Michele San Michele of Verona, architect to the
most illustrious Signoria of Venice, and a man with a very wide
knowledge of these fine arts, was often seen during his life
contemplating these works of Vittore in a marvel, and then heard to say
that there was little to be seen that was better than the S. Eustace,
the dog, and the S. George described above. Over the arch of the said
chapel is painted the scene when S. George, having slain the Dragon, is
liberating the King's daughter, who is seen near the Saint, clad in a
long dress after the custom of those times. Marvellous, likewise, in
this part of the work, is the figure of the same S. George, who, armed
as above, and about to remount his horse, is standing with his face and
person turned towards the spectator, and is seen, with one foot in the
stirrup and his left hand on the saddle, almost in the act of leaping on
to the horse, which has its hindquarters towards the spectator, so that
the whole animal, being foreshortened, is seen very well, although in a
small space. In a word, it is impossible to contemplate without infinite
marvel--nay, amazement--a work executed with such extraordinary design,
grace, and judgment.

[Illustration: GENTILE DA FABRIANO: MADONNA AND CHILD, WITH THREE KINGS

(DETAIL FROM THE ADORATION OF THE MAGI)

(_Florence: Accademia, 165. Panel_)]

The same Pisano painted a picture in S. Fermo Maggiore at Verona (a
church of the Conventual Friars of S. Francis), in the Chapel of the
Brenzoni, on the left as one enters by the principal door of the said
church, over the tomb of the Resurrection of Our Lord, wrought in
sculpture and very beautiful for those times; he painted, I say, as an
ornament for that work, the Virgin receiving the Annunciation from the
Angel, which two figures, picked out with gold according to the use of
those times, are very beautiful, as are certain very well drawn
buildings, as well as some little animals and birds scattered throughout
the work, which are as natural and lifelike as it is possible to
imagine.

The same Vittore cast in medallions innumerable portraits of Princes and
other persons of his time, from which there have since been made many
portraits in painting. And Monsignor Giovio, speaking of Vittore Pisano
in an Italian letter written to the Lord Duke Cosimo, which may be read
in print together with many others, says the following words:

"This man was also very excellent in the work of low-relief, w