manner, that nothing better could be seen. The Veronese, Michele Sanmichele, architect to the Most Illustrious Signoria of Venice, and a person most deeply versed in these noble arts, was often seen to contemplate the works of Vittore with admiration, and would then say, that few better things were to be found than the Sant’ Eustachio, the Dog, and the St. George above described. In the arch over this same chapel, is further depicted the figure of St. George, after he has killed the dragon, and is rescuing the king’s daughter, who stands near the saint, and is clothed in long vestments, according to the custom of that time. The St. George, in this portion of the work, is again worthy of the utmost admiration; he is armed as above described, and, standing with his face and person turned towards the surrounding spectators, is in the act of mounting his horse: one foot is in the stirrup, the left hand is on the saddle, and one almost sees the movement of the saint as he rises to his seat. The animal itself, admirably foreshortened, is standing with the crupper to the people, and, though in a very small space, is wholly seen, and is extremely beautiful. In a word, the entire work, executed as it is with correct design, extraordinary grace, and remarkable judgment, can never be contemplated without admiration, or rather without astonishment, so excellent is it in all its parts.[1]
In San Fermo Maggiore, at Verona, a church belonging to the Grey Friars of St. Francis, on the left hand as you enter by the principal door, there is a picture of the Annunciation, by Vittore Pisano; it forms the decoration of a Sepulchral Monument, erected in the chapel of the Brenzoni family,[2] and which represents the Resurrection of the Saviour, in sculpture, very finely executed for those times. In this work the figures of the Virgin and the Angel have the parts in relief, heightened with gold, as was customary at that period, and are both very beautiful, as are also certain
- ↑ Persico, Descrizione di Verona (1820), p. 20, describes the last-mentioned picture of the series; the deliverance of the king’s daughter namely, as “still perceptible, although it has been white-washed.” The remaining portions of the work have disappeared.
- ↑ This Annunciation was also faintly visible in 1820. See Persico, ut supra, where various details respecting these and other works of the same master will be found. See also Kugler, Handbuch, vol. i. p. 86, German edition.
