Giambatista was the least celebrated of the three, though each of his works obtained so much credit, that when Santa Eufemia had one of its walls demolished to make way for a new edifice, his picture of St. Paul before Ananias, that adorned it, was carefully preserved at considerable expense, and replaced over the door of the church; yet this was one of his earliest productions. He produced a great many others, both in oil and in fresco, not unfrequently in competition with Paul. He follows Torbido in point of diligence, and in his strong and unctuous colouring. He has more softness, however, of design; and, if I mistake not, more grace; of which he gave a distinguished specimen in an Angiolo at San Stefano, in the act of distributing the palms to the SS. Innocenti. He was employed, also, in Venice, where the most studied and animated production, going by his name, is not positively pronounced his by Ridolfi, but only _esteemed to be his_, while it is ascribed by Boschini to Francesco Alberti, a Venetian, known merely by this single production. It is an altarpiece in Santa Maria Maggiore, representing the Virgin between St. John and St. Mark, and several lords in ducal robes, with their sons, in the act of adoring her; very lively portraits of the Marcello family, for whom the altar was painted. Vasari gives a brief account both of him and his son Marco, his pupil and assistant, though he did not mention Giulio, brother to Batista, who distinguished himself alike in all the arts, and is called by Zanetti _dotto pittore_. Both, like Batista, exercised their talents in Venice, and whoever compares the four _Coronati_ of Giulio, placed at San Apollinare, with the _Paradiso_ of Marco at San Bartolommeo, will discover an elegance, a precision, and an arrangement of style, sufficient to mark them for disciples of the same school.