country, and the acquirement of knowledge relating to its manners and customs. Finding himself in Padua, therefore, and having much pleasure in architecture, he resolved, as being more particularly pleased with the Italian method of building, to transplant our modes of architecture into his own country. And to do this the more effectually, the Bishop, knowing the ability of Francesco, attached the latter to himself by a very honourable stipend, proposing to take the artist with him into Flanders, where he had determined to execute many works of importance. But when the time for departure was come, Francesco, who had already prepared designs, copied from the best and most renowned of the Italian edifices,—the poor Francesco, I say, fell sick and died, while still in his youth, and the object of many hopes; he died, leaving his patron in much grief for the loss which his death had occasioned.

Francesco left an only brother, in whom, he being a priest, the family Dai Libri became extinct, in which family there had been three men consecutively all highly excellent in their peculiar branch of art. Nor are there any disciples left to them by whom the same may be maintained in life, if we except the above-mentioned Don Clovio, who acquired his art, as we have said, from Girolamo, when the latter was working at Candiana, where Don Clovio was one of the monks, and by whom it was afterwards brought to a degree of perfection which very few have attained, and no one has ever surpassed.

Now, I was myself well acquainted with some of the facts here related in respect to these noble and excellent artists of Verona, but I should not have been able to acquire all the information which I have here reproduced concerning them, if the great kindness and patient research of the reverend and most learned Fra Marco de’ Medici, himself a Veronese, and profoundly skilled in all the most noble arts and sciences, had not been brought to aid me, as were those of the excellent sculptor Danese Cataneo of Carrara, both my good and trusted friends, from whom I have received that complete and minute exposition of facts, which I have now written as I have best been able, for the use and convenience of all who may read these our Lives. And, in the preparation thereof, the kindness of my many friends, who have been and still are subjecting themselves to much pains for my sake and for the advantage of the world, their kindness, I say, has been of great advantage and a most essential aid to my labours.^[148]

And this shall be the end of the lives of the above-named Veronese, of each of whom I have found it impossible to procure the portraits, the full notice here given not having reached my hands until I had nearly completed my book, and was within a very little of the close of the work.

1. He was bom at Verona in the year 1453.
2. The Franciscans dispute the possession of this master with the Dominicans, affirming that he belongs to them. For this question, see the Preface of Della Valle to the Sienese Edition of Vasari.
3. Panvinius, the mathematician, and Fra Luca Paccioli also give us notices of Fra Giocondo, as do the two Scaligers, father and son.
4. Giulio Cesare Scaligero namely, the father of Giuseppe, or the younger Scaliger.— Bottari. See Jul. Cas. Scalig. de Subtil, ad Cardanum Franc., p. 400, where Fra Giocondo is mentioned as a prodigy of knowledge.
5. An old Roman structure, of which two arches only now remain. The works of Fra Giocondo, which, as our author promised himself should “endui’e through all time,” were totally destroyed in the flood of 1757, but had withstood the rage of the waters during more than two hundred winters.
6. The copy sent to Lorenzo may possibly be that of the Casa Maffei, and is perhaps in the Capitular Library. A second, of exceedingly beautiful writing on parchment, is in the Magliabecchiana at Florence.
7. Poliziano called his Miscellanee bv that name, because they were written in the Villa CafFaggiolo at Mugello.
8. By Aldus Minutius, the elder, Venice, 1517, folio. Fra Giocondo dedicated this work to Giuliano, son of Lorenzo the Magnificent.—Bottari.
9. Fra Giocondo superintended the publication of an edition of Vitruvius in 1511, which he dedicated to Pope Julius III. Two later editions, published at Florence in 1513 and 1523, are dedicated to Giuliano de’ Medici.
10. At Venice, in 1508 and 1514. — Bottari.
11. Frontino, De Aquceductihus, was also edited by Fra Giocondo, who appended the same to his edition of Vitruvius. While he resided in Paris he discovered a large number of the letters of Pliny, supposed to have been lost, and was the first editor of Julius Obsequen’s, De Prodigiis, Cato, De Rebus Rusticis, and Aurelius Victor, Breviarium Hist. Rom.
