He had a competitor, at his native place, in Domenico Morone, or rather the latter, educated also by a disciple of Stefano, is to be held second to him. This artist was succeeded in the course of time, by his son, Francesco Morone, superior to his father, and by Girolamo da' Libri. These two, bound by the strictest habits of friendship from their youth, were frequently employed in the same labours together, and may be said to have adopted the same maxims. The first has been commended by Vasari, for the grace, the design, the harmony, and the warm and beautiful colouring he contrived to bestow upon his pictures, in a degree inferior to none. From the same source we learn that the year of his decease is supposed to have been 1529. But Girolamo da' Libri was his superior, both in point of taste and general celebrity. The son of a miniature painter of choral books and of anthems, who had hence acquired the name of Francesco da' Libri, from his father he received both a knowledge of the art and his surname, both of which he also transmitted to his son, Francesco, as we again learn from Vasari. It is not, however, within my province to enter into a consideration of their books; but in regard to the altarpieces of Girolamo, I cannot remain silent. That of S. Lionardo, near Verona, I have never seen; a picture in which the artist having drawn a laurel, the birds are said to have frequently entered at the church windows, fluttering around as if wishing to repose in its branches. Another which I beheld at S. Giorgio, with the date 1529, scarcely retains a trace of the ancient character. It represents the Virgin between two holy bishops, portraits select and full of meaning; together with three exquisitely graceful figures of cherubs, both in face and gesture. In this little picture may be traced, to a certain degree, the character of a miniaturist who paints, or a painter drawing miniature; while the charms of the several professions are seen there exhibited in one point of view. The church, indeed, is a rich gallery, containing numerous masterpieces of the art; among which the S. Giorgio of Paolo (Veronese) too far transcends the rest; but the painting of Girolamo shines almost like a precious jewel, surprising the spectator by an indescribable union of what is graceful, bright, and lucid, which it presents to the eye. He survived many years after the production of this piece, highly esteemed, and in particular for his miniatures, in which he was accounted the first artist in Italy; and as if to crown his reputation, he became the instructor, in such art, of Don Giulio Clovio, a sort of Roscius, if we may so say, of miniature painting.