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The Florentine Painters of the Renaissance - With An Index To Their Works
by Bernhard Berenson
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This is the explanation of the value put upon Botticelli's masterpieces. In some of his later works, such as the Dresden predelle, we have, it is true, bacchanals rather than symphonies of line, and in many of his earlier paintings, in the "Fortezza," for instance, the harness and trappings have so disguised Pegasus that we scarcely know him from a cart horse. But the painter of the "Venus Rising from the Sea," of the "Spring," or of the Villa Lemmi frescoes is the greatest artist of lineal design that Europe has ever had.

XIII.

[Page heading: POPULARISERS OF ART]

Leonardo and Botticelli, like Michelangelo after them, found imitators but not successors. To communicate more material and spiritual significance than Leonardo, would have taken an artist with deeper feeling for significance; to get more music out of design than Botticelli, would have required a painter with even greater passion for the re-embodiment of the pure essences of touch and movement. There were none such in Florence, and the followers of Botticelli—Leonardo's were all Milanese, and do not here concern us—could but imitate the patterns of their master: the patterns of the face, the patterns of the composition, and the patterns of the line; dragging them down to their own level, sugaring them down to their own palate, slowing them down to their own insensitiveness for what is life-communicating. And although their productions, which were nothing but translations of great man's art into average man's art, became popular, as was inevitable, with the average man of their time, (who comprehended them better and felt more comfortable in their presence than in that of the originals which he respectfully admired but did not so thoroughly enjoy), nevertheless we need not dwell on these popularisers nor on their popularisations—not even on Filippino, with his touch of consumptive delicacy, nor Raffaelino del Garbo, with his glints of never-to-be-fulfilled promise.

[Page heading: FRA BARTOLOMMEO]

Before approaching the one man of genius left in Florence after Botticelli and Leonardo, before speaking of Michelangelo, the man in whom all that was most peculiar and much that was greatest in the striving of Florentine art found its fulfilment, let us turn for a moment to a few painters who, just because they were men of manifold talent, might elsewhere almost have become masters. Fra Bartolommeo, Andrea del Sarto, Pontormo, and Bronzino were perhaps no less gifted as artists than Palma, Bonifazio Veronese, Lotto, and Tintoretto; but their talents, instead of being permitted to flower naturally, were scorched by the passion for showing off dexterity, blighted by academic ideals, and uprooted by the whirlwind force of Michelangelo.

Fra Bartolommeo, who in temperament was delicate, refined, graceful, and as a painter had a miniaturist's feeling for the dainty, was induced to desert his lovely women, his exquisite landscape, and his gentleness of expression for figures constructed mechanically on a colossal scale, or for effects of the round at any cost. And as evil is more obvious than good, Bartolommeo, the painter of that masterpiece of colour and light and shade, of graceful movement and charming feeling, the "Madonna with the Baptist and St. Stephen" in the Cathedral at Lucca, Bartolommeo, the dainty deviser of Mr. Mond's tiny "Nativity," Bartolommeo, the artificer of a hundred masterpieces of pen drawing, is almost unknown; and to most people Fra Bartolommeo is a sort of synonym for pomposity. He is known only as the author of physically colossal, spiritually insignificant prophets and apostles, or, perchance, as the painter of pitch-dark altar-pieces: this being the reward of devices to obtain mere relief.

[Page heading: ANDREA DEL SARTO]

Andrea del Sarto approached perhaps as closely to a Giorgione or a Titian as could a Florentine, ill at ease in the neighbourhood of Leonardo and Michelangelo. As an artist he was, it is true, not endowed with the profoundest sense for the significant, yet within the sphere of common humanity who has produced anything more genial than his "Portrait of a Lady"—probably his wife—with a Petrarch in her hands? Where out of Venetia can we find portraits so simple, so frank, and yet so interpretive as his "Sculptor," or as his various portraits of himself—these, by the way, an autobiography as complete as any in existence, and tragic as few? Almost Venetian again is his "St. James" caressing children, a work of the sweetest feeling. Even in colour effect, and technique, how singularly close to the best Venetian painting in his "Dispute about the Trinity"—what blacks and whites, what greys and purplish browns! And in addition, tactile values peculiar to Florence—what a back St. Sebastian's! But in a work of scarcely less technical merit, the "Madonna of the Harpies," we already feel the man not striving to get the utmost out of himself, but panting for the grand and magnificent. Even here, he remains almost a great artist, because his natural robustness comes to his rescue; but the "Madonna" is too obviously statuesque, and, good saints, pray why all these draperies?

The obviously statuesque and draperies were Andrea's devices for keeping his head above water in the rising tide of the Michelangelesque. As you glance in sequence at the Annunziata frescoes, on the whole so full of vivacity, gaiety, and genuine delight in life, you see from one fresco to another the increased attention given to draperies. In the Scalzo series, otherwise masterpieces of tactile values, the draperies do their utmost to smother the figures. Most of these paintings are closed in with ponderous forms which have no other purpose than to serve as a frame, and as clothes-horses for draperies: witness the scene of Zacharias in the temple, wherein none of the bystanders dare move for fear of disturbing their too obviously arranged folds.

Thus by constantly sacrificing first spiritual, and then material significance to pose and draperies, Andrea loses all feeling for the essential in art. What a sad spectacle is his "Assumption," wherein the Apostles, the Virgin herself, have nothing better to do than to show off draperies! Instead of feeling, as in the presence of Titian's "Assunta," wrapt to heaven, you gaze at a number of tailor's men, each showing how a stuff you are thinking of trying looks on the back, or in a certain effect of light. But let us not end on this note; let us bear in mind that, despite all his faults, Andrea painted the one "Last Supper" which can be looked at with pleasure after Leonardo's.

[Page heading: PONTORMO]

Pontormo, who had it in him to be a decorator and portrait-painter of the highest rank, was led astray by his awe-struck admiration for Michelangelo, and ended as an academic constructor of monstrous nudes. What he could do when expressing himself, we see in the lunette at Poggio a Caiano, as design, as colour, as fancy, the freshest, gayest, most appropriate mural decoration now remaining in Italy; what he could do as a portrait-painter, we see in his wonderfully decorative panel of Cosimo dei Medici at San Marco, or in his portrait of a "Lady with a Dog" (at Frankfort), perhaps the first portrait ever painted in which the sitter's social position was insisted upon as much as the personal character. What Pontormo sank to, we see in such a riot of meaningless nudes, all caricatures of Michelangelo, as his "Martyrdom of Forty Saints."

[Page heading: BRONZINO]

Bronzino, Pontormo's close follower, had none of his master's talent as a decorator, but happily much of his power as a portrait-painter. Would he had never attempted anything else! The nude without material or spiritual significance, with no beauty of design or colour, the nude simply because it was the nude, was Bronzino's ideal in composition, and the result is his "Christ in Limbo." But as a portrait-painter, he took up the note struck by his master and continued it, leaving behind him a series of portraits which not only had their effect in determining the character of Court painting all over Europe, but, what is more to the point, a series of portraits most of which are works of art. As painting, it is true, they are hard, and often timid; but their air of distinction, their interpretive qualities, have not often been surpassed. In his Uffizi portraits of Eleanora di Toledo, of Prince Ferdinand, of the Princess Maria, we seem to see the prototypes of Velasquez' queens, princes, and princesses: and for a fine example of dignified rendering of character, look in the Sala Baroccio of the Uffizi at a bust of a young woman with a missal in her hand.

XIV.

[Page heading: MICHELANGELO]

The great Florentine artists, as we have seen, were, with scarcely an exception, bent upon rendering the material significance of visible things. This, little though they may have formulated it, was the conscious aim of most of them; and in proportion as they emancipated themselves from ecclesiastical dominion, and found among their employers men capable of understanding them, their aim became more and more conscious and their striving more energetic. At last appeared the man who was the pupil of nobody, the heir of everybody, who felt profoundly and powerfully what to his precursors had been vague instinct, who saw and expressed the meaning of it all. The seed that produced him had already flowered into a Giotto, and once again into a Masaccio; in him, the last of his race, born in conditions artistically most propitious, all the energies remaining in his stock were concentrated, and in him Florentine art had its logical culmination.

[Page heading: ANTHROPOMORPHISM IN ART]

Michelangelo had a sense for the materially significant as great as Giotto's or Masaccio's, but he possessed means of rendering, inherited from Donatello, Pollaiuolo, Verrocchio and Leonardo,—means that had been undreamt of by Giotto or even by Masaccio. Add to this that he saw clearly what before him had been felt only dimly, that there was no other such instrument for conveying material significance as the human nude. This fact is as closely dependent on the general conditions of realising objects as tactile values are on the psychology of sight. We realise objects when we perfectly translate them into terms of our own states, our own feelings. So obviously true is this, that even the least poetically inclined among us, because we keenly realise the movement of a railway train, to take one example out of millions, speak of it as going or running, instead of rolling on its wheels, thus being no less guilty of anthropomorphising than the most unregenerate savages. Of this same fallacy we are guilty every time we think of anything whatsoever with the least warmth—we are lending this thing some human attributes. The more we endow it with human attributes, the less we merely know it, the more we realise it, the more does it approach the work of art. Now there is one and only one object in the visible universe which we need not anthropomorphise to realise—and that is man himself. His movements, his actions, are the only things we realise without any myth-making effort—directly. Hence, there is no visible object of such artistic possibilities as the human body; nothing with which we are so familiar; nothing, therefore, in which we so rapidly perceive changes; nothing, then, which if represented so as to be realised more quickly and vividly than in life, will produce its effect with such velocity and power, and so strongly confirm our sense of capacity for living.

[Page heading: VALUE OF THE NUDE IN ART]

Values of touch and movement, we remember, are the specifically artistic qualities in figure painting (at least, as practised by the Florentines), for it is through them chiefly that painting directly heightens life. Now while it remains true that tactile values can, as Giotto and Masaccio have forever established, be admirably rendered on the draped figure, yet drapery is a hindrance, and, at the best, only a way out of a difficulty, for we feel it masking the really significant, which is the form underneath. A mere painter, one who is satisfied to reproduce what everybody sees, and to paint for the fun of painting, will scarcely comprehend this feeling. His only significant is the obvious—in a figure, the face and the clothing, as in most of the portraits manufactured nowadays. The artist, even when compelled to paint draped figures, will force the drapery to render the nude, in other words the material significance of the human body. But how much more clearly will this significance shine out, how much more convincingly will the character manifest itself, when between its perfect rendering and the artist nothing intervenes! And this perfect rendering is to be accomplished with the nude only.

