Highly distinguished, on the other hand, both by the consent of the Veronese and of foreigners, is the name of Vittor Pisanello; although there exists great confusion of dates in his history. Vasari makes him a disciple of Castagno, who died about the year 1480; yet del Pozzo informs us that he has in his house a holy figure, with the annexed signature of Vittore, and dated 1406, most probably before the birth of Castagno. Again we are told by Oretti that he was in possession of one of his medals, representing the Sultan Mahomet, struck in the year 1481, a supposition which, admitting the picture of Pozzo, we are unable to reconcile to facts, so that the medal was, perhaps, taken from some painting of Pisanello, coloured at a former time. To whatever master Vittore may have been indebted, certain it is that several of his too partial admirers have placed him above Masaccio, in regard to the services rendered by him towards the progress of the art, though impartial judges will not refuse to give him a station near him. The whole of his labours, both in Venice and in Rome, have now perished. At Verona, also, little remains; even that noble piece of San Eustachio, so highly extolled by Vasari himself, having been destroyed; and his _Nunziata_, at San Fermo, being greatly defaced by time, in which, however, is still visible a country house, thrown into such admirable perspective, as to delight the beholder. There remain several little altarpieces, containing histories of San Bernardino, finished in the style of the miniaturists, in the sacristy of San Francesco; but they are crude in their colouring, and the figures more than usually long and dry. The _Guide_ of the city announces them as the productions of Pisanello; but there is no authority for this, and upon the strength of a date of 1473, which is seen upon one of them, I do not scruple to pronounce them by another hand. He is commended by Facio, (p. 47) for his almost poetical style of expression; and there is a specimen of an effort at caricature, with which Vittore embellished his historic painting of Frederick Barbarossa, in the ducal palace at Venice. He is, moreover, praised by the same author for his skill in drawing horses and other animals, in which he surpassed every other artist. His name is not unknown to the antiquaries; many medals struck by him, of different princes, being found in museums, which acquired for him, in an equal degree with his pictures, the esteem and applauses of Guarino, of Vespasiano Strozza, of Biondo, and of several other distinguished scholars.