[139] In S. Giorgio Maggiore is a St. Stephen and Sebastian, with the inscription:
1445.
Johannes de Alemania
et Antonius de Muriano.
P.
from which, another picture at Padova, inscribed "Antonio de Muran e Zohan Alamanus pinxit," and some traces of foreign style where his name occurs, Lanzi suspects that the inscription in S. Pantaleone, "Zuane, e Antonio da Muran, pense 1444," on which the existence of Giovanni is founded, means no other than the German partner of Antonio.
[140] In no instance seems Vasari to have given a more decisive proof of his attachment to the Florentine school, than by building the fame of Pisano on having been the pupil of Andrea del Castagno, and having been allowed to terminate the works which he had left unfinished behind him about 1480; an anachronism the more absurd as the Commendator del Pozzo was possessed of a picture by Pisano, inscribed 'Opera di Vittor Pisanello de San V. Veronese, mccccvi.' a period at which probably Castagno was not born. The truth is, that Vasari, whose rage for dispatch and credulity kept pace with each other, composed the first part of Pisano's life nearly without materials, and the second from hearsay.
[141] What Vasari says of the dog of S. Eustachio and the horse of St. Giorgio, though on the authority of Frà Marco de' Medici, warrants the assertion; and still more the foreshortened horse on the reverse of a medal struck in 1419, in honour and with the head of John Palæologus. The horse, like that of M. Antoninus, has an attitude of parallel motion. The medal has been published by Ducange in the appendix to his Latin Glossary, by Padre Banduri, Gori and Maffei.
[142] See their lists in Descrizione delle Architetture, Pitture e Sculture di Vicenza con alcune osservazioni, &c. Vicenza, 1779, 8vo. p. I. II.
[143] Ridolfi, i. 68. Vasari, who treats his art with contempt, calls him Jacopo; and Orlandi, afraid of choosing between them, used both, and made two different artists.
[144] Vasari dates his birth 1480.
[145] Liruti, Notizie de' Letterati del Friuli, t. ii. p. 285.
[146] Sebastiano Zuccati of Trevigo, flourished about 1490. He had two sons, Valerio and Francesco, celebrated for mosaic about and beyond the middle of the sixteenth century. Flaminio Zuccati, the son of Valerio, who inherited his father's talent and fame, flourished about 1585. See Zanetti.