Francesco Torbido, surnamed Il Moro, is no whit inferior to Liberale’s other pupils. Vasari has it that Torbido went first to Venice to study under Giorgione, but that master and pupil did not get on together. From words they came to blows, and Torbido left Venice, and at the same time abandoned his art. He withdrew to Verona, where Liberale not only persuaded him to resume his brush, but he taught him, loved him, and finally made him his heir. His time in Venice had not however been fruitless. Torbido combines a Giorgionesque feeling in his paintings that has sometimes led his work to be ascribed to the great master himself. He maintains at the same time the Veronese manner which he knows how to blend in a most effective way with the Venetian, or as Crowe and Cavalcaselle expresses it, “the double character of Venetian art engrafted on the Veronese.” The much discussed portrait in the Uffizi Gallery at Florence, called alternately a “Knight of Malta,” and “Gattamelata and his Esquire,” and assigned generally to Giorgione, is pronounced by the art-critics cited above as the unmistakable work of Torbido. These same critics say: “This is the unmistakable work of Torbido, illustrated by his strong and unmannered outline, effective enough in chiaroscuro, but sharp in contrast of tints ... wanting the power and modulation of the Venetian.” That this portrait hails from Verona there can be little doubt, for besides Torbido, it has sometimes been put down to Caroto, while Morelli assigns it to another and less famous pupil of Liberale, Michele da Verona. Morelli though states that Torbido has not received his lawful meed of praise from Vasari and later writers, and speaks of him as “a personality that deserves to be more closely studied.” He recognises how Torbido was influenced by Giorgione and the elder Bonifazio, but adds, that in spite of all “he remained faithful to his first master, Liberale.” The last of Liberale’s greater pupils is Domenico del Riccio, whose quaint surname of Brusasorci (burner of rats) has so far met with no explanation. This artist’s love of rich glowing colour, of pageants, of gorgeous robes and draperies was ever leading the way--soon to be followed by Paolo Veronese--to the fusion of the art of Verona into that of Venice. His paintings are nearly all at Verona, where the most celebrated is the great fresco in the Palazzo Ridolfi, which has for its subject the meeting of the Emperor Charles V. with Pope Clement VII. at Bologna in 1530. Lanzi, speaking of this painting, says: “One could not see a finer sight.... A great mass of people, effective grouping of figures, animated faces, beautiful movements of men and of horses, variety of raiment, pomp, splendour, dignity, and the joyousness befitting the occasion.”