Pisanello is perhaps even more famous as a medallist than as a painter, and speaking of his medallions, the author quoted above says: “They are a gallery of contemporary portraits, priceless to the student of Renaissance history. Leonello d’Este (who was his special friend and patron), lord of Ferrara, with his strong, ugly face; Cecilia Gonzaga, the delicate, refined head poised on the long swan-like neck; Inigo d’Avalos, Marquis of Pescara; Sigismondo Pandolfo Malatesta, the lord of Rimini, the cultured tyrant, the lover of the fair Isotta degli Atti ...; Filippo Maria Visconti, so conscious of his appearance that he lived hid in secret chambers, the last of the Visconti tyrants, his brocaded cap pressed down on the coarse, heavy face; Alfonso of Aragon, the patron of the Humanists; Gian Francesco Gonzaga, the Marquis of Mantua; Johannes Palæologus, with pointed beard and strange Eastern head attire--all these move before us; names of which Italian history is full, and show in the living bronzes their very life and character. And, lastly, the artist himself, a strong, good-tempered, square-set face, clean shaved and cap on head, his broidered jacket just showing; he is proud of his position as painter, and inscribes almost every medal--‘Opus Pisani Pictoris.’ ”[38] Pisanello was followed by pupils, who though never attaining to their master’s height, were good painters, and have left some beautiful and valuable work in the churches and gallery of Verona. The chief of these were Stefano da Zevio (born 1393); Giovanni Oriolo; Giovanni Badile; Girolamo, and Francesco Benaglio. In these painters the feeling for religious art as interpreted from the Veronese point of view was maturing ever more and more till it reached its consummation in the works of Francesco Morone; Girolamo dai Libri; Paolo Morando or Cavazzola; Liberale da Verona; and in those of Liberale’s great pupils: Francesco Bonsignori; Gian Francesco Caroto; Francesco Torbido; and Domenico del Riccio, or Brusasorci. Francesco Morone, the son of Domenico Morone, surnamed Pelacani (dogskinner) himself a painter of considerable merit, was born at Verona in 1473. His work bears the impress of deep religious feeling, rendered always with marvellous sweetness and refinement, and set in tones of fine rich colouring. His frescoes in the Sacristy of Sta. Maria in Organo are declared by Vasari to be among the most beautiful in Italy. In the same church stands his famous Madonna and Child, with S. Augustine and S. Martin below; a very beautiful composition, with its graceful details of canopy flowers and angels. Morone, who died at Verona in 1529, is best studied in his native town, though examples of his work are to be found in the Brera at Milan, and in the National Gallery in London.