(b Verona, 1555; d Venice, 21 July 1616). Sculptor and painter, son of (1) Battista dell’Angolo del Moro. He is recorded as a member of the Venetian painters’ guild first in 1584 and for the last time in 1615. A connection with Alessandro Vittoria’s workshop in the 1570s seems likely. The work necessitated by the fires in the Doge’s Palace in that decade served as Giulio’s entry to State patronage. Between 1584 and 1589 he carved the figures of Diligence, Secrecy and Fidelity in the Sala delle Quattro Porte and in 1585–90 painted the Capture of Caffà in the Sala del Scrutinio. His most prominent picture is Doge Ziani Receiving Gifts from Pope Alexander III (c. 1610) in the Sala del Maggior Consiglio, but perhaps his best painting is the awkward but animated Ecce homo (1595–1600) in S Giacomo dell’Orio, Venice. He has been credited with the sculpture on the Priuli Tomb in S Salvador, but in fact these figures seem to be by a certain Alvise Moro. The tomb of Andrea Dolfin and Benedetta Pisani Dolfin (completed c. 1605) in the same church contains his most significant sculpture, especially the figures of St Andrew and the Risen Christ. His last projects took place c. 1605–15 at S Giorgio Maggiore: the façade sculptures of St George and St Stephen and the busts of the doges Sebastiano Ziani and Tribuno Memmo, as well as the tomb of the doge Marcantonio Memmo on the inside façade. Although some of his work, for example the bust of Giovanni da Lezze (Venice, Gesuiti), shows Giulio at his most inspired, his surviving sculptures and paintings are largely dry and derivative.

Part of the Angolodel Moro, dell’ family

• Angolo del Moro, Giulio dell'
  • Angolodel Moro, dell’