Even as it is true that the city of Verona is very similar to Florence in situation, manners, and other respects, so it is also true that in the first as well as in the second there have always flourished men of the finest genius in all the noblest and most honourable professions. Saying nothing of the learned, for with them I have nothing to do here, and continuing to speak of the men of our arts, who have always had an honourable abode in that most noble city, I come to Liberale of Verona, a disciple of Vincenzio di Stefano, a native of the same city, already mentioned in another place, who executed for the Church of Ognissanti, belonging to the Monks of S. Benedict, at Mantua, in the year 1463, a Madonna that was a very praiseworthy example of the work of those times. Liberale imitated the manner of Jacopo Bellini, for when a young man, while the said Jacopo was painting the Chapel of S. Niccolò at Verona, he gave his attention under Bellini to the studies of design in such thorough fashion that, forgetting all that he had learned from Vincenzio di Stefano, he acquired the manner of Bellini and retained it ever after.
The first paintings of Liberale were in the Chapel of the Monte della Pietà in S. Bernardino, in his native city; and there, in the principal picture, he painted a Deposition from the Cross, with certain Angels, some of whom have in their hands the Mysteries (for so they are called) of the Passion, and all with their weeping faces show grief at the Death of the Saviour. Very natural, in truth, are these figures, as are other works of the same kind by this master, who strove to show in many places that he was able to paint weeping countenances. This may also be seen in S. Anastasia, a church of Friars of S. Dominic, likewise in Verona, where he painted a Dead Christ with the Maries mourning for Him on the pediment of the Chapel of the Buonaveri; and he executed many pictures in the same manner of painting as the work mentioned above, which are dispersed among the houses of various gentlemen in Verona.
In the same chapel he painted a God the Father surrounded by many Angels who are playing instruments and singing, with three figures on either side—S. Peter, S. Dominic, and S. Thomas Aquinas on one side, and S. Lucia, S. Agnese, and another female Saint on the other; but the first three are much the finer, being executed in a better manner and with more relief. On the main wall of that chapel he painted Our Lady, with the Infant Christ marrying S. Catharine, the Virgin-Martyr; and in this work he made a portrait of Messer Piero Buonaveri, the owner of the chapel. Around this group are some Angels presenting flowers, with some heads that are smiling, executed with such grace in their gladness, that they prove that he was able to paint a smiling face as well as he had painted tears in other figures. In the altar-piece of the same chapel he painted S. Mary Magdalene in the air, supported by some Angels, with S. Catharine below—a work which was held to be very beautiful. On the altar of the Madonna in the Church of S. Maria della Scala, belonging to the Servite Friars, he executed the story of the Magi on two folding-doors that enclose that Madonna, which is held in vast veneration in that city; but the work did not long remain there, for it was removed because it was being spoilt by the smoke of the candles, and placed in the sacristy, where it is much admired by the painters of Verona.
In the tramezzo[4] of the Church of S. Bernardino, above the Chapel of the Company of the Magdalene, he painted in fresco the story of the Purification, wherein is a figure of Simeon that is much extolled, as also is that of the Infant Christ, who with great affection is kissing that old man, who is holding Him in his arms; and very beautiful, likewise, is a priest standing there on one side, who, with his arms extended and his face uplifted towards Heaven, appears to be thanking God for the salvation of the world. Beside this chapel is a picture of the story of the Magi by the hand of the same Liberale; and in the pediment of the picture there is the Death of the Madonna, executed with little figures, which are highly extolled. Great, indeed, was his delight in painting works with little figures, with which he always took such pains that they seem to be the work rather of an illuminator than of a painter, as may be seen in the Duomo of the same city, where there is a picture by his hand of the story of the Magi, with a vast number of little figures, horses, dogs, and various other animals, and near them a group of rosy-coloured Cherubim, who serve as a support to the Mother of Jesus. In this picture the heads are so finished, and everything is executed with such diligence, that, as I have said, it appears to be the work of an illuminator.
He also painted stories of Our Lady on a small predella, likewise after the manner of miniatures, for the Chapel of the Madonna in the Duomo. But this was afterwards removed from that chapel by order of Monsignor Messer Giovan Matteo Giberti, Bishop of Verona, and placed in the Palace of the Vescovado, which is the residence of the Bishops, in that chapel wherein they hear Mass every morning. And there that predella stands in company with a most beautiful Crucifix in relief, executed by Giovanni Battista Veronese, a sculptor, who now lives in Mantua. Liberale also painted a panel-picture for the Chapel of the Allegni in S. Vitale, containing a figure of S. Mestro, the Confessor, a Veronese and a man of great sanctity, whom he placed between a S. Francis and a S. Dominic. For the Chapel of S. Girolamo in the Vittoria, a church and convent of certain Eremite Friars, he executed at the commission of the Scaltritegli family an altar-piece of S. Jerome in the habit of a Cardinal, with a S. Francis and a S. Paul, all much extolled. And in the tramezzo[5] of the Church of S. Giovanni in Monte he painted the Circumcision of Christ and other works, which were destroyed not long since, because it was considered that the tramezzo impaired the beauty of the church.
Being then summoned to Siena by the General of the Monks of Monte Oliveto, Liberale illuminated many books for that Order; and in these he succeeded so well, that he was commissioned in consequence to illuminate some that had been left unfinished—that is to say, only written—in the library of the Piccolomini. He also illuminated some books of plain-song for the Duomo of that city, where he would have remained longer, executing many works that he had in hand; but, being driven away by envy and persecution, he set off to return to Verona, with eight hundred crowns that he had earned, which he lent afterwards to the Monks of Monte Oliveto at S. Maria in Organo, from whom he drew interest to support him from day to day.
Having thus returned to Verona, he gave his attention for the rest of his life more to illumination than to any other kind of work. At Bardolino, a place on the Lake of Garda, he painted a panel-picture which is now in the Pieve; and another for the Church of S. Tommaso Apostolo. For the Chapel of S. Bernardo, likewise, in the Church of S. Fermo, a convent of Friars of S. Francis, he painted a panel-picture of the first-named Saint, with some scenes from his life in the predella. In the same place, also, and in others, he executed many nuptial pictures, one of which, containing the Madonna with the Child in her arms marrying S. Catharine, is in the house of Messer Vincenzio de' Medici at Verona.
On the corner of the house of the Cartai, on the way from the Ponte Nuovo to S. Maria in Organo, in Verona, he painted a Madonna and S. Joseph in fresco, a work which was much extolled. Liberale would have liked to paint the Chapel of the Riva family, which had been built in order to honour the memory of Giovanni Riva, a captain of men-at-arms at the battle of the Taro, in the Church of S. Eufemia; but he did not receive the commission, which was given to some strangers, and he was told that he was too old and that his sight was failing him. When this chapel was opened, a vast number of faults were perceived in it, and Liberale said that he who had given the commission had been much more blind than himself.
