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.[1] 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[2] 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
