Moro executed many other works, of which there is no need to make
mention, although they are all well worthy of remembrance, because he
was as diligent a colourist as any master that lived in his day, and
because he bestowed much time and labour on his work. So great, indeed,
was his diligence, that it brought upon him more blame than praise, as
may also be seen at times to happen to others, for the reason that he
accepted any commission and took the earnest-money from every patron,
and trusted to the will of God to finish the work; and if he did this in
his youth, everyone may imagine what he must have done in his last
years, when to his natural slowness there was added that which old age
brings in its train. By this method of procedure he brought upon himself
more entanglements and annoyances than he cared for; and Messer Michele
San Michele, therefore, moved by compassion for him, took him into his
house in Venice and treated him like a friend and man of talent.

Finally, having been invited back to Verona by his former patrons, the
Counts Giusti, Il Moro died among them in their beautiful Palace of S.
Maria in Stella, and was buried in the church of that villa, being
accompanied to his tomb by all those loving noblemen, and even laid to
rest with extraordinary affection by their own hands; for they loved him
as a father, since they had all been born and brought up while he was
living in their house. In his youth Il Moro was very courageous and
agile in body, and handled all kinds of arms with great skill. He was
most faithful to his friends and patrons, and he showed spirit in all
his actions. His most intimate friends were the architect, Messer
Michele San Michele, Danese da Carrara, an excellent sculptor, and the
very reverend and most learned Fra Marco de' Medici, who often went
after his studies to sit with him, watching him at work, and discoursing
lovingly with him, in order to refresh his mind when he was weary with
labour.

A disciple and son-in-law of Il Moro, who had two daughters, was
Battista d' Agnolo, who was afterwards called Battista del Moro. This
master, although he had his hands full for a time with the complications
of the inheritance that Il Moro bequeathed to him, has yet executed many
works which are not otherwise than passing good. In Verona he has
painted a S. John the Baptist in the Church of the Nuns of S. Giuseppe,
and in the tramezzo[6] of S. Eufemia, above the altar of S. Paolo, a
scen