12. The Bridge of Notre Dame, built by Fra Giocondo, awakened, the admiration of Scamozzi, who declared that he had seen no better work in Paris than this. — Ed. Flor., 1832-8.
13. Let him be forgiven, our good Giorgio, if he hath not known better than to call the above “most beautiful,” for are we not already warned that his “hand of a limner, was always more familiar with the pencil than the pen, his eyes more frequently bent on the palette than on the book!”
14. Called also Scarpagnino. —Ed. Flor., 1832-8.
15. Matteo Bosso was Canon and Abbot of the Abbey of Fiesole; he was a pious and learned man, his works were published by Ambrosini, at Bologna, in the year 1627.— Förster.
16. According to the Dizionari Storico degli Uomini Illustri, the death of Fra Giocondo took place in 1530, which is a very probable date. —Masselli.
17. Little is known of this master beyond the fact of his having been (he first instructor of Liberale.
18. Del Pozzo, finding the date 1436 on the pictures of Jacopo Bellini above-mentioned, concludes that Liberale, who was not born till the year 1451, could scarcely have been the disciple of that master, but he may very probably have studied the works of Jacopo.
19. Lanzi considers the manner of Liberale to give evidence of having been formed on that of Mantegna, and the vicinity of Mantua and Padua may very well have given him the means of imitating the manner of that Capo di Scuola.
20. These pictures are no longer to be identified.— Bottari.
21. Some Avriters attribute this work to Francesco Caroto, of whom Vasari speaks shortly afterwards.—Ed. Flor., 1832-8. There are certain frescoes in this church which are also ascribed to Liberale.
22. These figures still retain their place.
23. No longer to be seen.
24. This has also disappeared.
25. Still in its place.
26. These stories by Liberale are still to be seen in this chapel. The Adoration of the Magi, the Birth of the Madonna, and the Assumption of the same.— Masselli.
27. And founder in bronze. The crucifix is now in the cathedral. —Ibid.
28. This church is better known as Santa Maria del Paradiso.
29. San Metrone rather, the inscription on the Altar being Divo Metrono Sacrum, &c.—Ed. Flor. 1832 -8.
30. This picture is now in the public Pinacoteca.—Ibid.
31. See the Life of Pinturicchio, vol. ii.
32. Della Valle remarks that the name of Liberale does not appear among those of the masters who have illumined the choral books of the Sienese Cathedral.
33. Of these pictures no trace now remains.
34. These paintings also have disjippeared.
35. This master, otherwise called Carrotto, is hut little known out of Verona, although evincing qualities which prove him to have been one of the most richly endowed artists of his time, wben the limited field of operation allowed him is considered. — Förster.
36. The Church of San Cosimo has been suppressed.
37. These paintings are still in existence. Beneath the Madonna is written, Jo. Carotus, f., and beneath the angel, An. D, m.d.viii.
38. Still in the place as here described.
39. These also maintain their place.
40. No trace of these works now remains.
41. Of all the works here enumerated there os now not one to be found in Casale.—Della Valle.
42. Still to be seen in the Chapel of the Santissima Concezione, in the Church of San Ferrno Maggiore.
43. This work also still retains its place.
44. The invention is that of the sophist Prodicos, as we learn from Xenophon.—Bottari. Annibale Caracci has treated the same subject in the Palazzo Farnese m Rome.
45. “Vasari is right,” observes Förster, “in accounting the St. Martin of Sant’ Anastasia among the least meritorious of Caroto’s works, as all may perceive who examine the picture, which is still in the same place.”
46. Distinguished for his learning and excellence of life. Francesco Berni was secretary to Giberti.
47. Of this artist we have more hereafter.
48. In the year 1546.
49. The Deposition, “presented to Signor Spitech,” afterwards, according to Bottari, came into the possession of Mr. Smith, the British consul, and was believed to have been sent to England on his death.