If draperies are a hindrance to the conveyance of tactile values, they make the perfect rendering of movement next to impossible. To realise the play of muscle everywhere, to get the full sense of the various pressures and resistances, to receive the direct inspiration of the energy expended, we must have the nude; for here alone can we watch those tautnesses of muscle and those stretchings and relaxings and ripplings of skin which, translated into similar strains on our own persons, make us fully realise movement. Here alone the translation, owing to the multitude and the clearness of the appeals made, is instantaneous, and the consequent sense of increased capacity almost as great as can be attained; while in the draped figure we miss all the appeal of visible muscle and skin, and realise movement only after a slow translation of certain functional outlines, so that the sense of capacity which we receive from the perception of movement is increased but slightly.

We are now able to understand why every art whose chief preoccupation is the human figure must have the nude for its chief interest; why, also, the nude is the most absorbing problem of classic art at all times. Not only is it the best vehicle for all that in art which is directly life-confirming and life-enhancing, but it is itself the most significant object in the human world. The first person since the great days of Greek sculpture to comprehend fully the identity of the nude with great figure art, was Michelangelo. Before him, it had been studied for scientific purposes—as an aid in rendering the draped figure. He saw that it was an end in itself, and the final purpose of his art. For him the nude and art were synonymous. Here lies the secret of his successes and his failures.

[Page heading: MICHELANGELO]

First, his successes. Nowhere outside of the best Greek art shall we find, as in Michelangelo's works, forms whose tactile values so increase our sense of capacity, whose movements are so directly communicated and inspiring. Other artists have had quite as much feeling for tactile values alone,—Masaccio, for instance; others still have had at least as much sense of movement and power of rendering it,—Leonardo, for example; but no other artist of modern times, having at all his control over the materially significant, has employed it as Michelangelo did, on the one subject where its full value can be manifested—the nude. Hence of all the achievements of modern art, his are the most invigorating. Surely not often is our imagination of touch roused as by his Adam in the "Creation," by his Eve in the "Temptation," or by his many nudes in the same ceiling of the Sixtine Chapel,—there for no other purpose, be it noted, than their direct tonic effect! Nor is it less rare to quaff such draughts of unadulterated energy as we receive from the "God Creating Adam," the "Boy Angel" standing by Isaiah, or—to choose one or two instances from his drawings (in their own kind the greatest in existence)—the "Gods Shooting at a Mark" or the "Hercules and the Lion."

And to this feeling for the materially significant and all this power of conveying it, to all this more narrowly artistic capacity, Michelangelo joined an ideal of beauty and force, a vision of a glorious but possible humanity, which, again, has never had its like in modern times. Manliness, robustness, effectiveness, the fulfilment of our dream of a great soul inhabiting a beautiful body, we shall encounter nowhere else so frequently as among the figures in the Sixtine Chapel. Michelangelo completed what Masaccio had begun, the creation of the type of man best fitted to subdue and control the earth, and, who knows! perhaps more than the earth.

[Page heading: LAST WORKS OF MICHELANGELO]

But unfortunately, though born and nurtured in a world where his feeling for the nude and his ideal of humanity could be appreciated, he passed most of his life in the midst of tragic disasters, and while yet in the fulness of his vigour, in the midst of his most creative years, he found himself alone, perhaps the greatest, but alas! also the last of the giants born so plentifully during the fifteenth century. He lived on in a world he could not but despise, in a world which really could no more employ him than it could understand him. He was not allowed, therefore, to busy himself where he felt most drawn by his genius, and, much against his own strongest impulses, he was obliged to expend his energy upon such subjects as the "Last Judgment." His later works all show signs of the altered conditions, first in an overflow into the figures he was creating of the scorn and bitterness he was feeling, then in the lack of harmony between his genius and what he was compelled to execute. His passion was the nude, his ideal power. But what outlet for such a passion, what expression for such an ideal could there be in subjects like the "Last Judgment," or the "Crucifixion of Peter"—subjects which the Christian world imperatively demanded should incarnate the fear of the humble and the self-sacrifice of the patient? Now humility and patience were feelings as unknown to Michelangelo as to Dante before him, or, for that matter, to any other of the world's creative geniuses at any time. Even had he felt them, he had no means of expressing them, for his nudes could convey a sense of power, not of weakness; of terror, not of dread; of despair, but not of submission. And terror the giant nudes of the "Last Judgment" do feel, but it is not terror of the Judge, who, being in no wise different from the others, in spite of his omnipotent gesture, seems to be announcing rather than willing what the bystanders, his fellows, could not unwill. As the representation of the moment before the universe disappears in chaos—Gods huddling together for the Goetterdaemmerung—the "Last Judgment" is as grandly conceived as possible: but when the crash comes, none will survive it, no, not even God. Michelangelo therefore failed in his conception of the subject, and could not but fail. But where else in the whole world of art shall we receive such blasts of energy as from this giant's dream, or, if you will, nightmare? For kindred reasons, the "Crucifixion of Peter" is a failure. Art can be only life-communicating and life-enhancing. If it treats of pain and death, these must always appear as manifestations and as results only of living resolutely and energetically. What chance is there, I ask, for this, artistically the only possible treatment, in the representation of a man crucified with his head downwards? Michelangelo could do nothing but make the bystanders, the executioners, all the more life-communicating, and therefore inevitably more sympathetic! No wonder he failed here! What a tragedy, by the way, that the one subject perfectly cut out for his genius, the one subject which required none but genuinely artistic treatment, his "Bathers," executed forty years before these last works, has disappeared, leaving but scant traces! Yet even these suffice to enable the competent student to recognise that this composition must have been the greatest masterpiece in figure art of modern times.

That Michelangelo had faults of his own is undeniable. As he got older, and his genius, lacking its proper outlets, tended to stagnate and thicken, he fell into exaggerations—exaggerations of power into brutality, of tactile values into feats of modelling. No doubt he was also at times as indifferent to representation as Botticelli! But while there is such a thing as movement, there is no such thing as tactile values without representation. Yet he seems to have dreamt of presenting nothing but tactile values: hence his many drawings with only the torso adequately treated, the rest unheeded. Still another result from his passion for tactile values. I have already suggested that Giotto's types were so massive because such figures most easily convey values of touch. Michelangelo tended to similar exaggerations, to making shoulders, for instance, too broad and too bossy, simply because they make thus a more powerful appeal to the tactile imagination. Indeed, I venture to go even farther, and suggest that his faults in all the arts, sculpture no less than painting, and architecture no less than sculpture, are due to this self-same predilection for salient projections. But the lover of the figure arts for what in them is genuinely artistic and not merely ethical, will in Michelangelo, even at his worst, get such pleasures as, excepting a few, others, even at their best, rarely give him.

* * * * *

[Page heading: CONSTANT AIMS OF FLORENTINE ART]

In closing, let us note what results clearly even from this brief account of the Florentine school, namely that, although no Florentine merely took up and continued a predecessor's work, nevertheless all, from first to last, fought for the same cause. There is no opposition between Giotto and Michelangelo. The best energies of the first, of the last, and of all the intervening great Florentine artists were persistently devoted to the rendering of tactile values, or of movement, or of both. Now successful grappling with problems of form and of movement is at the bottom of all the higher arts; and because of this fact, Florentine painting, despite its many faults, is, after Greek sculpture, the most serious figure art in existence.



INDEX TO THE WORKS OF THE PRINCIPAL FLORENTINE PAINTERS.

NOTE.

The following lists make no claim to absolute completeness, but no genuine work by the painters mentioned, found in the better known public or private collections, has been omitted. With the exception of three or four pictures, which he knows only in the photographs, the author has seen and carefully studied every picture indicated, and is alone responsible for the attributions, although he is happy to acknowledge his indebtedness to the writings of Signor Cavalcaselle, of the late Giovanni Morelli, of Signor Gustavo Frizzoni, and of Dr. J. P. Richter. For the convenience of students, lists of the sculptures, but the more important only, have been appended to the lists of pictures by those artists who have left sculptures as well as paintings.

Public galleries are mentioned first, then private collections, and churches last. The principal public gallery is always understood after the simple mention of a city or town. Thus, Paris means Paris, Louvre, London means London, National Gallery, etc.

An interrogation point after the title of a picture indicates that its attribution to the given painter is doubtful. Distinctly early or late works are marked E. or L.

It need scarcely be said that the attributions here given are not based on official catalogues, and are often at variance with them.

MARIOTTO ALBERTINELLI.

1474-1515. Pupil of Cosimo Rosselli and Pier di Cosimo; influenced by Lorenzo di Credi; worked in partnership with Fra Bartolommeo.

Agram (Croatia). STROSSMAYER COLLECTION. Adam and Eve driven from Paradise. E. Bergamo. LOCHIS, 203. Crucifixion. MORELLI, 32. St. John and the Magdalen. E. Cambridge. FITZWILLIAM MUSEUM, 162. Madonna and infant John. 1509. Chartres. MUSEE. Tabernacle: Madonna and Saints, Crucifixion, etc. E. Florence. ACADEMY, 63. Trinity. 167. Madonna and four Saints. 169. Annunciation. 1510. PITTI, 365. Holy Family. UFFIZI, 71. Last Judgment (begun in 1499 by Fra Bartolommeo). 1259. Visitation, with Predella. 1503. CORSINI, 160. Holy Family (in part). 1511. CERTOSA (near Florence). Crucifixion. 1505. Geneva. MUSEE. Annunciation. 1511. Gloucester. HIGHNAM COURT, SIR HUBERT PARRY, 7. Nativity. 24. Scenes from the Creation. E. The Hague. 306. Holy Family with infant John (on Fra Bartolommeo's cartoon). Madrid. DUKE OF ALBA. Madonna. Milan. POLDI-PEZZOLI, 477. Triptych. 1500. Munich. 1057. Annunciation and the two Saints. New York. MR. SAMUEL UNTERMEYER. Female Saint. Paris. 1114. Madonna and Saints (begun by Filippino, who laid in the St. Jerome. Albertinelli was assisted by Bugiardini in the execution of the rest, especially in the Child and landscape). 1506. Pisa. S. CATERINA. Madonna and Saints (on Fra Bartolommeo's cartoon). 1511. Rome. BORGHESE, 310. Madonna and infant John (on Fra Bartolommeo's cartoon). 1511. 421. Head of Christ. Scotland. GOSFORD HOUSE, EARL OF WEMYSS. Madonna. Siena. 564. St. Catherine. 1512. 565. The Magdalen. 1512. Stuttgart. 242, 243, 244. Coronation and two putti (top of Fra Bartolommeo's altar-piece at Besancon). 1512. Venice. SEMINARIO, 18. Madonna. Volterra. DUOMO. Annunciation. E.

