[18] The picture referred to by the P. Moschini, in his Narrazione dell'Isola di Murano, is not to be admitted as genuine, the inscription upon it being forged by the same author, who counterfeited that of Giovanni Vivarini, before alluded to in the note to page 22.
[19] See Morelli Notizia, p. 157.
[20] I had supposed, in my first edition of this work, misled by the opposite names, that Sebeto was a different personage from this Stefano da Zevio. I was afterwards undeceived by the appearance of the work of the learned Brandolese, pronouncing them one and the same artist; and I willingly here retract what I had before advanced, expressing, at the same time, my acknowledgements for the emendation.
[21] Drawn in the most perfect manner, are the words of Vasari, while he adds, that the whole of his works were imitated and copied by Pietro di Perugia, an experienced artist in fresco, and more especially in miniature, with which "he ornamented the whole of the books in the library of Pope Pius," in the dome at Siena. He is not known, however, in Perugia, nor mentioned at Siena among those employed at the cathedral, as is noticed by Father della Valle; yet the present work abounds with examples of artists, unknown in their own cities, on account of having resided elsewhere; and the before mentioned annotator of Vasari was unable to discover the name of Liberal da Verona, an undoubted illustrator of the books, in such registers. I think we ought not to refuse to give credit, therefore, to Vasari, as Father Guglielmo insists; but to admit a new Pietro di Perugia, anterior to Vanucci, who might design the frescos of Stefano in Verona and Mantua, so extolled in the early part of 1400, and who copied them in those very beautiful and graceful miniatures at Siena; an art which he probably acquired at Verona, where it was then in such high repute.
[22] See on this head, the Descrizione delle Bellezze di Vicenza, P. 1. p. 7.
[23] In the cathedral of Pordenone, under one of his altarpiece, we read—
"Andreas Zeusis nostræque ætatis Apelles Hoc Bellunellus nobile pinxit opus." (Altan.)
[24] Ruggieri indeed had acquired a great reputation in Italy as early as 1449, when Ciriaco Anconitano, being in Ferrara, saw a picture of Christ taken from the cross, belonging to the Duke. He thus writes respecting the artist: Rugerus Brugiensis pictorum decus ΑΓΑΘΗΙ ΤΥΧΗΙ.—Rugierius in Brussella post præclarum illum Brugiensem picturæ decus Joannem, insignis N. T. Pictor habetur, &c. See Colucci A. P. vol. xxiii. p. 143. He is also commended in high terms by Bartolommeo Facio in his little work De viris illustribus. See Morelli, Notizia, p. 239.
[25] He arrived there, and was at Rome in the anno Santo. See Facius, lib. cit. p. 45.
[26] This is one of the usual mistakes found in Vasari. Baldinucci (tom. iv. p. 17) calls him Ans or Hans. This is his Flemish appellation, which in our tongue, signifies Giovanni; and in the Notizia Morelli he is termed Gianes da Brugia; somewhat nearer our own tongue. With Sansovino he is Gio. di Bruggia, John of Bruges. See Morelli, p. 117; and by him he is distinguished from Gio. Van Eych.