A drawing that Morelli considers to have been the preparatory sketch for this fresco is in red chalk in the Dresden Gallery, and with regard to it he remarks: “Before this drawing one easily discovers how many things Paolo Veronese may have learned from his elder countryman.” Domenico had a son, Felice Brusasorci, of whom several paintings exist in the churches of Verona, and some are also in Milan and at the Louvre; but he is inferior to his father who was at the same time his master. A short account must be given of a few of Liberale’s lesser pupils, who while far from equalling those already mentioned yet deserve to be included among the painters of the Veronese school. One of these is Giovanni Maria Falconetto, whose love of architecture is apparent in nearly all his pictures, for he introduces buildings wherever it is possible to do so, bestowing ever much care on this evident labour of love. He lived to a good old age, and as years drew on he renounced painting and became an architect. Niccolŏ and Paolo Giolfino, who were brothers were also Liberale’s pupils. They were friends of Mantegna who lodged with Niccolŏ (the elder brother and the better painter) when he came to Verona, and decorated the exterior of the house (close to the Porta de’ Borsari) with frescoes, few of which have withstood the ravages of time. Paolo Farinato and Antonio Badile, though influenced by Liberale were not under his tutelage, but they belonged to the great school which he founded, and they helped to the best of their ability to carry it on worthily. Farinato can generally be recognised by the snail which he introduces into his pictures, and which he would seem to adopt as his badge. Badile’s glory lies almost exclusively in having been the uncle and master of Paolo Cagliari, surnamed “Il Veronese.” This great genius belongs so absolutely to Venice, where he lived and worked and where all his masterpieces are to be found, that he cannot be included in the Veronese school of painting. His surname though reminds everyone that Verona gave him birth, and that he himself was proud to own his sonship, and to subscribe himself to all time as “Paul of Verona.” Speaking of the Veronese school Layard says of it: “No school in Italy, except the Florentine, shows so regular and uninterrupted a development, and none is consequently more deserving of the attention of the student who seeks in art a phase of the human intellect, influenced by local and special circumstances. Nowhere can this school be better studied and understood than in the public gallery and churches of Verona.”[40] [Illustration: THE ARMS OF VERONA] CHAPTER VII _The Duomo_--_S. Giovanni in Fonte_--_Biblioteca Capitolare_--_Vescovado_--_St Anastasia_--_Piazza delle Erbe_