in Fonte,
near the Duomo; and he made a portrait of Messer Marc' Antonio della
Torre (who afterwards became a man of learning and gave public lectures
at Padua and Pavia) as a young man, and also one of Messer Giulio; which
heads are in the possession of their heirs at Verona. For the Prior of
S. Giorgio he painted a picture of Our Lady, which, as a good painting,
has been kept ever since, as it still is, in the chamber of the Priors.
And he painted another picture, representing the transformation of
Actaeon into a stag, for the organist Brunetto, who afterwards presented
it to Girolamo Cicogna, an excellent embroiderer, and engineer to Bishop
Giberti; and it now belongs to Messer Vincenzio Cicogna, his son.

Giovanni took ground-plans of all the ancient buildings of Verona, with
the triumphal arches and the Colosseum. These were revised by the
Veronese architect Falconetto, and they were meant for the adornment of
the book of the Antiquities of Verona, which had been written after his
own original research by Messer Torello Saraina, who afterwards had the
book printed. This book was sent to me by Giovanni Caroto when I was in
Bologna (where I was executing the work of the Refectory of S. Michele
in Bosco), together with the portrait of the reverend Father, Don
Cipriano da Verona, who was twice General of the Monks of Monte Oliveto;
and the portrait, which was sent to me by Giovanni to the end that I
might make use of it, as I did, for one of those pictures, is now in my
house at Florence, with other paintings by the hands of various masters.

Finally, having lived without children and without ambition, but with
good means, Giovanni died at about the age of sixty, full of gladness
because he saw some of his disciples, particularly Anselmo Canneri and
Paolo Veronese, already in good repute. Paolo is now working in Venice,
and is held to be a good master; and Anselmo has executed many works
both in oils and in fresco, and in particular at the Villa Soranza on
the Tesino, and in the Palace of the Soranzi at Castelfranco, and also
in many other places, but more at Vicenza than anywhere else. But to
return to Giovanni; he was buried in S. Maria dell' Organo, where he had
painted a chapel with his own hand.

Francesco Turbido, called Il Moro, a painter of Verona, learned the
first rudiments of art, when still quite young, from Giorgione da
Castelfranco, whom he imitated ever afterwards in colouring and in
softness of painti