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Updated: May 27, 2025
And what moved the Duke to have that altar-piece executed by Domenico was his having seen and much liked his manner in an altar-piece that Domenico had painted long before for the Chapel of S. Margherita in the Duomo of Mantua, in competition with Paolino, who painted that of S. Antonio, with Paolo Farinato, who executed that of S. Martino, and with Battista del Moro, who painted that of the Magdalene; all which four Veronese had been summoned thither by Cardinal Ercole of Mantua, in order to adorn that church, which had been reconstructed by him after the design of Giulio Romano.
Paolo Farinato of Verona Bertano commissioned to execute the altar-piece of S. Martino, and the above-named Domenico Brusciasorzi that of S. Margherita; and Giulio Campo of Cremona painted that of S. Gieronimo.
But, seeing that this young man is at this very moment at the height of his activity and not yet in his thirty-second year, I shall say nothing more of him for the present. Likewise a Veronese is Paolo Farinato, an able painter, who, after having been a disciple of Niccolò Ursino, has executed many works at Verona.
There was in Venice about this same time a painter called Brazzacco, a protégé of the house of Grimani, who had been many years in Rome; and he was commissioned by favour to paint the ceiling in the Great Hall of the Chiefs of the Council of Ten. But this master, knowing that he was not able to do it by himself and that he had need of assistance, took as companions Paolo Veronese and Battista Farinato, dividing between himself and them nine pictures in oils that were destined for that place namely, four ovals at the corners, four oblong pictures, and a larger oval in the centre. Giving the last-named oval, with three of the oblong pictures, to Paolo Veronese, who painted therein a Jove who is hurling his thunderbolts against the Vices, and other figures, he took for himself two of the smaller ovals, with one of the oblong pictures, and gave two ovals to Battista. In one of these pictures is Neptune, the God of the Sea, and in each of the others two figures demonstrating the greatness and the tranquil and peaceful condition of Venice. Now, although all three of them acquitted themselves well, Paolo Veronese succeeded better than the others, and well deserved, therefore, that those Signori should afterwards allot to him the other ceiling that is beside the above-named hall, wherein he painted in oils, in company with Battista Farinato, a S. Mark supported in the air by some Angels, and lower down a Venice surrounded by Faith, Hope, and Charity; which work, although it was beautiful, was not equal in excellence to the first. Paolo afterwards executed by himself in the Umilt
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