( fl 1362–after 1384). Italian scribe and ?illuminator. He was active in Venice. He signed the text of the Antiphonary of S Maria della Carità (1365; Venice, Bib. N. Marciana, Cod. lat. II. 119), as follows: Qui cupis actorem (sic) origine venetus huius Noscere Iustinum operis et nomine condam Gherardini fuit forlivensis magistri natus. The wording suggests that he may have been entirely responsible for the production of the manuscript, including its illumination. Levi D’Ancona has attributed a major group of later 14th-century Venetian illumination to Giustino on this assumption, including several political documents such as the Promissione of Doge Michele Morosini (1382; Venice, Bib. N. Marciana, Cod. lat. X. 189) and two major narrative cycles, in the Leggenda dei santi e della venuta a Venezia di Papa Alessandro III (Venice, Correr, MS. I 383) and in the Historia troiana (Genoa, Bib. Bodmeriana). Giustino’s border decoration of foliage spirals and linking poles and miniatures with blue backgrounds, steep architectural foreshortening and close-set facial features framed by dark shadows are derived from Bolognese illumination of c. 1320–50; his style, however, is distinguished by sharp Gothic drapery and softer modelling. This conservatism may reflect his father’s Romagnole origins as well as official Venetian practice. The triangular faces, large eyes and flattened noses of Giustino’s figures were probably inspired by Guariento, whose lost frescoes in the Doge’s Palace may have influenced the compositions of the Correr manuscript (Levi D’Ancona). Simon considered that the architectural and compositional features in the Historia troiana were borrowed from Altichiero’s frescoes in the oratory of S Georgio, Padua, and therefore dated c. 1379–84 or later: it is certainly later than the Papa Alessandro. Although Giustino’s figures lack the majesty of Altichiero’s and his buildings are simpler in detail with little spatial cohesion, his work has a simple elegance of execution and narrative charm.