The History of Painting in Italy, Vol. 3

in its conception, but executed with an incredible degree of diligence and felicity. It is mentioned in the Notizia Morelli, that formerly there was to be read there an inscription over one of the gates--Opus Johannis et Antonii de Padua,--probably companions of Giusto, and, probably, as is conjectured by the author of the MS. above alluded to, the painters of the whole temple. This would seem to augment the number of the Paduan artists, no less than the imitators of Giotto; since the works, already described, are equally as much in his manner as those by Taddeo Gaddi, or any other of his fellow pupils in Florence. The same commendation is bestowed upon Jacopo Davanzo, of whom I treat more at length in the school of Bologna. A less faithful follower of Giotto was Guariento, a Paduan, held in high esteem about the year 1360, as appears from the honourable commissions he obtained from the Venetian senate. One of his frescos and a crucifixion yet remain at Bassano;[11] and in the choir of the E