Another painter of the earlier half of the fourteenth century may be mentioned here, though as he was more famous as a medallist his influence on the main course of painting is not observable. VITTORE PISANO, called PISANELLO, was born in Verona before 1400, and died in 1455. Of the few pictures attributed to him we are fortunate in having two such beautiful examples as the _SS. Anthony and George_ and _The Vision of S. Eustace_ in the National Gallery. Both exhibit his two most noticeable characteristics, namely, the minute care and exquisite feeling that made him the most famous of medallists, and his wonderful drawing of animals. The latter, it is worth remarking, was attributed by a former owner to Albert Duerer. The other is signed "Pisanus"; in the frame are inserted casts of two of his medals, representing Leonello d'Este, his patron, and a profile of himself. Another very considerable factor in the development of Venetian painting was the influence of GENTILE DA FABRIANO (_c._ 1360-1430), who settled in Venice in the latter part of his life, and there formed the closest intimacy with Antonio Vivarini. The remarkable _Adoration of the Kings_ in the Berlin Museum was until lately given to Gentile, though it is now catalogued as the work of Antonio. Of Gentile's education little is known, and of the numerous works which he executed at Fabriano, in Rome and in Venice very few have survived. From those that exist, however, we can form an estimate of his talents and of the difference between his earlier and later styles. To the first belong a fresco of the Madonna in the Cathedral at Orvieto, and the beautiful picture of the Madonna and saints which is now in the Kaiser Friedrich Museum at Berlin. Also the fine _Adoration of the Kings_, inscribed with his name and the date 1423, formerly in the sacristy of S. Trinita at Florence, and now in the Accademia. This, his masterpiece, is one of the finest conceptions of the subject as well as one of the most excellent productions of the schools descended from Giotto. Of his later period the _Coronation of the Virgin_ (called the _Quadro della Romita_) in the Brera gallery at Milan is one of the finest. In many respects his work is like that of Fra Angelico, and was aptly characterised by Michelangelo when he said that "Gentile's pictures were like his name." Apart from the influence of the Paduan School, which will next be noticed, the Venetian owed most to Gentile da Fabriano, if only as the master of Jacopo Bellini, whose son, Giovanni Bellini, may be regarded as the real head of the Venetian School as developed by his pupils Giorgione and Titian at the opening of the sixteenth century.