Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 3.djvu/415

Rh only such models as he required for his various purposes and for the arrangement of his draperies to he still found by his hand, but also many other fanciful things of his own contrivance, of which many are still in the possession of his heirs; among these may be more particularly remarked a story in mezzo-rilievo, which is not without a tolerable share of merit. Giovan Francesco executed portraits in medallions also, and of these there are some still to be seen, as for example that of Guglielmo Marquis of Montferrat, which has a Hercules slaying........for the reverse, with the motto Monstra domat. This master painted the portraits of the Count Raimondo della Torre, of Messer Giulio his brother, and of Messer Girolamo Fracastoro.

But when Giovan Francesco became old, he began to give evidence of deterioration in his art, as may be seen from the folding doors of the organ, in Santa Maria della Scala, in the picture which belongs to the Movi family, and wherein there is a Deposition from the Cross, and in the chapel of San Martino, which is one of those in the church of Sant’ Anastasia: Giovan Francesco had always a very high opinion of himself, insomuch that no consideration would have induced him to copy any thing designed by another. Wherefore, the Bishop Giovan Matteo Giberti, desiring to have him paint stories from the hfe of the Madonna in the great chapel of the cathedral, caused the designs for the same to be made in Rome by his intimate friend Giulio Romano, (Giberti being then in that city in his capacity of Datary to Pope Clement VII.) But when the Bishop returned to Verona he could by no means prevail on Giovanni Francesco to execute those designs; the bishop therefore, very much displeased, caused them to be put in execution by Francesco, called Il Moro.

Giovan Francesco held an opinion, wherein he was not far from the truth, that varnishing spoils the pictures to