Over the third altar on the left facing the high altar is “the most lovely Madonna and Child under a canopy adorned with flowers; on each side an angel sings and plays. Below, the stately figures of SS. Augustine and Martin. A very fascinating work. Signed work (1503), painted apparently on silk backed by canvas.”[55] The detail of this picture is exquisite; the composition powerful, and the grace and dignity of each figure in turn is striking. There are fine paintings throughout the church all by Veronese masters, the most marked among them being by Brusasorci, Giolfino, Farinato, Caroto, Balestra, Zavoldo, Torbido. The chapel in the right transept contains a Sta. Francesca Romano by Guercino, with paintings on the side by Cavazzola. In the chapel to the left of the choir is a picture of St Benedict by Brentana. This picture serves as a screen, and is sometimes removed when a quaint mediæval statue is revealed of our Lord seated on the ass’s colt. The statue, of a great age, is known as “La Muletta,” and is an object of great veneration. It is shown to the public on Palm Sunday when no doubt the gaudy colours--for the figure and animal though of wood are painted--impress each gazer’s eye with wonder and admiration. Above the seats of the high altar are frescoed landscapes by Cavazzola and Brusasorci. The centre of interest in this church culminates however in the sacristy which Vasari rightly pronounced to be one of the most beautiful in Italy. On the right hand side are some lovely intarsia panels by Fra Giovanni da Verona, one of the monks belonging to the monastery of this church. “The rich play of fancy shown by this illustrious brother deserves a volume and a pen of gold to describe it,” says an Italian writer; “festoons of fruit and flowers, sphinxes, chimeras, birds, perspective--all is wrought with a perfect and exquisite sense of art, all has succeeded in producing an unparalleled harmony of line and colour in a calm outpouring of inspiration, in a continuous and marvellous freshness.”[56] The richness of design employed is indeed wonderful, and is only equalled by the execution of the work. The carving is as perfect and delicate as it is bold and crisp; and it is not difficult to believe that this intarsia possesses the renown of being the most perfect of its kind in Italy. Above these lovely panels are frescoes by Morone of the Olivetan monks in their white garbs; while again in the lunettes overhead are portraits of the popes who were elected out of the order to fill the Papal See. In a corner by the door leading into the choir and almost concealed by a cupboard is the portrait of Fra Giovanni himself, the friar who as has been said did this intarsia work, the greatest master of the kind that Italy has ever produced. He died in 1520. The frescoes are all by Morone, and it has well been said that this sacristy is a masterpiece of Veronese art. There is also here a lovely picture by Girolamo dai Libri, the “Madonna