Contemporary with Campagnola, though scarcely heard of beyond Padua, were Gualtieri, one of his relatives, and a Stefano del Arzere, who, in his picture of Christ upon the Cross, at San Giovanni di Verzara, appears ambitious, however rudely, of imitating Titian. Both were, nevertheless, esteemed by Ridolfi for their paintings in fresco, and both, together with Domenico, were employed in ornamenting a large hall, representing the figures of emperors and illustrious characters, upon nearly a colossal scale. For this reason it was denominated the Sala de' Giganti, afterwards converted into a public library. These figures are, for the most part, of an ideal cast, various in point of design, in some dignified, in others heavy. The antique costume is not always strictly observed, but the colouring is rich and of a fine chiaroscuro, and it would be difficult to find in all Italy a piece which appears to have suffered less from time. Niccolo Frangipane is supposed to have been a Paduan, though his birthplace is disputed,[61] and he is not mentioned by Ridolfi. Still he may be esteemed worthy of being recorded for his exquisite style as a _naturalist_, in which he painted his picture of the Assumption, at the Conventuali, in Rimini, dated 1565, and a half-length figure of San Francesco, with that of 1588, at S. Bartolommeo, in Padua. A picture also of San Stefano is attributed to him by the _Guide of Pesaro_, though his genius was more adapted to burlesques, several specimens of which are yet in the possession of private individuals.