, with
scenes very pleasingly coloured in fresco and executed in a beautiful
manner. He painted, likewise, that of the Bernardi at S. Polo, and
another behind S. Rocco, which is a very good work. Three other facades
he has painted in chiaroscuro, very large and covered with various
scenes--one at S. Moise, the second at S. Cassiano, and the third at S.
Maria Zebenigo. He has also painted in fresco, at a place called
Treville, near Treviso, the whole of the Palace of the Priuli, a rich
and vast building, both within and without; of which building there will
be a long account in the Life of Sansovino; and at Pieve di Sacco he has
painted a very beautiful facade. At Bagnuolo, a seat of the Friars of
S. Spirito at Venice, he has executed an altar-piece in oils; and for
the same fathers he has painted the ceiling, or rather, soffit of the
refectory in the Convent of S. Spirito, with a number of compartments
filled with painted pictures, and a most beautiful Last Supper on the
principal wall. For the Hall of the Doge, in the Palace of S. Marco, he
has painted the Sibyls, the Prophets, the Cardinal Virtues, and Christ
with the Maries, which have won him vast praise; and in the
above-mentioned Library of S. Marco he painted two large scenes, in
competition with the other painters of Venice of whom mention has been
made above. Being summoned to Rome by Cardinal Emulio after the death of
Francesco, he finished one of the larger scenes that are in the Hall of
Kings, and began another; and then, Pope Pius IV having died, he
returned to Venice, where the Signoria commissioned him to paint a
ceiling with pictures in oils, which is at the head of the new staircase
in the Palace.

The same master has painted six very beautiful altar-pieces in oils, one
of which is on the altar of the Madonna in S. Francesco della Vigna, the
second on the high-altar in the Church of the Servites, the third is
with the Friars Minors, the fourth in the Madonna dell'Orto, the fifth
at S. Zaccheria, and the sixth at S. Moise; and he has painted two at
Murano, which are beautiful and executed with much diligence and in a
lovely manner. But of this Giuseppe, who is still alive and is becoming
a very excellent master, I say no more for the present, save that, in
addition to his painting, he devotes much study to geometry. By his hand
is the Volute of the Ionic Capital that is to be seen in print at the
present day, showing how it should be turned after the anc