for Giberti was Datary to Pope Clement VII). But, when the
Bishop had returned to Verona, Giovan Francesco would never consent to
execute these designs; at which the Bishop, in disdain, caused them to
be put into execution by Francesco, called Il Moro.

Giovan Francesco held an opinion, in which he was not far from the
truth, that varnishing pictures spoiled them, and made them become old
sooner than they otherwise would; and for this reason he used varnish in
the darks while painting, together with certain purified oils. He was
also the first who executed landscapes well in Verona; wherefore there
are some by his hand to be seen in that city, which are very beautiful.
Finally, when seventy-six years of age, Giovan Francesco died the death
of a good Christian, leaving his grandchildren and his brother, Giovanni
Caroto, passing well provided. This Giovanni, after first applying
himself to art under his brother, and then spending some time in Venice,
had just returned to Verona when Giovan Francesco passed to the other
life; and thus he took a hand with the grandchildren in inspecting the
things of art that had been left to them. Among these they found a
portrait of an old man in armour, very beautiful both in drawing and in
colour, which was the best work by the hand of Giovan Francesco that was
ever seen; and likewise a little picture containing a Deposition from
the Cross, which was presented to Signor Spitech, a man of great
authority with the King of Poland, who had come at that time to some
baths that are in the territory of Verona. Giovan Francesco was buried
in the Madonna dell' Organo, in the Chapel of S. Niccolo, which he
himself had adorned with his paintings.

Giovanni Caroto, brother of Giovan Francesco, although he followed the
manner of the latter, yet gained less reputation in the practice of
painting. This master painted the altar-piece in the above-mentioned
Chapel of S. Niccolo, wherein is the Madonna enthroned on clouds; and
below this he placed a portrait of himself, taken from life, and that of
his wife Placida. He also painted some little figures of female Saints
for the altar of the Schioppi in the Church of S. Bartolommeo, together
with a portrait of Madonna Laura degli Schioppi, who had caused that
chapel to be built, and who was much celebrated by the writers of those
times no less for her virtues than for her beauty. Giovanni likewise
painted a S. Martin in a little altar-piece for S. Giovanni