Among all the Veronese artists most resembling Paul, when ambitious of doing so, was his friend and companion, though his rival, Batista Zelotti. Instructed in the same academy, he was occasionally the companion of his labours, and occasionally taught and executed works himself--always however observing the same rules. Vasari mentions him with commendation in his Life of San Micheli, where he entitles him Batista da Verona, and includes him among the disciples of Titian. I have seen a Holy Family by this artist in Titian's style in the Carrara collection, frequently extolled by us before; and from such a studio it would appear we are to look for that warmth of tints, in which, for the most part, he excels Caliari; as well as that power of design in which Zanetti is of opinion that he also surpassed him, although others think very differently. He often surpasses him, likewise, in grandeur, and in what appertains to painting in fresco; a circumstance Paul was aware of, and for that reason sought to obtain his assistance in works of that kind. He possessed great fertility of ideas, and a rapid hand, while he was profound and judicious in his compositions. Indeed, he might have been esteemed another Paul, had he been able to compete with him in the beauty of his heads, in variety, and in grace. In truth, his productions were frequently given to Paul, even those he painted for the Council of Ten having been engraved under the latter name by Valentino le Febre. He was doubtless one of the first artists of his time, though not estimated according to his deserts, from having worked chiefly in fresco, and at a distance from capital cities; in villages, in country seats, and palaces. One of his grandest works is seen at Cataio, a villa belonging to the Marchese Tommaso Obizzi, where, about 1570, he represented in different rooms, the history of that very ancient family, distinguished no less in council than in arms. The place is continually sought by foreigners, attracted thither by its splendour, by the fame of these pictures, and by the valuable museum of antiquities, collected by the hand of the Marchese; a task of few years, but in point of taste, abundance, and rarity of specimens, calculated to confer honour upon the state. In his oil paintings Zelotti could not compete with Caliari, though he approached him near enough, in his Fall of St. Paul, and his Fishing of the Apostles, which he executed for the dome of Vicenza, to merit the honour of having them attributed to the pencil of Caliari.