50. Da Persico, Descrizione di Verona, informs us that these portraits were subsequently added to the collection of the Sisters Bordoni of the Contrada San Paolo in that city.
51. Of whom some few remarks will be found hereafter.
52. Anselmo Canneri was a good painter, and assisted his fellow townsman and co-disciple, Paolo Veronese, in many of his works.—Ed. Flor. 1832 -8.
53. The celebrated Paolo Cagliari, who acquired the first rudiments of his art under Giovanni Caroto, but who afterwards pursued his studies under Antonio Badile. —Ibid.
54. Lanzi tells us that Paul Veronese was not thought much of during his early years, even in his own country; hence the slightness of the mention made of him by Vasari. See Hist., vol. ii. pp. 206, 213.
55. It was painted in the year 1534.— Ed. Flor., 1832-8.
56. These are the paintings before-mentioned,as refused by Giovan Francesco Caroto. They are still in good preservation.
57. Persico, in his Descrizione di Verona, speaks only of some half-length figures in fresco, as painted by T1 Moro in this church. They are in eight compartments, between the transept and the apsis.
58. Still in the place here described.
59. These saints are no longer to be found.
60. The portrait of Zenovello Giusti alone is now to be found in the Sanbonifazio Collection.
61. The life of this distinguished architect will be found in a succeeding part of the present work.
62. Gio. Battista Ramusio, author of the Raccolta delle Navigazioni e de' Viaggi. —Ed. Flor. 1832-8.
63. Of whom mention is made at greater length in the Life of Jacopo Sansovino, which follows.
64. The Convent was suppressed, and the place is now an institution for the education of poor children. Of the picture nothing is now known. — Masselli.
65. The church having been altered, this work has been removed with great care, and is now over the door of the building.—Ibid.
66. The pictures here described have been in great measure destroyed by time and the inclemency of the seasons.— Ed. Flor., 1832-8.
67. Moschini, Guida di Venezia, maintains that this apartment was painted by Giovanni Battista Zelotti.
68. Or Fiacco.—Ed. Flor., 1832-8. Lanzi considers the manner of this painter to be in some respects similar to that of Caravaggio. There is an Ecce Homo by his hand, in the church of San Nazario, in Verona.
69. Of Andrea Palladio, likewise, there is further mention in the life of Jacopo Sansovino.— Masselli.
70. Or rather, Bonsignori, as the painter subscribes himself in his works.
71. All the works executed in these palaces have perished; the first mentioned having been changed to a prison, the second divided into private houses, and the third raxed to the foundations.
72. These portraits have either been destroyed by time, or were carried off in the deplorable sack of Mantua, which took place 1530, and which deprived that city of so many precious works of art. —Ed. Flor., 1832-8.
73. Now at Milan, in the Brera.—Ibid.
74. This picture, which had suffered much from re-touching, before the suppression of the Convent, is believed to be now entirely destroyed. —Ibid.
75. These figures of St. Francis and St. Bernard have also perished.
76. Still in excellent condition in the above-named church of Le Grazie. —Masselli.
77. The remarks made by the commentators of our author, native and foreign, on the one-sided or rather defective perception here permitted to prevail, of what was demanded on this particular occasion, when it was not a reluctant criminal, but a resigned and patient martyr, who was to be depicted, are such as will have presented themselves to our readers, and cannot here find more than this passing allusion to their character.
78. Carlo d’Arco, in his work entitled Monumenti Mantovani, gives a plate of a fine painting by this master, which is now in the Public Gallery of Mantua. It represents Christ on his way to Calvary.
