his may be seen many ornamental friezes and scenes from ancient
history, with a very beautiful arrangement of figures and costumes of
bygone days. But the best work to be seen by the hand of this master is
the Leading of Christ to the Cross, with a multitude of figures and
horses, which is in S. Bernardino, on the wall above the Chapel of the
Monte di Pieta, for which Liberale painted the picture of the Deposition
with the weeping Angels. The same Domenico received a commission to
paint the chapel that is next to that one, both within and without, at
great expense and with a lavish use of gold, from the Chevalier, Messer
Niccolo de' Medici, who was considered to be the richest man of his day
in Verona, and who spent great sums of money on other pious works, being
a man who was inclined to this by nature. This gentleman, after he had
built many monasteries and churches, and had left scarcely any place in
that city where he had not executed some noble and costly work to the
honour of God, chose as his burial-place the chapel mentioned above, for
the ornamentation of which he availed himself of Domenico, at that time
more famous than any other painter in that city, Liberale being in
Siena.

Domenico, then, painted in the interior of this chapel the Miracles of
S. Anthony of Padua, to whom it is dedicated, and portrayed the
Chevalier in an old man with shaven face and white hair, without any
cap, and wearing a long gown of cloth of gold, such as Chevaliers used
to wear in those times. All this, for a work in fresco, is very well
designed and executed. Then, in certain medallions in the outer
vaulting, which is all overlaid with gold, he painted the four
Evangelists; and on the pilasters both within and without he executed
figures of Saints, among which are S. Elizabeth of the Third Order of S.
Francis, S. Helen, and S. Catharine, which are very beautiful figures,
and much extolled for the draughtsmanship, colouring, and grace. This
work, then, can bear witness to the talent of Domenico and to the
magnificent liberality of that Chevalier.

Domenico died very old, and was buried in S. Bernardino, wherein are the
works by his hand described above, leaving his son, Francesco Morone,
heir to his property and his talents. This Francesco, who learned the
first principles of art from his father, afterwards exerted himself in
such a manner that in a short time he became a much better master than
his father had been, as the works th