ALUNNO DI DOMENICO.

Descriptive name for Florentine painter whose real name appears to have been Bartolommeo di Giovanni. Flourished last two decades of fifteenth century. Assistant of Ghirlandajo; influenced by Amico di Sandro.

Aix-en-Provence. MUSEE. Madonna and infant John adoring Child. Arezzo. MUSEO, SALA II, 4. Tabernacle: Magdalen and St. Antony at foot of Cross. Dresden. 17 and 18. Tondi: SS. Michael and Raphael. Florence. ACADEMY, 67. Pieta and Stories of Saints. 268. St. Thomas Aquinas, Gabriel, and a Prophet. 269. Madonna with St. Dominic and a Prophet. 278. St. Jerome. 279. St. Francis receiving the Stigmata. 280. Entombment. UFFIZI, 85. Tondo: Madonna and infant John. 1208. St. Benedict and two Monks. MUSEO DI SAN MARCO, SMALL REFECTORY. Crucifixion with SS. Peter, Andrew, the Magdalen, and two other Saints. MARCHESE MANELLI RICCARDI. Pieta. INNOCENTI, GALLERY, 63-70. Seven Predelle to Ghirlandajo's altarpiece in church, in which he painted also the "Massacre of the Innocents." 1488. Horsmonden (Kent). CAPEL MANOR, MRS. AUSTEN. Two Cassone-fronts: Centaurs and Lapithae. Liverpool. WALKER ART GALLERY, 17. Martyrdom of St. Sebastian. 18. Bishop dining with a Woman. London. MR. BRINSLEY MARLAY. Four Cassone-fronts: Stories of Joseph and of The Taking of Troy. SIR KENNETH MUIR MACKENZIE. Madonna and infant John. Longleat (Warminster). MARQUESS OF BATH. Two Cassone-fronts: Feast and Flight. Lovere (Lago d'Iseo). GALLERIA TADINI, 29. Madonna and infant John. Milan. BORROMEO. Pieta Narni. MUNICIPIO. Two compartments of the Predelle to Ghirlandajo's Coronation of Virgin: SS. Francis and Jerome. 1486. New Haven (U. S. A.). JARVES COLLECTION, 47. St. Jerome. Oxford. CHRIST CHURCH LIBRARY, 22. Madonna and infant John. Palermo. BARON CHIARAMONTE-BORDONARO, 118. St. Jerome. Paris. 1416A. Marriage of Peleus and Thetis. 1416B. Triumph of Venus. M. JEAN DOLLFUS, 1519. Frame to a Trecento Madonna. M. JOSEPH SPIRIDON. Scene from the Tale of Nastagio degli Onesti. 1483. Rome. COLONNA, 11. Reconciliation between Romans and Sabines. 14. Rape of Sabines. Scotland. LANGTON (NEAR DUNS), HON. MRS. BAILLIE-HAMILTON. Cassone-front: Story of Io. Vienna. DR. A. FIGDOR. Large Cross with SS. Jerome and Francis. COUNT LANCKORONSKI. Several Martyrdoms, including the Decapitation of the Baptist beside a Well. Warwick Castle. EARL OF WARWICK. Two small Tondi: St. Stephen; A Bishop.

AMICO DI SANDRO.

An artistic personality between Botticelli and Filippino Lippi.

Altenburg. LINDENAU MUSEUM, 100. Profile Portrait of Caterina Sforza. Bergamo. MORELLI, 21. Profile Portrait of Giuliano de' Medici. Berlin. 82. Madonna. HERR EDWARD SIMON. Bust of Young Man. Budapest. 52. Madonna in Landscape with St. Antony of Padua and kneeling Monk. Chantilly. MUSEE CONDE. Cassone-front: Story of Esther. Florence. PITTI, 336. "La Bella Simonetta." 353. Death of Lucretia. UFFIZI, 23. Madonna and three Angels (from S. Maria Nuova). E. 1547. Madonna adoring Child. CENACOLO DI FOLIGNO (VIA FAENZA), 100. Madonna and infant John adoring Child. CORSINI GALLERY, 340. The Five Virtues. Horsmonden (Kent). CAPEL MANOR, MRS. AUSTEN. Madonna and Angel (version of lost original by Botticelli). E. London. 1124. Adoration of Magi. 1412. Madonna and infant John. VICTORIA AND ALBERT MUSEUM, IONIDES BEQUEST. Portrait of Esmeralda Bandinelli. E. MR. ROBERT BENSON. Tobias and the Angel. Meiningen. GRAND DUCAL PALACE. Nativity. Milan. PRINCE TRIVULZIO. Profile of Lady. Naples. Madonna and two Angels. E. MUSEO FILANGIERI, 1506 bis. Portrait of Young Man. Oxford. CHRIST CHURCH LIBRARY, 4, 5. Two panels with Sibyls in Niches. Paris. 1662A. Cassone-front: Death of Virginia. 1663. Portrait of Young Man. COMTE PASTRE: Cassone-front: Story of Esther. BARON SCHLICHTING. Madonna (version of Filippo's Madonna at Munich). Philadelphia. MR. JOHN G. JOHNSON. Portrait of Man. Rome. COUNT GREGORI STROGANOFF. Two Angels swinging Censers. Scotland. NEWBATTLE ABBEY (DALKEITH), MARQUESS OF LOTHIAN. Coronation of Virgin (lunette). St. Petersburg. STROGANOFF COLLECTION. Nativity and Angels in Landscape. Turin. 113. Tobias and the three Archangels. Vienna. PRINCE LIECHTENSTEIN. Bust of Young Man. Two Cassone panels with Story of Esther.

ANDREA (Vanucci) DEL SARTO.

1486-1531. Pupil of Pier di Cosimo; influenced by Fra Bartolommeo and Michelangelo.

Berlin. 240. Bust of his Wife. 246. Madonna and Saints. 1528. Dresden. 76. Marriage of St. Catherine. E. 77. Sacrifice of Isaac. Florence. ACADEMY, 61. Two Angels. 1528. 75. Fresco: Dead Christ. 76. Four Saints. 1528. 77. Predelle to 76. PITTI, 58. Deposition. 1524. 66. Portrait of Young Man. 81. Holy Family. 87, 88. Life of Joseph. 1516. 124. Annunciation. 172. Dispute over the Trinity. 1517. 184. Portrait of Young Man. 191. Assumption. 1531. 225. Assumption. 1526. 272. The Baptist. 476. Madonna. UFFIZI, 93. "Noli me Tangere." E. 188. Portrait of his Wife. 280. Fresco: Portrait of Himself. 1112. "Madonna dell' Arpie." 1517. 1176. Portrait of Himself. 1230. Portrait of Lady. 1254. St. James. CORSINI GALLERY. Apollo and Daphne. E. CHIOSTRO DELLO SCALZO. Monochrome Frescoes: Charity, 1512-15. Preaching of Baptist, finished 1515. Justice, 1515. St. John Baptising, 1517. Baptist made Prisoner, 1517. Faith, 1520. Dance of Salome, 1522. Annunciation to Zacharias, 1522. Decapitation of Baptist, 1523. Feast of Herod, 1523. Hope, 1523. Visitation, 1524. Birth of Baptist, 1526. SS. ANNUNZIATA, ENTRANCE COURT. Frescoes: Five to L. with the Story of St. Filippo Benizzi, 1509-1510. R., Adoration of Magi, 1511. Birth of Virgin, 1514. CHAPEL TO L. OF ENTRANCE. Head of Christ. INNER CLOISTER, OVER DOOR. Fresco: "Madonna del Sacco." 1525. S. SALVI. Fresco: Four Evangelists. 1515. Fresco: Last Supper, begun in 1519. POGGIO A CAJANO (Royal Villa near Florence). Fresco: Caesar receiving Tribute. 1521 (finished by A. Allori). London. 690. Portrait of a Sculptor. HERTFORD HOUSE. Madonna and Angels. MR. ROBERT BENSON. Tondo: Madonna with infant John. L. MR. LEOPOLD DE ROTHSCHILD. Madonna and infant John. Madrid. 383. Portrait of his Wife. 385. Holy Family and Angel. 387. Sacrifice of Isaac. 1529. Naples. Copy of Raphael's Leo X. Paris. 1514. Charity. 1518. 1515. Holy Family. Petworth House (Sussex). LORD LECONFIELD, 333. Madonna with infant John and three Angels (?). E. Rome. BORGHESE, 336. Madonna and infant John. E. St. Petersburg. 24. Madonna with SS. Elizabeth and Catherine. 1519. Vienna. 39. Pieta. 42. Tobias and Angel with St. Leonard and Donor. E. 52. Madonna and infant John (in part). Windsor Castle. Bust of Woman.

FRA ANGELICO DA FIESOLE.

1387-1455. Influenced by Lorenzo Monaco and Masaccio.

