In addition to these, he made two large and most beautiful statues in full-relief for the Church of Capella, a seat of the Monks of Monte Oliveto. He then began a statue of the Emperor Charles V, at the time of his return from Tunis; but after he had blocked it and carved it with the pointed chisel, and even in some places with the broad-toothed chisel, it remained unfinished, because fortune and death, envying the world such excellence, snatched him from us at the age of thirty-five. It was confidently expected that Girolamo, if he had lived, even as he had outstripped all his compatriots in his profession, would also have surpassed all the craftsmen of his time. Wherefore his death was a grievous blow to the Neapolitans, and all the more because he had been endowed by nature not only with a most beautiful genius, but also with as much modesty, sweetness, and gentleness as could be looked for in mortal man; so that it is no marvel if all those who knew him are not able to restrain their tears when they speak of him. His last sculptures were executed in 1537, in which year he was buried at Naples with most honourable obsequies. [Illustration: MADONNA AND CHILD, WITH SS. PETER AND JOHN (_After the altar-piece_ by Girolamo Santa Croce. _Naples: Monte Oliveto_) _Alinari_] Old as he was, Giovanni da Nola, who was a well-practised sculptor, as may be seen from many works made by him at Naples with good skill of hand, but not with much design, still remained alive. Him Don Pedro di Toledo, Marquis of Villafranca, and at that time Viceroy of Naples, commissioned to execute a tomb of marble for himself and his wife; and therein Giovanni made a great number of scenes of the victories obtained by that lord over the Turks, with many statues for the same work, which stands quite by itself, and was executed with much diligence. This tomb was to have been taken to Spain; but, since that nobleman did not do this while he was alive, it remained in Naples. Giovanni died at the age of seventy, and was buried in Naples, in the year 1558. About the same time that Heaven presented to Ferrara, or rather, to the world, the divine Lodovico Ariosto, there was born in the same city the painter Dosso, who, although he was not as rare among painters as Ariosto among poets, nevertheless acquitted himself in his art in such a manner, that, besides the great esteem wherein his works were held in Ferrara, his merits caused the learned poet, his intimate friend, to honour his memory by mentioning him in his most celebrated writings; so that the pen of Messer Lodovico has given more renown to the name of Dosso than did all the brushes and colours that he used in the whole of his life. Wherefore I, for my part, declare that there could be no greater good-fortune than that of those who are celebrated by such great men, since the might of the pen forces most of mankind to accept their fame, even though they may not wholly deserve it.