judgment, and invention, seeing that he took into
consideration all the things that can be taken into consideration in
a serious war. Besides this, the colouring has remained very fresh;
and among many portraits of men of distinction and learning, there
is seen that of Messer Francesco Petrarca.

Jacopo Avanzi, a painter of Bologna, shared the work of this hall
with Aldigieri, and below the aforesaid pictures he painted two most
beautiful Triumphs, likewise in fresco, with so much art and so good
a manner, that Girolamo Campagnola declares that Mantegna used to
praise them as pictures of the rarest merit. The same Jacopo,
together with Aldigieri and Sebeto da Verona, painted the Chapel of
S. Giorgio, which is beside the Church of S. Antonio, in Padua,
according to the directions left in the testaments of the Marquesses
of Carrara. Jacopo Avanzi painted the upper part; below this were
certain stories of S. Lucia, with a Last Supper, by Aldigieri; and
Sebeto painted stories of S. John. Afterwards these three masters,
having all returned to Verona, joined together to paint a
wedding-feast, with many portraits and costumes of those times, in
the house of the Counts Serenghi. Now the work of Jacopo Avanzi was
held to be the best of all; but, since mention has been made of him
in the Life of Niccolo d' Arezzo by reason of the works that he made
in Bologna in competition with the painters Simone, Cristofano, and
Galasso, I will say no more about him in this place.

A man who was held in esteem at Venice about the same time, although
he adhered to the Greek manner, was Jacobello de Flore, who made a
number of works in that city; in particular, a panel for the Nuns of
the Corpus Domini, which stands on the altar of S. Domenico in their
church. A competitor of this master was Giromin Morzone, who painted
a number of pictures in Venice and in many cities of Lombardy; but,
since he held to the old manner and made all his figures on tiptoe,
we will say nothing about him, save that there is a panel by his
hand, with many saints, on the Altar of the Assumption in the Church
of S. Lena.

A much better master than Morzone was Guerriero, a painter of Padua,
who, besides many other works, painted the principal chapel of the
Eremite Friars of S. Augustine in Padua, and a chapel for the same
friars in the first cloister. He also painted a little chapel in the
house of the Urban Prefect, and the Hall of the Roman Emperors,
where the stu