79. Terrazzani, from terra, the earth.
80. Of the work in San Polo (Paolo) we cannot obtain authentic information.
81. This picture is still in existence, and bears the inscription, Franciscus Bonsignorius, Ver. p. mcccclxxxviii.
82. The picture in San Nazzaro represents the Virgin with the Divine Child. She is accompanied by the S.S. Blaise, Sebastian, and Julian, the titular saints of the Chapel. In the gradino or predella beneath are depicted events from the lives of these saints. —Ed. Flor., 1832 -8.
83. This was a copy from the celebrated work of Leonardo da Vinci; it was shamefully sold in the commencement of the present century, and was conveyed to France. —Ed. Flor., 1832-8.
84. These frescoes are in great part destroyed.
85. For the legend of this saint, see Sacred and Legendary Art. vol. ii. p. 2G2.
86. This portrait is not now to be found in the Giusti Gallery. —Ed. Flor. 1832-8. Maffei, Verona Illustrata, gives notice of a fine portrait by this master, in the Museo Capello, at Venice, and which bears the inscription, Franciscus Bonsignorius Veronensis,pinxit, 1486.
87. Stefano da Zevio.—Masselli.
88. Or Vittore Pisano, called Pisanello. —Ibid.
89. No mention of this work is to be found in the Descrizione di Verona, before cited; it may therefore be feared that the painting has perished.
90. No trace of these works is now to be seen, whether within the chapel or without.
91. There is a fresco by Domenico Moroni, in the Church of Santa Maria dell'Organo, in Verona. The subject is a Temptation of St. Anthony.
92. These portelli had disappeared before the time when Bottari wrote, (1759).
93. Still in existence, and bears the date 1498.
94. This also still remains, but is attributed in a subsequent passage to Paolo Cavazzuola.
95. A Transfiguration, painted by Giovanni Bettino Cignaroli was afterwards substituted for that of Christ bearing his Cross.— Masselli.
96. Of whom there is further mention hereafter.
97. This painting has been removed from the altar, and its place has been taken by other pictures.— Bottari,
98. The works now pointed out in the Church of Santa Maria-in-Organo as those of Francesco Maroni, are the Madonna with Saints in the fourth chapel. Stories from the Old Testament in the middle aisle, and the figures of the Apostles and Evangelists between the arches.
99. The pictures painted by Francesco in this sacristy are still preserved, as are those attributed to his father.
100. The fine intarsiatura of Fra Giovanni are also in good preservation.
101. In the Vatican that is to say, but more particularly in the rooms painted by Raphael.
102. Fra Giovanni died in 1537, at the age of sixty-eight.— Bottari.
103. Of this work no trace now remains. — Bottari (writing in 1759).
104. This also has disappeared.
105. The Piazza Bra namely; the principal Piazza or public square in Verona, well known to visitors as being the site of the amphitheatre.
106. Vasari had previously said that his father was buried in the Church of San Bernardino.— Ed. Flor., 1832-8.
107. Paolo Morando, called Il Cavazzuola, was accustomed to inscribe on his pictures Paulus Veronensis, which has caused some to mistake them for those of Paolo Cagliari, although the manner is entirely different from that of the latter and later master.
108. For the legend of this saint, see Sacred and Legendary Art, vol. ii p. 285.
109. Now that of the Stagnoli. It bears the number 5009.
110. The Sybil, with another picture omitted by Vasari, and representing the Sacrifice of Abraham, is still in existence.—Ed. Flor., 1832-8.
111. These angels still maintain their place. —Ibid.
112. This work also remains; it bears the date 1520, written as follows, m.v.xx.
113. Still in existence.
114. The figure of St. Francis is no longer to be seen.
115. There are other frescoes by this master in the Library of San Bernardino. —Förster.
116. The San Rocco is in the Caldana Gallery at Verona. —Ed. Flor., 1832-8.
117. This San Sebastian has disappeared.
118. These pictures, which Bottari believed to have been destroyed, are still in existence.—Ibid.
119. The figure holds a scroll with the inscription, “Paulus V. P. m.d.x.x.”
120. This work, left ixnhnished by Cavazzuola, was not completed untll'after his death, when Francesco Morone, according to Maffei, according to Del Pozzo, an artist whose name is not certainly known, gave it the ultimate completion.
