Most of his work is at Verona, though some is in Florence, some at Milan, and as already stated one fine portrait is in London. Crowe and Cavalcaselle’s criticism on Bonsignori is as follows: “We are reminded of Masaccio by the breadth of the modelling, of Ghirlandajo by the precision of form, of Mantegna there is no trace.” This judgment, slightly modified at the close, is endorsed by Morelli who says: “Let anyone study the signed work of Bonsignori (in the churches of S. Fermo, S. Bernardino, S. Paolo and the Municipal Gallery of Verona), and I have no doubt that every connoisseur will see therein the influence of Gian Bellini, and of Alvise Vivarini, but certainly not of Mantegna. Later, no doubt, when at Mantua, Bonsignori learned a good deal from his great colleague.” Bonsignori died at Mantua in 1519. Gian Francesco Caroto, another of Liberale’s pupils though influenced besides by Fr. Morone and Mantegna, was born in 1470. He is a delightful and graceful painter, recalling Luini at times; and Morelli speaking of his early works (cir. 1500) writes thus: “The student of the early works of Caroto in the galleries of Modena, of Maldura at Padua, and at Frankfort, will admit that these small Madonnas of his in drawing and modelling recall quite as much his master Liberale as Mantegna.” Caroto is a forcible and striking master; his colouring is warm and soft and harmonious, his drawing powerful. To show in what category his pictures were ranked it is enough to relate how the fine Madonna and Child with angels carrying large lilies, by him at Dresden was received at that gallery with a forged signature of Leonardo. It passed as such for years, though Morelli first, and now the director of the gallery have restored it to Caroto. Selwyn Brinton considers this picture to be “one of the loveliest paintings which all Italian art has bequeathed to us.”[39] Some traces of his fresco painting may yet be seen on the exterior of several Veronese palaces, especially in the neighbourhood of St Thomas of Canterbury, but much of that style of decoration--in which Liberale and Morone also delighted--has perished beneath the ravages of time. In common with the majority of his colleagues, the greater part of Caroto’s paintings exist at Verona (his masterpiece there being at S. Fermo), while Modena, Padua, Frankfort, Dresden and London all possess examples of his skill. Gian Francesco had a brother Giovanni Caroto, who was not only a painter but also an engraver. He is though very inferior to his brother.