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: