t lifelike. He
made a portrait of Cardinal Caraffa when he was returning from Germany,
which he took secretly by torch-light while the Cardinal was at supper
in the Vescovado of Verona; and this was such a faithful likeness that
it could not have been improved. He also painted a very lifelike
portrait of the Cardinal of Lorraine, when, coming from the Council of
Trent, he passed through Verona on his return to Rome; and likewise
portraits of the two Bishops Lippomani of Verona, Luigi the uncle and
Agostino the nephew, which Count Giovan Battista della Torre now has in
a little apartment. Other portraits that he painted were those of Messer
Adamo Fumani, a Canon and a very learned gentleman of Verona, of Messer
Vincenzio de' Medici of Verona, and of his consort, Madonna Isotta, in
the guise of S. Helen, and of their grandson, Messer Niccolo. He has
likewise executed portraits of Count Antonio della Torre, of Count
Girolamo Canossi, and his brothers, Count Lodovico and Count Paolo, of
Signor Astorre Baglioni, Captain-General of all the light cavalry of
Venice and Governor of Verona, the latter clad in white armour and most
beautiful in aspect, and of his consort, Signora Ginevra Salviati. In
like manner, he has portrayed the eminent architect Palladio and many
others; and he still continues at work, wishing to become in the art of
painting as true an Orlando as once was that great Paladin of France.

[Illustration: BONSIGNORI (MONSIGNORI): PORTRAIT OF A GENTLEMAN

(_London: National Gallery, 736. Tempera Panel_)]

In Verona, where an extraordinary degree of attention has been given to
design ever since the death of Fra Giocondo, there have flourished at
all times men excellent in painting and architecture, as will now be
seen, in addition to what has been observed hitherto, in the Lives of
Francesco Monsignori, of Domenico Morone and his son Francesco, of Paolo
Cavazzuola, of the architect Falconetto, and, lastly, of the
miniaturists Francesco and Girolamo.

Francesco Monsignori, the son of Alberto, was born at Verona in the year
1455; and when he was well grown he was advised by his father, who had
always delighted in painting, although he had not practised it save for
his own pleasure, to give his attention to design. Having, therefore,
gone to Mantua to seek out Mantegna, who was then working in that city,
he exerted himself in such a manner, being fired by the fame of his
instructor, that no long time passed before