Agram (Croatia). STROSSMAYER COLLECTION, St. Francis receiving Stigmata; Death of St. Peter Martyr. Altenburg. LINDENAU MUSEUM, 91. St. Francis before the Sultan. Berlin. 60. Madonna and Saints. 60A. Last Judgment. L. 61. SS. Dominic and Francis. 62. Glory of St. Francis. (Magazine.) Head of Saint. Boston (U. S. A.). MRS. J. L. GARDNER. Death and Assumption of Virgin. Brant Broughton (Lincolnshire). REV. ARTHUR F. SUTTON. A Bishop. Cortona. S. DOMENICO, OVER ENTRANCE. Fresco: Madonna and Saints. GESU. Annunciation. E. Two Predelle. E. Triptych: Madonna with four Saints, etc. Duesseldorf. AKADEMIE, 27. Head of Baptist. Florence. ACADEMY, 166. Deposition (three pinnacles by Lorenzo Monaco). 227. Madonna and six Saints. 234-237. Fourteen scenes from Life of Christ. 1448. 240. Madonna enthroned (but not the Trinity above). 243. Story of SS. Cosmas and Damian (in part). 246. Entombment. 250. Crucifixion. 251. Coronation of Virgin. 252-254, Sixteen scenes from Life of Christ and Virgin, except the "Legge d'Amore." 1448. 258. Martyrdom of SS. Cosmas and Damian. 265. Madonna with six Saints and two Angels. 266. Last Judgment (not the Damned nor the Inferno). 281. Madonna and eight Saints and eight Angels. 1438 (ruined). 283. Predella: Pieta and Saints. L. (ruined). UFFIZI, 17. Triptych: Madonna with Saints and Angels; Predella. 1433. 1162. Predella to No. 1290: Birth of John. 1168. Predella to No. 1290: Sposalizio. 1184. Predella to No. 1290: Dormition. 1290. Coronation of Virgin. 1294. Tabernacle: Madonna, Saints, and Angels. 1443. MUSEO DI SAN MARCO. Frescoes, all painted from between about 1439 to no later than 1445. CLOISTER. St. Peter Martyr; St. Dominic at foot of Cross; St. Dominic (ruined); Pieta; Christ as Pilgrim with two Dominicans; St. Thomas Aquinas. CHAPTER HOUSE. Large Crucifixion. UPPER FLOOR, WALLS. Annunciation; St. Dominic at foot of Cross; Madonna with eight Saints. ROOMS, NO. 1. "Noli me Tangere." 2. Entombment. 3. Annunciation. 4. Crucifixion. 5. Nativity. 6. Transfiguration. 7. Ecce Homo. 8. Resurrection. 9. Coronation of Virgin. 10. Presentation in Temple. 11. Madonna and Saints. 15-23. Crucifixions (some ruined). 24. Baptism. 25. Crucifixion. 26. Pieta. 28. Christ bearing Cross. 31. Descent to Limbo. 32. Sermon on the Mount. 33. Betrayal of Judas. Panels: Small Madonna and Angels; Small Coronation. 34. Agony in Garden. Panel: Small Annunciation. 35. Institution of the Eucharist. 36. Nailing to Cross. 37. Crucifixion. 38. Adoration of Magi, and Pieta. 42, 43. Crucifixions. S. DOMENICO DI FIESOLE (near Florence) Madonna and Saints (architecture and landscape by Lorenzo di Credi). SACRISTY OF ADJOINING MONASTERY. Fresco: Crucifixion. Frankfort a./M. HERR ADOLF SCHAEFFER. Madonna enthroned and four Angels. London. 663. Paradise. MRS. J. E. TAYLOR. Small panel. Lyons. M. EDOUARD AYNARD. Madonna with SS. Peter, Paul, and George, with Angels and kneeling Donor. Madrid. PRADO, 14. Annunciation. DUKE OF ALBA. Madonna and Angels. Munich. 989-991. Legends of Saints. 992. Entombment. Orvieto. DUOMO, CHAPEL OF S. BRIZIO. Ceiling Frescoes: Christ as Judge; Prophets (assisted by Benozzo Gozzoli). 1447. Paris. 1290. Coronation of Virgin. 1293. Martyrdom of SS. Cosmas and Damian. 1294. Fresco: Crucifixion. M. GEORGES CHALANDON. Meeting of Francis and Dominic. M. NOEL VALOIS. Crucifixion with Cardinal (probably) John Torquemada, as Donor. L. Parma. 429. Madonna and four Saints. Perugia. SALA V, 1-18. Altarpiece in many parts. Pisa. SALA VI, 7. Salvator Mundi. Rome. CORSINI, SALA VII, 22. Pentecost. 23. Last Judgment. 24. Ascension. VATICAN, PINACOTECA. Madonna; two Predelle with Legend of St. Nicholas. MUSEO CRISTIANO, CASE Q. V. St. Francis receiving Stigmata. CHAPEL OF NICHOLAS V. Frescoes: Lives of SS. Stephen and Lawrence. 1447-1449. COUNT GREGORI STROGANOFF. Small Tabernacle. St. Petersburg. HERMITAGE, 1674. Fresco: Madonna with SS. Dominic and Thomas Aquinas. Turin. 103, 104. Adoring Angels. Vienna. BARON TUCHER. Annunciation (in part).

BACCHIACCA (Francesco Ubertini).

About 1494-1557. Pupil of Perugino and Franciabigio; influenced by Andrea del Sarto and Michelangelo.

Asolo. CANONICA DELLA PARROCCHIA. Madonna with St. Elizabeth. Bergamo. MORELLI, 62. Death of Abel. Berlin. 267. Baptism. 267A. Portrait of Young Woman. (MAGAZINE.) Decapitation of Baptist. HERR EUGEN SCHWEIZER. Leda and the Swan. Boston (U. S. A.). MRS. J. L. GARDNER. Head of Woman. Brocklesby (Lincolnshire). EARL OF YARBOROUGH. Madonna and St. Anne. Budapest. 70. Preaching of Baptist. Cassel. 484. Old Man Seated. Dijon. Musee, Donation Jules Maciet. Resurrection. Dresden. 80. Legendary Subject. 1523. Florence. PITTI, 102. The Magdalen. UFFIZI, 87. Descent from Cross. 1296. Predelle: Life of St. Ascanius. 1571. Tobias and Angel. CORSINI GALLERY, 164. Madonna, infant John, and sleeping Child. 206. Portrait of Man. 1540. CONTE NICCOLINI (Via dei Servi). Madonna with St. Anne and infant John. CONTE SERRISTORI. Madonna with St. Anne and infant John. Locko Park (near Derby). MR. DRURY LOWE, 44. Christ bearing Cross. London. 1218, 1219. Story of Joseph. 1304. Marcus Curtius. MR. CHARLES BUTLER. Portrait of Young Man. MR. FREDERICK A. WHITE. Birth Plate. Milan. COMM. BENIGNO CRESPI. Adoration of Magi; Madonna. DR. GUSTAVO FRIZZONI. Adam and Eve. Munich. 1077. Madonna and infant John. Oxford. CHRIST CHURCH LIBRARY, 55. "Noli me Tangere." 57. Resurrection of Lazarus. Richmond (Surrey). SIR FREDERICK COOK. Holy Family; Last Supper; Crucifixion. Two Grisailles: Apollo and Cupid; Apollo and Daphne. Rome. BORGHESE, 338. Madonna. 425, 426, 440, 442, 463. Life of Joseph. MISS HERTZ. Bust of Magdalen. Troyes. MUSEE. Tobias and Angel. Venice. SEMINARIO, 23. Madonna. PRINCE GIOVANELLI. Moses Striking Rock. Wiesbaden. NASSAUISCHES KUNSTVEREIN, 114. Madonna and infant John.

ALESSO BALDOVINETTI.

1425-1499. Pupil of Domenico Veneziano; influenced by Paolo Uccello.

Bergamo. MORELLI, 23. Fresco: Portrait of Himself (fragment from S. Trinita, Florence). Berlin. 1614. Profile of Young Woman. (?) Florence. ACADEMY, 159. Trinity. 1471. 233. Marriage of Cana; Baptism; Transfiguration. 1448. UFFIZI, 56. Annunciation. 60. Madonna and Saints. MR. B. BERENSON. Madonna. E. S. AMBROGIO. Baptist with SS. Catherine, Stephen, Ambrose, and Angels, 1470-1473. SS. ANNUNZIATA, ENTRANCE COURT. Fresco: Nativity. 1460-1462. DUOMO, SACRISTY. Intarsias (after his cartoons): Nativity, 1463. Circumcision. S. MARCO, COURTYARD. Crucifixion with S. Antonino. S. MINIATO, PORTUGUESE CHAPEL. Annunciation. 1466. Frescoes in CUPOLA AND SPANDRILS: Prophets. Begun 1466. S. PANCRAZIO, RUCCELLAI CHAPEL. Fresco: Resurrected Christ. 1467. PAZZI CHAPEL (beside S. Croce). Window in CHOIR (after his design): St. Andrew. S. TRINITA, CHOIR. Frescoes: begun in 1471: CEILING. Noah; Moses; Abraham; David. Lunettes: Fragment of Sacrifice of Isaac; slight fragment of Moses receiving the Tables of the Law. Paris. 1300A. Madonna in Landscape. E. MME. EDOUARD ANDRE. Madonna in Landscape.

FRA BARTOLOMMEO (Baccio delta Porta).

1475-1517. Pupil of Pier di Cosimo; influenced by Leonardo and Michelangelo.

Ashridge Park (Berkhampstead). EARL BROWNLOW, Madonna. L. Berlin. 249. Assumption (upper part by Albertinelli). Probably, 1508. Besancon. CATHEDRAL. Madonna in Glory, Saints, and Ferry Carondolet as Donor. 1512 Cambridge (U. S. A.). FOGG MUSEUM. Sacrifice of Abel. Florence. ACADEMY, 58. St. Vincent Ferrer. 97. Vision of St. Bernard. 1506. 168. Heads in Fresco. 171. Fresco: Madonna. 172. Portrait of Savonarola. 173. Fresco: Madonna. PITTI, 64. Deposition. 125. St. Mark. 1514. 159. Christ and the four Evangelists. 1516. 208. Madonna and Saints. 1512. 256. Holy Family. 377. Fresco: Ecce Homo. UFFIZI, 71. Fresco: Last Judgment. Begun 1499, finished by Albertinelli. 1126. Isaiah. 1130. Job. 1161. Small Diptych. E. 1265. Underpainting for Altarpiece (from his cartoons). 1510-13. MUSEO DI SAN MARCO, SAVONAROLA'S CELL. Fresco: Madonna, 1514. Profile of Savonarola. E. Fresco: Christ at Emmaus. S. MARCO, 2D ALTAR R. Madonna and Saints. 1509. PIAN DI MUGNONE (near Florence). S. MADDALENA. Frescoes: Annunciation. 1515; "Noli me Tangere." 1517. Grenoble. MUSEE, 374. Madonna. London. 1694. Madonna in Landscape. COL. G. L. HOLFORD, DORCHESTER HOUSE. Madonna (in part). MR. LUDWIG MOND. Holy Family; Small Nativity. EARL OF NORTH BROOK. Holy Family (finished by Albertinelli). Lucca. "Madonna della Misericordia." 1515. God adored by Saints. 1509. DUOMO, CHAPEL L. OF CHOIR. Madonna and Saints. 1509. Naples. Assumption of Virgin (in great part). 1516. Panshanger (Hertford). Holy Family. Burial and Ascension of S. Antonino. Paris. 1115. "Noli me Tangere." 1506. 1153. Annunciation. 1515. 1154. Madonna and Saints. 1511. Philadelphia. MR. JOHN G. JOHNSON. Adam and Eve (unfinished). Richmond (Surrey). SIR FREDERICK COOK, OCTAGON ROOM, 40. Madonna with St. Elizabeth and Children. 1516. Rome. CORSINI GALLERY, 579. Holy Family. 1516. LATERAN, 73. St. Peter (finished by Raphael). 75. St. Paul. MARCHESE VISCONTI VENOSTA. Tondo: Holy Family. St. Petersburg. Madonna and three Angels. 1515. Vienna. 34. Madonna. 38. Madonna and Saints (assisted by Albertinelli). 1510. 41. Circumcision. 1516.

