To Giotto succeeded Giusto Padovano, so called from the place of his naturalization and usual residence; being, in truth, a Florentine, sprung from the family of the Menabuoi. As a disciple of Giotto, Vasari attributes to him the very extensive work which adorns the church of St. John the Baptist. In the picture over the altar, if it be his, Giusto has exhibited various histories of St. John the Baptist; on the walls are represented both scriptural events and mysteries of the Apocalypse; and on the cupola he has drawn a Choir of Angels, where we behold, as if in a grand consistory, the blessed arrayed in various garments, seated upon the ground; simple, indeed, in its conception, but executed with an incredible degree of diligence and felicity. It is mentioned in the _Notizia Morelli_, that formerly there was to be read there an inscription over one of the gates--_Opus Johannis et Antonii de Padua_,--probably companions of Giusto, and, probably, as is conjectured by the author of the MS. above alluded to, the painters of the whole temple. This would seem to augment the number of the Paduan artists, no less than the imitators of Giotto; since the works, already described, are equally as much in his manner as those by Taddeo Gaddi, or any other of his fellow pupils in Florence. The same commendation is bestowed upon Jacopo Davanzo, of whom I treat more at length in the school of Bologna. A less faithful follower of Giotto was Guariento, a Paduan, held in high esteem about the year 1360, as appears from the honourable commissions he obtained from the Venetian senate. One of his frescos and a crucifixion yet remain at Bassano;[11] and in the choir of the Eremitani, at Padua, there are many of his figures now retouched, from which Zanetti took occasion to commend him for his rich invention, the spirit of his attitudes, and the felicity with which, at so early a period, he disposed his draperies. At Padua there is an ancient church, dedicated to St. George, erected about 1377, which boasts some history pieces of St. James, executed by the hand of Alticherio, or Aldigieri, da Zevio in the Veronese; and others of St. John, the work of one Sebeto,[12] says the historian, a native of Verona. These, likewise, approach pretty nearly the style of Giotto, and more especially the first, who painted also a good deal in his native place.