Finally, having lived without children and without ambition, but with good means, Giovanni died at about the age of sixty, full of gladness because he saw some of his disciples, particularly Anselmo Canneri and Paolo Veronese, already in good repute. Paolo is now working in Venice, and is held to be a good master; and Anselmo has executed many works both in oils and in fresco, and in particular at the Villa Soranza on the Tesino, and in the Palace of the Soranzi at Castelfranco, and also in many other places, but more at Vicenza than anywhere else. But to return to Giovanni; he was buried in S. Maria dell' Organo, where he had painted a chapel with his own hand. Francesco Turbido, called Il Moro, a painter of Verona, learned the first rudiments of art, when still quite young, from Giorgione da Castelfranco, whom he imitated ever afterwards in colouring and in softness of painting. But just when Il Moro was making progress, he came to words with I know not whom, and handled him so roughly, that he was forced to leave Venice and return to Verona. There, abandoning his painting, since he was somewhat ready with his hands and associated with the young noblemen, being a person of very good breeding, he lived for a time without doing any work. And associating in this way, in particular, with the Counts Sanbonifazi and the Counts Giusti, two illustrious families of Verona, he became so intimate with them that he lived in their houses as if he had been born in them; and, what is more, no long time passed before Count Zenovello Giusti gave him a natural daughter of his own for a wife, and granted him a commodious apartment in his own house for himself, his wife, and the children that were born to them. It is said that Francesco, while living in the service of those noblemen, always carried a pencil in his pouch; and wherever he went, if only he had time, he would draw a head or something else on the walls. Wherefore the same Count Zenovello, seeing him to be so much inclined to painting, relieved him of his other duties, like the generous nobleman that he was, and made him give his whole attention to art; and since Francesco had all but forgotten everything, he placed himself, through the good offices of that patron, under Liberale, a famous painter and illuminator of that time. And thus, practising under that master without ever ceasing, he went on making such progress from one day to another, that not only did all that he had forgotten awaken in his memory, but he also acquired in a short time as much more knowledge as sufficed to make him an able craftsman. It is true, however, that, although he always held to the manner of Liberale, he yet imitated the softness and well-blended colouring of Giorgione, his first instructor, believing that the works of Liberale, while good in other respects, suffered from a certain dryness.