Unfortunately, there are only two frescoes from the hand of Pisanello at Verona, while no more than four authentic easel paintings by him are known to exist, two of them being in the National Gallery. He is known to have travelled extensively in Italy, and to have worked also at Mantua, Ferrara, and Rimini. The traditions of mediæval chivalry and the pictorial parade of pomp and mundane realism which are reflected in his work show that his contemporaries were justified in the high esteem in which they held him. Pisanello’s love of depicting birds and animals is shown in his two pictures in the National Gallery, but in the _Portrait of a Princess of the Este Family_ (No. 1422A, or No. 1422 _Bis_) he is shown to have been a lover of flowers also. This small panel was formerly attributed to Piero dei Franceschi, the Umbrian artist. For many years it hung among the Drawings, being apparently considered unworthy of a place in its proper environment, among the Italian primitive paintings, where it is now hung. It was purchased in 1893 out of the Felix Bamberg collection. The lady is seen in profile to the left. Her hair is dressed according to the fashion of the period, the front hair being plucked out to render the forehead round and high, while the nape of her neck for the same reason is hairless. She wears a white dress with loose-falling red sleeves; a sprig of juniper (_ginevra_) is let into her dress just above the left shoulder. It has been assumed from this that we here have a _Portrait of Ginevra d’Este_. She was the daughter of Niccolò II. d’Este by his second wife, the infamous and ill-treated Parisina Malatesta, who was decapitated in 1425. Ginevra (1419-1440) became the wife of Sigismondo Malatesta, Lord of Rimini, in 1433, and died three years later. The background is composed of pinks and columbines, among which fly four highly decorative butterflies. The embroidery on the left sleeve of the dress is patterned with the _impresa_ of a crystal vase set round with pearls. It is interesting to note that Ginevra’s husband, Sigismondo, is probably the Donor in the _Madonna and Child and a Kneeling Donor_ (No. 1159A or No. 1279) by Jacopo Bellini which hangs next to it on the left. The only other painted portrait by Pisanello known is the later, and larger, one of Leonello d’Este in the Bergamo Gallery. Bono da Ferrara (fl. 1450-1461) was a pupil of Pisanello, and Oriolo (fl. 1450) was a follower of his; their pictures are extremely rare. The Louvre contains no picture by Liberale da Verona (1451-1536), a master who had many pupils, among whom may be included Girolamo dai Libri (1474-1556) and Francesco Caroto (1470-1546). The _Madonna and Child and St. John the Baptist_ (No. 1318), which is officially catalogued under the name of Girolamo, has long been held to be by Caroto.