BENOZZO GOZZOLI.

1420-1497. Pupil possibly of Giuliano Pesello, and of the Bicci; assistant and follower of Fra Angelico.

Berlin. 60B. Madonna, Saints, and Angels. Miracle of S. Zanobi. 1461. Beziers. MUSEE, 193. St. Rose and the Magdalen. Cambridge (U. S. A.). FOGG MUSEUM. Madonna. Castelfiorentino (near Empoli). CAPPELLA DI S. CHIARA. Tabernacle with Frescoes (in great part). MADONNA DELLA TOSSE (on way to Castelnuovo). Frescoes (in great part). 1484. Certaldo. CAPPELLA DEL PONTE DELL' AGLIENA. Tabernacle with Frescoes. 1465. Cologne. 520. Madonna and Saints. 1473. Florence. ACADEMY, 37. Pilaster with SS. Bartholomew, James, and John the Baptist (execution probably by Giusto d'Andrea). UFFIZI, 1302. Predella: Pieta and Saints. PALAZZO RICCARDI. Frescoes: Procession of Magi; Angels. 1459. PALAZZO ALESSANDRI. Four Predelle: Miracle of St. Zanobi; Totila before St. Benedict; Fall of Simon Magus; Conversion of St. Paul. E. MR. HERBERT P. HORNE. Large Crucifixion. L. Locko Park (near Derby). MR. DRURY LOWE. Crucifixion. E. London. 283. Madonna, Saints, and Angels. 1461. H. M. THE KING, BUCKINGHAM PALACE. Death of Simon Magus. 1461. MR. C. N. ROBINSON. Madonna and Angels. Meiningen. GRAND DUCAL PALACE. St. Ursula. Milan. BRERA, 475. St. Dominic restoring Child to Life. 1461. Montefalco. PINACOTECA (S. Francesco). BAY TO R. OF ENTRANCE. Various Frescoes, 1452. CHOIR. Frescoes: Scenes from Life of St. Francis, etc. Finished, 1452. S. FORTUNATO, OVER ENTRANCE. Fresco: Madonna, Saints, and Angels. 1450. R. WALL. Fresco: Madonna and Angel, 1450. SECOND ALTAR R. Fresco: S. Fortunato enthroned. 1450. Narni. MUNICIPIO. Annunciation. Paris. 1319. Triumph of St. Thomas Aquinas. BARONNE D'ADELSWARD. Four Saints. 1471. Perugia. SALA VII, 20. Madonna and Saints. 1456. Philadelphia. MR. PETER WIDENER. Raising of Lazarus. Pisa. SALA VI. Madonna, Saints, and Angels. Madonna and St. Anna. CAMPO SANTO. Series of Frescoes from Old Testament; also an Annunciation. 1468-1484. RICOVERO PER MENDICITA (ancient Refectory of S. Domenico). Frescoes: Crucifixion and Saints; St. Dominic and two Angels (in part). L. UNIVERSITA DEI CAPPELLANI (Piazza del Duomo). Madonna, Saints, and Donors. 1470. Rome. LATERAN, 60. Polyptych. 1450. VATICAN, MUSEO CRISTIANO, CASE S, XII. Small Pieta. ARACOELI, THIRD CHAPEL L. Fresco: St. Antony, Donors, and Angels. San Gemignano. MUNICIPIO. Restoration of Lippo Memmi's Fresco, and two figures to R. added, 1467. Fresco: Crucifixion. S. AGOSTINO, CHOIR. Frescoes: Life of St. Augustine (the children's heads in the purely ornamental parts are by assistants). 1465. SECOND ALTAR L. Fresco; St. Sebastian. 1464. S. ANDREA (three miles out of town). Madonna. 1466. COLLEGIATA, CHOIR. Madonna and Saints. 1466. ENTRANCE WALL. St. Sebastian and other Frescoes. 1465. MONTE OLIVETO. Fresco: Crucifixion. 1466. Sermoneta. PARISH CHURCH. Madonna and Angels. E. Terni. BIBLIOTECA. Madonna with Angels and five Saints. 1466. Vienna. 26. Madonna and Saints. E. BARON TUCHER. Madonna and Cherubim. Volterra. DUOMO, CAPPELLA DEL NOME DI GESU. Fresco Background to a Della Robbia Nativity: Procession of Magi.

BOTTICELLI (Alessandro di Mariano Filipepi).

1444-1510. Pupil of Fra Filippo; influenced early by the Pollajuoli.

Bergamo. MORELLI, 25. Story of Virginia. L. Berlin. 106. Madonna and Saints. 1485. 1128. St. Sebastian. 1474. VON KAUFMANN COLLECTION. Judith (in part). L. Boston (U. S. A.). MRS. J. L. GARDNER. Madonna with Angel offering Ears of Wheat to Child. E. Death of Lucretia. L. Dresden. 9. Scenes from Life of S. Zanobi. L. Florence. ACADEMY, 73. Coronation. (Virgin and God the Father by inferior hand). Probably, 1490. 74. Predelle to above. 80. "Primavera." 85. Madonna, Saints, and Angels. 157, 158, 161, 162. Predelle to 85: Dead Christ; Death of St. Ignatius; Salome; Vision of St. Augustine. UFFIZI, 39. Birth of Venus. 1154. Portrait of Giovanni di Cosimo de' Medici. E. 1156. Judith. E. 1158. Holofernes. E. 1179. St. Augustine. 1182. Calumny. L. 1267 bis. Tondo: "Magnificat." 1286. Adoration of Magi. 1289. Tondo: Madonna and Angels ("Madonna of the Pomegranate"). 1487 1299. "Fortezza." 1470. 3436. Adoration of Magi (only laid in by Botticelli). PALAZZO CAPPONI, MARCHESE FARINOLA. Last Communion of St. Jerome. PALAZZO PITTI. Pallas subduing a Centaur. OGNISSANTI. Fresco: St. Augustine. 1480. CORBIGNANO. (near Florence, towards Settignano), CAPPELLA VANELLA. Repainted Fresco: Madonna. E. London. 592. Adoration of Magi (earliest extant work). 626. Portrait of Young Man. 915. Mars and Venus. 1033. Tondo: Adoration of Magi. E. 1034. Nativity. 1501. MR. J. P. HESELTINE. Madonna and infant John (in small part). MR. LUDWIG MOND. Scenes from Life of S. Zanobi (two panels). L. Milan. AMBROSIANA, 145. Tondo: Madonna and Angels. POLDI-PEZZOLI, 156. Madonna. Paris. 1297. Fresco: Giovanna Tornabuoni with Venus and the Graces. 1486. 1298. Fresco: Lorenzo Tornabuoni introduced into the Circle of the Sciences. 1486. Rome. VATICAN, SIXTINE CHAPEL. Frescoes: Moses and the Daughters of Jethro; Destruction of the Children of Korah; Christ tempted on Roof of Temple. 1481-2. Among the single figures of Popes: Most of Stephen and Marcellinus, and heads of Cornelius, Lucius, and Sixtus II, and probably Euaristus. 1481-2. St. Petersburg. HERMITAGE, 3. Adoration of Magi. Probably 1482.

FRANCESCO BOTTICINI.

1446-1498. Pupil of Neri di Bicci; influenced by Castagno; worked under and was formed by Cosimo Rosselli and Verrocchio; influenced later by Amico di Sandro.

Bergamo. MORELLI, 33. Tobias and the Angel. Berlin. 70A. Crucifixion and Saints, 1475. 72. Coronation of the Virgin. E. Boston (U. S. A.). MRS. J. L. GARDNER. Madonna in Landscape. Chicago (U. S. A.). MR. MARTIN RYERSON. Tondo: Adoration of Magi. Cleveland (U. S. A.). HOLDEN COLLECTION, 3. Madonna adoring Child (?). 13. Madonna. Empoli. OPERA DEL DUOMO, 25. Annunciation. Towards 1473. Tabernacle for Sacrament, with St. Andrew and Baptist; Predelle: Last Supper; Martyrdom of two Saints. 1484-1491. Tabernacle for sculptured St. Sebastian with two Angels and Donors; Predelle: Story of St. Sebastian. Towards 1473. Florence. ACADEMY, 30. St. Vincent Ferrer. 59. St. Augustine. 60. St. Monica. 84. Tobias and the three Archangels. 154. Tobias and the Angel, with youthful Donor. Martyrdom of St. Andrew. PITTI, 347. Madonna, infant John, and Angels worshipping Child. UFFIZI, 3437. Madonna. S. APPOLONIA. Deposition with Magdalen and SS. Sebastian and Bernard. DUCA DI BRINDISI. Two Cassone-panels: Story of Virginia. MARCHESE PIO STROZZI. Madonna with SS. Antony Abbot and Donato. S. SPIRITO, R. TRANSEPT. Altarpiece with Predelle: St. Monica and Nuns. 1483. BROZZI (NEAR FLORENCE). S. ANDREA, R. WALL. Madonna and Saints. 1480. (The Fresco above, with God, the Father, is school work.) Goettingen. UNIVERSITY GALLERY, 236. Madonna and infant John. London. 227. St. Jerome with other Saints and Donors. 1126. Assumption of Virgin. Before 1475. EARL OF ASHBURNHAM. Madonna adoring Child. MR. ROBERT BENSON. Tondo: Madonna in Landscape. Madonna with four rose-crowned Angels and two Cherubim. MR. C. BRINSLEY MARLAY. Madonna adoring Child. MR. CHARLES BUTLER. Bishop enthroned, with four Female Saints. Modena. 449. Madonna and Angels adoring Child. Montefortino (near Amandola, Abruzzi). MUNICIPIO. Madonna adoring Child. Palermo. BARON CHIARAMONTE BORDONARO. SS. Nicholas and Roch. Panzano (near Greve). S. MARIA, THIRD ALTAR L. Angels and Saints around old Picture. Parcieux (near Trevoux). LA GRANGE BLANCHE, M. HENRI CHALANDON. Nativity. Paris. 1482. Madonna in Glory, and Saints. MME. EDOUARD ANDRE. Madonna and four Saints; A Version of Fra Filippo's Uffizi Madonna; Pieta with SS. Nicholas, James, Dominic, and Louis. COMTESSE ARCONATI-VISCONTI. Tondo: Madonna adoring Child. M. HENRI HEUGEL. Madonna adoring Child. Prato. Madonna and four Saints. Richmond (Surrey). SIR FREDERICK COOK, MUSEUM. Bust of Young Man. Scotland. GOSFORD HOUSE. EARL OF WEMYSS. Profile of Youth. Stockholm. ROYAL PALACE. Bust of Youth. Turin. 119. Coronation of Virgin. Wigan. HAIGH HALL, EARL CRAWFORD. Madonna, enthroned with St. Francis, Donor, Tobias, and Angel.

