Il Moro afterwards painted many works in oils at Verona and in Venice. On the outer wall (of a chapel) in S. Maria in Organo he executed in fresco the figures that are still there, with the exception of the Angel Michael and the Angel Raphael, which are by the hand of Paolo Cavazzuola. For the same chapel he painted an altar-piece in oils, wherein he made a portrait of Messer Jacopo Fontani, who gave the commission for the work, in a figure of S. James, in addition to the Madonna and other very beautiful figures. And in a large semicircle above that altar-piece, occupying the whole width of the chapel, he painted the Transfiguration of Our Lord, and the Apostles beneath, which were held to be among the best figures that he ever executed. For the Chapel of the Bombardieri, in S. Eufemia, he painted an altar-piece with S. Barbara in the heavens, in the centre, and a S. Anthony below, with his hand on his beard, which is a most beautiful head, and on the other side a S. Rocco, which is also held to be a very good figure; whence this work is rightly looked upon as one executed with supreme diligence and unity of colouring. In a picture on the altar of the Santificazione, in the Madonna della Scala, he painted a S. Sebastian, in competition with Paolo Cavazzuola, who executed a S. Rocco in another picture; and he afterwards painted an altar-piece that was taken to Bagolino, a place in the mountains of Brescia. Il Moro executed many portraits, and his heads are in truth beautiful to a marvel, and very good likenesses of those whom they were meant to represent. At Verona he executed a portrait of Count Francesco Sanbonifazio, who, on account of the length of his body, was called the Long Count; with that of one of the Franchi, which was an amazing head. He also painted the portrait of Messer Girolamo Verita, which remained unfinished, because Il Moro was inclined to be dilatory in his work; and this, still unfinished, is in the possession of the sons of that good nobleman. Among many other portraits, likewise, he executed one of the Venetian, Monsignor de' Martini, a knight of Rhodes, and to the same man he sold a head of marvellous beauty and excellence, which he had painted many years before as the portrait of a Venetian gentleman, the son of one who was then Captain in Verona. This head, through the avarice of the Venetian, who never paid him, was left in the hands of Francesco, and he disposed of it to Monsignor de' Martini, who had the Venetian dress changed into that of a shepherd or herdsman. It is as rare a portrait as ever issued from the hand of any craftsman, and it is now in the house of the heirs of the same Monsignor de' Martini, where it is rightly held in vast veneration. In Venice he painted a portrait of Messer Alessandro Contarini, Procurator of S. Mark and Proveditor of the forces, and one of Messer Michele San Michele for one of Messer Michele's dearest friends, who took the portrait to Orvieto; and it is