A name then still more conspicuous, though now nearly obliterated, is that of Jacopo, or as he is styled Jacobello, or as he wrote himself, Jacometto del Fiore, whose father Francesco del Fiore, a leader of art in his day, was honoured with a monument and an epitaph in Latin verse at S. Giovanni and Paolo: of him it is doubtful whether any traces remain, but of the son, who greatly surpassed him, several performances still exist, from 1401 to 1436. Vasari has wantonly taxed him with having suspended all his figures, in the Greek manner, on the points of their feet: the truth is, that he was equalled by few of his contemporaries, for few like him dared to represent figures as large as life, and fewer understood to give them beauty, dignity, and that air of agility and ease, which his forms possess; nor would the lions in his picture of Justice at the Magistrato del Proprio, have shared the first praise, had not the principal figures, in subservience to the time, been loaded with tinsel ornament and golden glitter. Two scholars of his are mentioned: Donato, superior to him in style, and Carlo Crivelli, of obscure fame, but deserving attention for the colour, union, grace, and expression, of the small histories in which he delighted. The ardour of the capital for the art was emulated by every town of the state; all had their painters, but all did not submit to the principles of Venice and Murano. At Verona the obscure names of Aldighieri and Stefano Dazevio, were succeeded[140] by the vaunted one of Vittore Pisanello, of S. Vito: though accounts grossly vary on the date in which he flourished, and the school from which he sprang, that his education was Florentine is not improbable, but whoever his master, fame has ranked him with Masaccio as an improver of style. His works at Rome and Venice, in decay at the time of Vasari, are now no more; and fragments only remain of what he did at Verona. S. Eustachio caressing a Dog, and S. Giorgio sheathing his Sword and mounting his horse, figures extolled to the skies by Vasari, are, with the places which they occupied, destroyed: works which seem to have contained elements of truth and dignity in expression with novelty of invention, and of contrast, style, and foreshortening in design: a loss so much the more to be lamented, as the remains of his less considerable works at S. Firmo and Perugia, far from sanctioning the opinion which tradition has taught us to entertain of Pisano, are finished indeed with the minuteness of miniature, but are crude in colour, and drawn in lank and emaciated proportions. It appears from his works, that he understood the formation, had studied the expression, and attempted the most picturesque attitudes of animals. His name is well known to antiquaries, and to the curious in coins, as a medallist, and he has been celebrated as such by many eminent pens of his own and the subsequent century.[141]