BRONZINO (Angelo Allori).

1502(?)-1572. Pupil of Pontormo; influenced by Michelangelo.

Bergamo. MORELLI, 65. Portrait of Alessandro de' Medici. Berlin. 338. Portrait of Youth. 338A. Portrait of Ugolino Martelli. 338B. Portrait of Eleonora da Toledo. SIMON COLLECTION, 2. Bust of Youth. HERR EDWARD SIMON. Portrait of Bearded Man. Besancon. MUSEE, 57. Deposition. Boston (U. S. A.). MRS. J. L. GARDNER. Portrait of a Medici Princess. Budapest. 190. Venus and Cupid (in part). 191. Adoration of Shepherds. Cassel. Portrait of Duke Cosimo de' Medici in armour, holding Myrtle-branch. Florence. PITTI, 39. Holy Family. 403. Portrait of Duke Cosimo I. 434. Portrait of the Architect Luca Martini. UFFIZI, 154. Lucrezia Panciatichi. 158. Descent from Cross. 1545. 159. Bartolommeo Panciatichi. 172. Eleonora da Toledo and Don Garzia. 198. Portrait of Young Woman. 1155. Don Garzia. 1164. Maria de' Medici. 1166. Man in Armour. 1209. Dead Christ. 1211. Allegory of Happiness. 1266. Portrait of Sculptor. 1271. Christ in Limbo. 1552. 1272. Don Ferdinand. 1275. Maria de' Medici. Miniatures: 848. Don Garzia. 852. Don Ferdinand. 853. Maria de' Medici. 854. Francesco de' Medici. 855. Duke Cosimo I. 857. Alessandro de' Medici. MAGAZINE. Annunciation. PALAZZO VECCHIO, CHAPEL OF ELEONORA DA TOLEDO. Frescoes. 1564. S. LORENZO, L. WALL. Fresco: Martyrdom of St. Lawrence. The Hague. 3. Portrait of Lady. London. 651. Allegory. 1323. Piero de' Medici il Gottoso. Lucca. Don Ferdinand. Don Garzia. Milan. BRERA, 565. Portrait of Andrea Doria as Neptune. New York. MRS. GOULD. Portrait of Woman and Child. HAVEMEYER COLLECTION. Youth in Black. Paris. 1183. "Noli me Tangere." 1184. Portrait of Sculptor. Pisa. S. STEFANO. Nativity. 1564. Rome. BORGHESE GALLERY, 444. St. John the Baptist. COLONNA GALLERY, 4. Venus, Cupid, and Satyr. CORSINI GALLERY, 2171. Portrait of Stefano Colonna. 1548. PRINCE DORIA. Portrait of Giannottino Doria. Turin. 128. Portrait of Giovanni delle Bande Nere. Venice. SEMINARIO, 16. Portrait of Child. Vienna. 44. Portrait of Man. L. 49. Holy Family.

BUGIARDINI.

1475-1554. Pupil of Ghirlandajo and Pier di Cosimo; assistant of Albertinelli; influenced by Perugino, Michelangelo, Francesco Francia, and Franciabigio.

Agram. STROSSMAYER GALLERY. Madonna seated in a Loggia looking down towards infant John (?). Berlin. 142, 149. Cassone-panels: Story of Tobias. 283. Madonna and Saints. MUSEUM OF INDUSTRIAL ART. Cassone-front: Story of St. Felicitas. PALACE OF EMPEROR WILLIAM I. Cassone-front: Story of Tobias. Bologna. 25. St. John in Desert. 26. Madonna enthroned with SS. Catherine, Antony of Padua, and infant John. 745. Tondo: Madonna. Bonn. UNIVERSITY GALLERY, 285. Madonna with infant John. Bowood Park (Calne). MARQUESS OF LANSDOWNE. Copy of Perugino's Madonna in Louvre (No. 1565). Budapest. 92. "Volto Santo di Luca" (?). Dijon. MUSEE. 1. Madonna and infant John. Figline (near Florence). S. PIERO AL TERRENO, HIGH ALTAR. Madonna with SS. Peter, Paul, Francis, and Jerome. Florence. PITTI, 140. Portrait of Lady. UFFIZI, 89. Tondo: Madonna and infant John (?). E. 213. Madonna. 3451. Madonna and infant John. 1520. MUSEO DI S. MARCO, ANTICAMERA OF REFECTORY, 6. Madonna adored by St. Francis and the Magdalen. S. CROCE, REFECTORY, 3. St. Nicholas. 5. The Baptist. 42. St. Paul. 43. St. Jerome. S. MARIA NOVELLA, R. TRANSEPT. Martyrdom of St. Catherine. London. 809. Madonna, infant John, and Angels (Michelangelo's suggestion). EARL OF NORTHBROOK. Baptist in Desert drinking. Milan. S. MARIA DELLE GRAZIE. The Baptist. Modena. 334. Madonna and infant John. Mombello (near Milan). PRINCE PIO DI SAVOIA. Madonna. Newport (U. S. A.). MR. THEODORE M. DAVIS, THE REEF. Madonna, infant John, and Angel. New York. METROPOLITAN MUSEUM. Madonna and infant John (?). Olantigh Towers (Wye, Kent). MR. ERLE-DRAX, 610. Madonna and infant John. Oldenburg. 28, St. Sebastian. Paris. 1644. Bust of Youth. MUSEE DES ARTS DECORATIFS, SALLE, 253. Bust of Woman with Prayer-Book. MME. EDOUARD ANDRE. Portrait of Lady. Philadelphia. MR. PETER WIDENER. 179. Tondo: Madonna and infant John (?). Rome. BORGHESE GALLERY, 177. Marriage of St. Catherine. 443. Madonna and infant John (?). COLONNA GALLERY, 136. Madonna. CORSINI GALLERY, 580. Madonna (?) 1509. 584. Leo X. (variation of Raphael's portrait in Pitti). PRINCE COLONNA. Tondo: Madonna and infant John. CONTESSA SPALETTI. Tondo: Madonna and infant John. Scotland, Langton (Duns). HON. MRS. BAILLIE-HAMILTON. Madonna and infant John. Siena. PALAZZO SARACINI, 1420. Holy Family in Landscape. St. Petersburg. Tondo: Holy Family with infant John asleep. Strasburg. UNIVERSITY GALLERY, 286. Presentation. Stuttgart. 250. Tondo: Holy Family. Turin. 114. Madonna and infant John. MUSEO CIVICO. Madonna and infant John. Venice. BARON GIORGIO FRANCHETTI. Venus asleep and Cupid. Vienna. 36. Rape of Dinah. 1531. ACADEMY, 1134. Tondo: Madonna with infant John (Michelangelo's suggestion).

RAFFAELLE DEI CARLI (or Croli).

1470-after 1526. Started under influence of Ghirlandajo and Credi, later became almost Umbrian, and at one time was in close contact with Garbo, whom he may have assisted.

Berlin. VON KAUFMANN COLLECTION. Three half-length figures of Saints in small ovals. Dresden. 21. Madonna and two Saints. Duesseldorf. 120. Tondo: Madonna, with Child blessing. Eastnor Castle (Ledbury). LADY HENRY SOMERSET. Altarpiece: Madonna and Saints. Esher. MR. HERBERT F. COOK, COPSEHAM. Israelites crossing Red Sea. The Golden Calf. Florence. UFFIZI, 90. Madonna appearing to four Saints. Madonna, two Saints, and two Donors (probably painted in Garbo's studio). The four Evangelists (framed above Triptych ascribed to Spinello Aretino) (?). MAGAZINE. Annunciation. MR. B. BERENSON. Christ in Tomb between Mary and John. DUCA DI BRINDISI. Combat of Marine Deities. MR. H. W. CANNON, VILLA DOCCIA (near Fiesole), CHAPEL IN WOODS. Fresco. CORSINI GALLERY. Madonna with two Saints and two Angels. VIA CONSERVATORIO CAPPONI, I. Tabernacle: Madonna and two Angels. VIA DELLE COLONNE, SCUOLA ELEMENTARE. Fresco: Miracle of Loaves and Fishes. 1503. MRS. ROSS, POGGIO GHERARDO. Madonna in Glory, and two Bishops. S. AMBROGIO, FIRST ALTAR R. St. Ambrogio and other Saints; Annunciation in lunette. S. MARIA MADDALENA DEI PAZZI. St. Roch. St. Ignatius. S. PROCOLO. ALTAR R. Visitation with Saints and Angels. S. SPIRITO, SOUTH TRANSEPT. Madonna and Evangelist with SS. Stephen, Lawrence, and Bernard. 1505. Madonna with Evangelist, St. Bartholomew, and two Angels. E. Madonna with two Angels and SS. Nicholas and Bartholomew, and busts of Jerome and another Saint. BROZZI (near Florence). S. ANDREA, R. WALL. Fresco in lunette: SS. Albert and Sigismund. Le Mans. MUSEE, 19. Madonna. Locko Park (near Derby). MR. DRURY LOWE. Deposition. The Baptist. London. MR. ROBERT BENSON. Mass of St. Gregory. 1501. Lucca. SALA IV, 16. Polyptych. Milan. POLDI-PEZZOLI, 158. Madonna and infant John. Montepulciano. MUNICIPIO, 80. Tondo: Madonna in Landscape. Olantigh Towers (Wye). MR. ERLE-DRAX. Pieta. Oxford. CHRIST CHURCH LIBRARY. The Magdalen. Paris. 1303. Coronation and four Saints. BARON MICHELE LAZZARONI. Resurrection, with kneeling Donors. M. EUGENE RICHTEMBERGER. Tondo: Madonna and two Angels. L. Pisa. MUSEO CIVICO, 238. Madonna and four Saints. SALA VI, 15. God appearing to kneeling Company. S. MATTEO, L. WALL. Predelle to No. 238 in Museo. Poggibonsi. S. LUCCHESE, R. WALL. "Noli me Tangere." Prato. MUNICIPIO, 6. Madonna and infant John. San Miniato del Tedeschi. S. DOMENICO. Madonna with St. Andrew and Baptist(?). 1507. Siena. S. MARIA DEGLI ANGELI, HIGH ALTAR. Madonna in Glory, and Saints. 1502. Vallombrosa. PIEVE. S. Giovanni Gualberto enthroned between four Saints. 1508. Venice. ACADEMY, 55. Madonna and two Saints, E. Volterra. MUNICIPIO, ANTICAMERA. Fresco: Madonna. MUSEO. Madonna, Saints, and Angels. E. Weston Birt (Tetbury). CAPTAIN G. L. HOLFORD. Nativity.