121. In the year 1522.
122. Or Stefano del Zevio, already mentioned more than once.
123. Dal Pozzo calls this brother of Stefano, Giovan-Maria.
124. Galeazzo Mondella, a good designer and engraver of gems. Of this artist, called in the Abecedario Pittorico, corrected in 1743, Mondelli, there is further mention in the life of Valerio Vicentino, which follows.
125. And according to the Anonimo of Morelli he also studied in Rome under Melozzo of Forlì.
126. Some of these still remain in the Chapel of San Biagio, in the above named church.
127. This picture, which is an Annunciation, is still to be seen in the former church of San Giorgio, now called San Pietro Martire, and used as a private school.
128. Which now belongs to the noble family of Giustiniani,—Masselli.
129. The Church dedicated to St. Anthony of Padua, and so called par eminence,
130. There is still to be read on the architrave, Joan. Maria Falconetus, Architectus Veronensis, mdxxiv.
131. Called in Padua, the Capitanio.
132. This portal is decorated with double columns of the Doric order.
133. Maffei, Verona Illustrata, gives the plans of these gates.
134. The death of Pope Pius V. causing the funds for this building to fail, it was not erected according to the model.
135. Alluding, as the reader will perceive, to the sack of Rome during the pontificate of Clement VII., when so many of the artists where maltreated, and so many fled, while some even lost their lives in those disorders.
136. Tiziano Minio of Padua, a sculptor and worker in bronze. Bottari is in error when he calls this artist Tiziano Aspetti, the latter being but three years old when Vasari published the second edition of his Lives. The above mentioned works in the Santo still remain.
137. Temanza, Vite degli Artisti Veneziani, Venice, 1778, affirms that Falconetto lived to the year 1553, but this mistake has arisen from his misapprehension of a date given by the Anonimo of Morelli. Monterosso, in his Annali, (MSS.) gives 1537 as the year of Falconetto’s death, and seventy-four as the amount of his age.
138. This villa, called Belfiore di Porcile, is now habitable in part only, the remainder being under water. If the'drainage of this district should ever be perfectly accomplished, the building may be restored to a better fate. — Masselli.
139. This picture is no longer in tiie church.
140. Neither can there now be discovered any trace of this work.
141. In the Giunti Edition of our author we have Murone, but this is evidently a mistake of the press or the copyist.— Ed. Flor. 1832-8.
142. Now in the Public Gallery of Verona.
143. These pictures have been removed to make way for a picture by Simone Brentano, and the altar has been re-constructed in fine marbles. — Bottari.
144. The life of this celebrated miniaturist follows.
145. Lanzi considers a Madonna by this master which is in the church of San Giorgio as “the true jewel of that church.” It bears the inscription, Hieronymus a Libris pinxit, mdxxvi. —Men. Mar. xxviii
146. In the Fabbriceria of San Nazzaro there is a Dead Christ by this master, with separate pictures of S.S. Nazzaro and Celso, the titular saints of the church, and some other saints.
147. No authentic information can now be obtained respecting this work.
148. On this passage, Bottari has the following remark, which is perfectly appropriate as well as just, the unfounded accusations of partiality brought against our author by certain of his compatriots, each jealous for the honour of his own town or favourite school, considered:—
     “From this ingenuous confession of Vasari we perceive in what manner he has composed these lives, and that if he has sometimes spoken but sparingly of artists foreign to Tuscany, this circumstance has arisen from the fact that he was but scantily supplied with notices concerning them by those to whom, as being their townsmen, he had applied for information, and from whom he had good reason to expect all the minute intelligence that was to be given. Wherefore, it is altogether wrongfully that Vasari is accused of envy and partiality, when he has been compelled to write sparingly of artists who are not Tuscans, a remark which I have made before, but which I here repeat of set purpose.” —Roman Edition of Vasari, 1759.