Gabriele executed little in which he was not assisted by his brother. In several altarpieces we read as follows: "_Heredes Pauli Caliari Veronensis fecerunt_;" which alludes to such pieces as Paul himself left imperfect, the completion of which became a joint labour; a system they continued, likewise, in others, which they produced for churches, and for the public palace. Ridolfi awards the chief merit to Carlo, placing Gabriele second, and adding, that Benedetto had, likewise, his share, more especially in the architectural parts. Probably too some other pupil of Paul assisted them. For, in these, we find represented the maxims of the master, even his studies, and the same figures as his. Still there is occasionally some diversity of hand perceptible, as in the martyrdom of an Apostle at S. Giustina of Padua, where one of the figures appears so much loaded with shade, as not merely to betray a difference of hand, but of schools. Gabriele survived the other artists of his family; residing subsequently in Venice, more in the character of a merchant than a painter. Still he continued occasionally to produce a few portraits in crayons, extremely rare, or some picture of a cavalcade; nor did he desist from visiting the studio of the artists, where he assisted them, when agreeable, with his advice. Arriving at the period of 1531, memorable for the great pestilence in Italy, and impelled by those noble precepts of humanity inculcated in the gospel, he generously exposed his life in the service of his afflicted fellow citizens, and fell a sacrifice to the task.