ANDREA DEL CASTAGNO.

Died rather young in 1457. Influenced by Donatello and Paolo Uccello.

Florence. UFFIZI, THIRD TUSCAN ROOM. 12. Fresco: Crucifixion and Saints. S. APPOLONIA, REFECTORY. Frescoes: Last Supper; Crucifixion; Entombment; Resurrection. Soon after 1434. (Nine Figures) Boccaccio; Petrarch; Dante; Queen Thomyris; Cumaean Sibyl; Niccolo Acciajuoli; Farinati degli Uberti; Filippo Scolari ("Pippo Spano"); Esther. L.—Frieze of Putti with Garlands. CLOISTER. Fresco: Dead Christ and Angels. Soon after 1434. HOSPITAL (33 VIA DEGLI ALFANI), COURT. Fresco: Crucifixion. SS. ANNUNZIATA, FIRST ALTAR L. Fresco: Christ and St. Julian. L. (Invisible.) SECOND ALTAR L. Fresco: Trinity with St. Jerome and other Saints. L. (Invisible.) DUOMO, WALL R. OF ENTRANCE: Fresco: Equestrian Portrait of Niccolo da Tolentino. 1456. WINDOW IN DRUM OF CUPOLA (from his design). Deposition. 1444. Locko Park (near Derby). MR. DRURY LOWE. David (painted on a Shield). L. London. 1138. Small Crucifixion. MR. J. PIERPONT MORGAN. Bust of Man.

CIMABUE.

About 1240-about 1301.

The following works are all by the same hand, probably Cimabue's.

Assisi. S. FRANCESCO, UPPER CHURCH, CHOIR AND TRANSEPTS. Frescoes. LOWER CHURCH, R. TRANSEPT. Fresco: Madonna and Angels with St. Francis. Florence. ACADEMY, 102. Madonna, Angels, and four Prophets. Paris. 1260. Madonna and Angels.

COSIMO, see PIER DI COSIMO.

LORENZO DI CREDI.

1456-1537. Pupil of Verrocchio.

Berlin. 80. Bust of Young Woman (?). E. 100. Madonna. 103. St. Mary of Egypt. Cambridge. FITZWILLIAM MUSEUM, 125. St. Sebastian (the Saint only). Carlsruhe. 409. Madonna and infant John adoring Child. Castiglione Fiorentino. COLLEGIATA, ALTAR R. OF HIGH ALTAR. Nativity. L. Cleveland (U. S. A.). HOLDEN COLLECTION, 14. Madonna. Dresden. 13. Madonna and infant John. E. 14. Nativity (in part). 15. Madonna and Saints. Florence. ACADEMY, 92. Adoration of Shepherds. 94. Nativity (in great part). UFFIZI, 24. Tondo: Madonna (in part). 34. Portrait of Young Man. 1160. Annunciation. E. 1163. Portrait of Verrocchio. 1168. Madonna and Evangelist. 1311. "Noli me Tangere." 1313. Annunciation. 1314. Annunciation. 3452. Venus. E. Tondo: Madonna and Angel adoring Child (in part). MARCHESE PUCCI. Portrait of Lady. S. DOMENICO (near Fiesole), FIRST ALTAR R. Baptism. DUOMO, SACRISTY. St. Michael. 1523. OR SAN MICHELE, PILLAR. St. Bartholomew. S. SPIRITO, APSE. Madonna with St. Jerome and an Apostle. E. SCANDICCI (near Florence), COMTESSE DE TURENNE. Portrait of Youth. Forli. 130. Portrait of Lady. E. Glasgow. MR. WILLIAM BEATTIE. Portrait of the Artist. 1488. Goettingen. UNIVERSITY MUSEUM, 220. Crucifixion. Hamburg. WEBER COLLECTION. Tondo: Ascension of Youthful Saint accompanied by two Angels. Hanover. KESTNER MUSEUM, 21. Bust of Youth. London. 593. Madonna. 648. Madonna adoring Child. MR. CHARLES BUTLER. Madonna. EARL OF ROSEBERY. St. George. Longleat (Warminster). MARQUESS OF BATH. Madonna. Mayence. 105. Madonna. E. Milan. CONTE CASATTI. Madonna and infant John. Munich. 1040A. Madonna (?) (done in Verrocchio's studio). Naples. Nativity. L. Oxford. UNIVERSITY GALLERIES, 26. Madonna (?). Paris. 1263. Madonna and two Saints. 1503, or later. 1264. "Noli me Tangere." M. GUSTAVE DREYFUS. Madonna (done in Verrocchio's studio). Pistoia. DUOMO, CHAPEL L. OF HIGH ALTAR. Madonna and Saints (done in Verrocchio's studio. 1478-1485). MADONNA DEL LETTO. Virgin, St. Jerome, and Baptist. 1510. Rome. BORGHESE, 433. Madonna and infant John. Scotland. (Cf. Glasgow.) Strasburg. UNIVERSITY GALLERY, 215. Madonna. E. Turin. 115. Madonna. E. 118. Madonna (in part). Venice. QUERINI-STAMPALIA, SALA III, 4. Madonna and infant John.

DOMENICO, see VENEZIANO.

FILIPPINO and FILIPPO, see LIPPI.

FRANCIABIGIO.

1482-1525. Pupil of Pier di Cosimo and Albertinelli; worked with and was influenced by Andrea del Sarto.

Barnard Castle. BOWES MUSEUM, 235. Bust of Young Man. Berlin. 235. Portrait of Man. 245. Portrait of Man writing. 1522. 245A. Portrait of Youth in Landscape. HERR EUGEN SCHWEIZER. Madonna with infant John. Bologna. 294. Madonna. Brussels. 478. Leda and her Children. MUSEE DE LA VILLE. Profile of Old Man. Chantilly. MUSEE CONDE, 41. Bust of Man. Cracow. POTOCKI COLLECTION. Madonna with infant John (?). Dijon. MUSEE, DONATION JULES MACIET. Bust of Youth. Dresden. 75. Bathsheba. 1523. Florence. PITTI, 43. Portrait of Man. 1514. 427. Calumny. E. UFFIZI, 92. Tondo: Madonna and infant John, E. 1223. Temple of Hercules. 1224. Tondo: Holy Family and infant John. 1264. Madonna with Job and Baptist. E. CHIOSTRO DELLO SCALZO. Monochrome Frescoes: Baptist leaving his Parents, 1518-19. Baptism, 1509. Meeting of Christ and Baptist, 1518-19. SS. ANNUNZIATA, ENTRANCE COURT, R. Fresco: Sposalizio. 1513. LA CALZA. (Porta Romana). Fresco: Last Supper. POGGIO A CAJANO (Royal Villa near Florence). Fresco: Triumph of Caesar. 1521. Hamburg. WEBER COLLECTION, 119. Bust of Young Man. London. 1035. Portrait of Young Man. MR. ROBERT BENSON. Portrait of Young Man. EARL OF NORTHBROOK. Head of Young Man. MR. T. VASEL. Bust of Young Man. EARL OF YARBOROUGH. Bust of a Jeweller. 1516. Modena. 223. Birth of Baptist. E. New York. MR. RUTHERFORD STUYVESANT. Portrait of Man. Nimes. 132, 269, 270. Small Tondi: Trinity, SS. Peter and Paul. Oxford. MR. T. W. JACKSON. Legend of a Saint. Paris. 1651A. Portrait of Andrea Fausti. Philadelphia. MR. JOHN G. JOHNSON. Bust of Christ Blessing (?). Pinerolo (Piedmont). VILLA LAMBA DORIA. Portrait of Young Man. Rome. BARBERINI GALLERY. Portrait of Young Man. BORGHESE GALLERY, 458. Madonna and infant John. E. CORSINI GALLERY, 570. Madonna holding Child on Parapet. Portrait of Man with Book. Turin. 112. Annunciation. E. Vienna. 46. Holy Family. 52. Madonna and infant John in Landscape. COUNT LANCKORONSKI. Man with Cap and Feathers. L. Christ saving Man from drowning (?). PRINCE LIECHTENSTEIN. Bust of Young Man. 1517. Madonna and infant John. Wiesbaden. NASSAUISCHES KUNSTVEREIN, 118. Cassone picture. Windsor Castle. Portrait of Man ("Gardener of Pier Francesco dei Medici").

RAFFAELINO DEL GARBO.

1466-1524 (?). Pupil of Botticelli and Filippino Lippi; influenced by Ghirlandajo and Perugino.

Berlin. 78. Bust of Man. 81. Profile of Young Woman. 90. Tondo: Madonna and Angels. SIMON COLLECTION, i. Tondo: Madonna and Angels. E. Dresden. 22. Madonna and infant John. Florence. ACADEMY, 90. Resurrection. Glasgow. CORPORATION GALLERY. Madonna with infant John. London. MR. ROBERT BENSON. Tondo: Madonna and Angels. COL. G. L. HOLFORD, DORCHESTER HOUSE. Madonna and Angel. MR. CHARLES RICKETTS. Madonna in Landscape. SIR HENRY SAMUELSON. Tondo: Madonna with Magdalen and St. Catherine. Lyons. M. EDOUARD AYNARD. Profile Bust of Baptist. Munich. 1009. Pieta. Naples. Tondo: Madonna and infant John. Paris. M. HENRI HEUGEL. Tondo: Madonna and two Angels. E. BARON EDOUARD DE ROTHSCHILD. Profile bust of Young Lady. Parma. 56. Madonna giving Girdle to St. Thomas. Venice. LADY LAYARD. Portrait of Man.

