lting
of which are four large pictures painted in fresco, wherein are the
Nativity of the Madonna and the Presentation in the Temple, and, in the
picture in the centre, which appears to recede inwards, three Angels in
the air, who are seen foreshortened from below, and are holding a crown
of stars wherewith to crown the Madonna, who is in the recess, in the
act of ascending into Heaven, accompanied by many Angels, while the
Apostles are gazing upwards in attitudes of great variety; and these
Apostles are figures twice the size of life. All these pictures were
executed by Il Moro after the designs of Giulio Romano, according to the
wish of Bishop Giovan Matteo Giberti, who gave the commission for the
work, and who, as has been said, was very much the friend of that same
Giulio.

After this Il Moro painted the facade of the house of the Manuelli,
which stands on the abutment of the Ponte Nuovo, and a facade for
Torello Saraina, the doctor, who wrote the above-mentioned book of the
Antiquities of Verona. In Friuli, likewise, he painted in fresco the
principal chapel of the Abbey of Rosazzo, for Bishop Giovan Matteo, who
held it "in commendam," and, being a noble and truly religious
dignitary, rebuilt it; for it had been allowed to fall completely into
ruin, as such buildings are generally found to be, by those who had held
it "in commendam" before him, attending only to the drawing of the
revenues and spending not a farthing in the service of God and of the
Church.

[Illustration: PORTRAIT OF A MAN

(_After the painting by =Francesco Turbido [Il Moro]=. Munich:
Pinacoteca, 1125_)

_Bruckmann_]

Il Moro afterwards painted many works in oils at Verona and in Venice.
On the outer wall (of a chapel) in S. Maria in Organo he executed in
fresco the figures that are still there, with the exception of the Angel
Michael and the Angel Raphael, which are by the hand of Paolo
Cavazzuola. For the same chapel he painted an altar-piece in oils,
wherein he made a portrait of Messer Jacopo Fontani, who gave the
commission for the work, in a figure of S. James, in addition to the
Madonna and other very beautiful figures. And in a large semicircle
above that altar-piece, occupying the whole width of the chapel, he
painted the Transfiguration of Our Lord, and the Apostles beneath, which
were held to be among the best figures that he ever executed. For the
Chapel of the Bombardieri, in S. Eufemia, he painted an altar-piece with
S. Barb