Now, in order not to have to turn back in a short time to speak of the Veronese, taking the opportunity presented by the masters mentioned above, I shall make mention in this place of some painters from that country, who are still alive and worthy to be named, and by no means to be passed over in silence. The first of these is Domenico del Riccio, who has painted in fresco, mostly in chiaroscuro and partly in colour, three facades of the house of Fiorio della Seta at Verona, on the Ponte Nuovo--that is, the three that do not look out upon the bridge, the house standing by itself. In one, over the river, are battles of sea-monsters, in another the battles of the Centaurs and many rivers, and in the third two pictures in colour. In the first of these, which is over the door, is the Table of the Gods, and in the other, over the river, is the fable of the nuptials between the Benacus, called the Lake of Garda, and the Nymph Caris, in the person of Garda, from whom is born the River Mincio, which in fact issues from that lake. In the same house is a large frieze wherein are some Triumphs in colour, executed in a beautiful and masterly manner. In the house of Messer Pellegrino Ridolfi, also at Verona, the same master painted the Coronation of the Emperor Charles V, and the scene when, after being crowned in Bologna, he rides with the Pope through the city in great pomp. In oils he has painted the principal altar-piece of the church that the Duke of Mantua has built recently near the Castello, in which is the Beheading and Martyrdom of S. Barbara, painted with much diligence and judgment. 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,[11] 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. Other works has Domenico executed in Verona, Vicenza, and Venice, but it must suffice to have spoken of those named. He is an honest and excellent craftsman, and, in addition to his painting, he is a very fine musician, and one of the first in the most noble Philharmonic Academy of Verona. [Footnote 11: Paolo Caliari or Veronese.] Not inferior to him will be his son Felice, who, although still young, has proved himself a painter out of the ordinary in an altar-piece that he has executed for the Church of the Trinita, in which are the Madonna and six other Saints, all of the size of life. Nor is this any marvel, for the young man learned his art in Florence, living in the house of Bernardo Canigiani, a Florentine gentleman and a crony of his father Domenico.