ls that they should provide
him with all that he might require for any purpose. Having then
arrived in that island, in three months Gian Girolamo went all round
it and diligently inspected everything, putting every detail into
writing and drawing, in order to be able to give an account of the
whole to his masters. But, while he was attending with too much care
and solicitude to his office, paying little regard to his own life, in
the burning heat which prevailed at that time in the island he fell
sick of a pestilential fever, which robbed him of life in six days;
although some said that he had been poisoned. However that may have
been, he died content in being in the service of his masters and
employed by them in works of importance, knowing that they had trusted
more in his fidelity and his skill in fortification than in those of
any other man. The moment that he fell sick, knowing that he was
dying, he gave all the drawings and writings that he had prepared on
the works in that island into the hands of the architect Luigi
Brugnuoli, his kinsman by marriage (who was then engaged in the
fortification of Famagosta, which is the key of that kingdom), to the
end that he might carry them to his masters.

When the news of Gian Girolamo's death arrived in Venice, there was
not one of the Senate who did not feel indescribable sorrow at the
loss of such a man, who had been so devoted to that Republic. Gian
Girolamo died at the age of forty-five, and received honourable burial
from his above-named kinsman in S. Niccolo at Famagosta. Then, having
returned to Venice, Brugnuoli presented Gian Girolamo's drawings and
writings; which done, he was sent to give completion to the
fortifications of Legnago, where he had spent many years in executing
the designs and models of his uncle. But he had not been long in that
place when he died, leaving two sons, who are men of passing good
ability in design and in the practice of architecture. Bernardino, the
elder, has now many undertakings on his hands, such as the building of
the campanile of the Duomo, that of S. Giorgio, and that of the church
called the Madonna di Campagna, in which and other works that he is
directing at Verona and other places, he is succeeding excellently
well; and particularly in the ornamental work of the principal chapel
of S. Giorgio at Verona, which is of the composite order, and such
that in size, design, and workmanship, the people of Verona declare
that they d