But the fame of these soon expired. For Giovanni da Verona, a layman of Oliveto, not long after, surpassed them in the same art. He practised it in various cities of Italy, and at Rome itself, in the service of Pope Julius II; but still more successfully in the sacristy of his own order, where his works are still to be seen in the best condition. F. Vincenzo delle Vacche, also a native of Verona, and a layman of Oliveto, mentioned by the learned Morelli in his _Notizia_ of works of design, during the first half of the sixteenth century, deserves mention here for the merit of his inlaid works; and in particular for those wrought in Padua, at the church of S. Benedetto Novello. Unacquainted, however, with the period in which he flourished, I shall not venture to announce him either as a pupil or assistant to Fra Giovanni. Similar productions, from the hand of Fra Raffaello da Brescia, also of Oliveto, adorning the choir of S. Michele in Bosco at Bologna, might here be mentioned in competition with those in the sacristy of Verona, by natives of Oliveto. Moreover, there remains Fra Damiano da Bergamo, a Dominican monk, who ornamented his own church at Bergamo, and that of Bologna in a still better style; in which the choir is inlaid with the greatest art. In S. Pietro, at Perugia, he also wrought the most beautiful histories. The same artist, as we find recorded in Vasari, succeeded also in refining the art of colours and of shades, to such a degree as to be held the very first in this line. He possessed either a rival, or a pupil, in Gianfrancesco Capodiferro, whose mansions at S. Maria Maggiore, in Bergamo, are the finest specimens of the kind, though occasionally betraying some traces of stiffness in their manner. There too he worked after the designs of Lotto, and instructed in the art his brother Pietro and his son Zinino, so that the city continued to be supplied with excellent artificers during a number of years. The largest and most artificially wrought figures I have seen in this line are in a choir of the Certosa at Pavia, distributed one by one upon each side. The artificer is said to have been one Bartolommeo da Pola, whose name I have not met with elsewhere. In each of the squares is represented a bust of one of the Apostles, or some other saint, designed in the taste of the Da Vinci School. A few of the pictures of these artists are to be found in galleries of art; among which, those from the hand of F. Damiano are the most esteemed. Finally, this species of workmanship, embracing materials too much exposed to the moth and to the fire, by degrees began to grow out of date: and if more lately it appears to have again revived, it has failed hitherto in producing any works deserving of commemoration. [Footnote 6: Rannusio Guerra di Costantinopoli, book iii. p. 94.] [Footnote 7: Vol. vi. p. 88, anno 1808.]