DOMENICO GHIRLANDAJO.

1449-1494. Pupil of Baldovinetti; influenced slightly by Botticelli and more strongly by Verrocchio.

Florence. ACADEMY, 66. Madonna and Saints. 195. Adoration of Shepherds. 1485. UFFIZI, 19. Madonna and Saints. 43. Portrait of Giovanni Bicci de' Medici. 1295. Adoration of Magi. 1297. Madonna, Saints, and Angels. MUSEO DI SAN MARCO, SMALL REFECTORY. Fresco: Last Supper. PALAZZO VECCHIO, FLAG ROOM. Fresco: Triumph of S. Zanobi. 1482-1484. DUOMO, OVER N. DOOR. Mosaic: Annunciation. 1490. INNOCENTI, HIGH ALTAR. Adoration of Magi (the episode of the "Massacre of the Innocents" painted by Alunno di Domenico). 1488. S. MARIA NOVELLA, CHOIR. Frescoes: Lives of the Virgin and Baptist, etc. (execution, save certain portrait heads, chiefly by David, Mainardi, and other assistants). Begun 1486, finished 1490. OGNISSANTI, L. WALL. Fresco: St. Augustine. 1480. ALTAR R. Fresco: Madonna della Misericordia (in part). E. REFECTORY. Fresco: Last Supper. 1480. S. TRINITA. CHAPEL R. OF CHOIR. Frescoes: Life of St. Francis. 1483-1485. OVER ARCH. Fresco: Augustus and Sibyl (in part). Same date. BADIA DI PASSIGNANO (TAVERNELLE, NEAR FLORENCE), REFECTORY. Frescoes: Last Supper, etc. 1477. London. 1299. Portrait of Young Man (repainted). MR. ROBERT BENSON. Francesco Sassetti and his Son. MR. LUDWIG MOND. Madonna. MR. J. PIERPONT MORGAN. Profile of Giovanna Tornabuoni. 1488. MR. GEORGE SALTING. Madonna and infant John. Bust of Costanza de' Medici. Lucca. DUOMO, SACRISTY. Madonna and Saints, with Pieta in lunette. Narni. MUNICIPIO. Coronation of Virgin (in part). 1486. New Haven (U. S. A.). JARVES COLLECTION, 73. Fresco: Head of Woman (Cf. woman to extreme L. in "Visitation" at S. Maria Novella, Florence). Paris. 1321. Visitation (in part). 1322. Old Man and Boy. Pisa. MUSEO CIVICO, SALA VI, 21. SS. Sebastian and Roch (in part). Virgin with St. Anne and Saints (in part). Rome. VATICAN, SIXTINE CHAPEL. Frescoes: Calling of Peter and Andrew. 1482. Single figures of Popes: Anacletus, Iginius, Clement, and Pius. 1482. San Gemignano. COLLEGIATA, CHAPEL OF S. FINA. Frescoes: Life of the Saint. About 1475. Vercelli. MUSEO BORGOGNA. Madonna adoring Infant. E. Volterra. MUNICIPIO. Christ in Glory adored by two Saints and Don Guido Bonvicini (in part). 1492.

RIDOLFO GHIRLANDAJO.

1483 to 1561. Pupil of Granacci, and eclectic imitator of most of his important contemporaries.

Bergamo. MORELLI, 51. Bust of Man. Berlin. 91. Nativity. Budapest. 58. Nativity. 1510. Chatsworth. DUKE OF DEVONSHIRE. Bust of Man (?). L. Colle di Val d'Elsa. S. AGOSTINO, THIRD ALTAR R. Pieta. 1521. Florence. ACADEMY, 83, 87. Panels with three Angels each. E. PITTI, 207. Portrait of a Goldsmith. E. 224. Portrait of a Lady. 1509. UFFIZI, 1275, 1277. Miracles of S. Zanobi. 1510. BIGALLO. Predelle. 1515. PALAZZO VECCHIO, CAPPELLA DEI PRIORI. Frescoes. 1514. CORSINI GALLERY, 129. Portrait of Man. PALAZZO TORRIGIANI. Portrait of Ardinghelli. LA QUIETE. St. Sebastian. Glasgow. MR. WILLIAM BEATTIE. Portrait of Man (?). London. 1143. Procession to Calvary. E. MR. GEORGE SALTING. Portrait of Girolamo Beniviene. Lucardo (near Certaldo). HIGH ALTAR. Madonna with SS. Peter, Martin, Justus, and the Baptist. E. Milan. COMM. BENIGNO CRESPI. Small Triptych. Nativity and Saints. New Haven (U. S. A.). JARVES COLLECTION, 97. Madonna and Saints. Paris. 1324. Coronation of Virgin. 1503. Philadelphia. ELKINS PARK, MR. PETER WIDENER, 191. Bust of Lucrezia Summaria, E. Pistoia. S. PIETRO MAGGIORE. Madonna and Saints. 1508. Prato. DUOMO. Madonna giving Girdle to St. Thomas. 1514. Reigate (Surrey). THE PRIORY, MR. SOMERS SOMERSET. Portrait of Girolamo Beniviene. St. Petersburg. 40. Portrait of Old Man. Wantage. LOCKINGE HOUSE, LADY WANTAGE. Youngish Man looking up from Letter.

GIOTTO.

1276-1336. Follower of Pietro Cavallini; influenced by Giovanni Pisano.

Assisi. S. FRANCESCO, LOWER CHURCH, CHAPEL OF THE MAGDALEN: Frescoes: Feast in the House of Simon (in great part); Raising of Lazarus; "Noli me Tangere," (in part); Magdalen and Donor (in part)(?). (The remaining frescoes in this chapel are by assistants.) Before 1328. UPPER CHURCH. II-XIX of frescoes recounting the Life of St. Francis (with occasional aid of A). E. WEST WALL. Fresco: Madonna. Boston (U. S. A.). MRS. J. L. GARDNER: Presentation of Christ in the Temple. L. Florence. ACADEMY, 103. Madonna enthroned and Angels. S. CROCE, BARDI CHAPEL. Frescoes: Life of St. Francis, etc. (Little more than the compositions are now Giotto's.) Not earlier than 1317. PERUZZI CHAPEL. Frescoes: Lives of the Baptist and St. John the Evangelist (considerably repainted). L. Munich. 983. Last Supper. Padua. ARENA CHAPEL. Frescoes: Lives of Christ and His Mother; Last Judgment; Symbolical Figures. About 1305-6. SACRISTY. Painted Crucifix. About 1305-6. Rome. S. GIOVANNI LATERANO, PILLAR R. AISLE. Fragment of Fresco: Boniface VIII proclaiming the Jubilee. 1300.

GIOTTO'S ASSISTANTS.

[An attempt to distinguish in the mass of work usually ascribed to Giotto the different artistic personalities engaged as his most immediate followers and assistants.]

A.

Assisi. S. FRANCESCO, UPPER CHURCH. XX-XXV and first of Frescoes recounting the Life of St. Francis, done perhaps under Giotto's directions. XXVI-XXVIII of same series done more upon his own responsibility. LOWER CHURCH, CHAPEL OF THE SACRAMENT. Frescoes: Legend of St. Nicholas; Christ with SS. Francis and Nicholas and Donors, etc. (?). Before 1316. Madonna between SS. Francis and Nicholas (?). Before 1316. Florence. UFFIZI, 20. Altarpiece of St. Cecily. E. S. MARGHERITA A MONTICI (beyond Torre del Gallo). Madonna. E. Altarpiece with St. Margaret. E. S. MINIATO: Altarpiece with S. Miniato. E.

B.

Assisi. S. FRANCESCO, LOWER CHURCH, OVER TOMB OF SAINT. Frescoes: Allegories of Poverty, Chastity, and Obedience, and Triumph of St. Francis. (The Francis between the two Angels in the "Obedience" and nearly all of the "Triumph" were executed by another hand, probably C.) R. TRANSEPT. Frescoes: Bringing to Life of Child fallen from Window; Francis and a crowned Skeleton; Two Scenes (one on either side of arch leading to the Chapel of the Sacrament) representing the Bringing to Life of a Boy killed by a falling House; (above these) Annunciation; (next to Cimabue's Madonna) Crucifixion (with the aid of C). Florence. S. CROCE, CAPPELLA MEDICI. Baroncelli Polyptych: Coronation of Virgin, Saints and Angels (?).

C.

Assisi. S. FRANCESCO, LOWER CHURCH, R. TRANSEPT. Frescoes: Eight Scenes from the Childhood of Christ. Berlin. 1074A. Crucifixion. Florence. BARGELLO CHAPEL. Fresco: Paradise (?). (Cf. also under B for assistance rendered by C.)

VARIOUS.

Bologna. PINACOTECA, 102. Polyptych: Madonna and Saints. Florence. S. FELICE. Painted Crucifix. Munich. 981. Crucifixion (?). Paris. 1512. St. Francis receiving Stigmata. Rome. ST. PETER'S, SAGRESTIA DEI CANONICI. Stefaneschi Polyptych (suggests Bernardo Daddi). Strasburg. 203. Crucifixion.

GOZZOLI, see BENOZZO.

FRANCESCO GRANACCI.

1477-1543. Pupil first of Credi, and then of Ghirlandajo, whom he assisted; influenced by Botticelli, Michelangelo Fra Bartolommeo, and Pontormo.

Berlin. 74 and 76. SS. Vincent and Antonino (in Ghirlandajo's studio). Soon after 1494. 88. Madonna and four Saints (kneeling figures and landscape his own cartoons, the rest Ghirlandajesque design). 97. Madonna with Baptist and Archangel Michael, E. 229. The Trinity. Budapest. 54. St. John at Patmos. 78. Madonna and infant John (?) Cassel. 480. Tondo: Madonna holding Child on Parapet. 482. Crucifixion. Chantilly. MUSEE CONDE, 95. Madonna (from Ghirlandajo's studio) (?). Citta di Castello. PINACOTECA. Coronation of Virgin (in part; done in Ghirlandajo's studio). Darmstadt. Small Crucifixion. L. Dublin. 78. Holy Family. Florence. ACADEMY, 68. Assumption of Virgin. 154. Madonna. 285-290. Stories of Saints. L. PITTI, 345. Holy Family. UFFIZI, 1249, 1282. Life of Joseph. Portrait of Lucrezia del Fede. Covoni Altarpiece, Madonna and Saints. ISTITUTO DEI MINORENNI CORRIGENDI (VIA DELLA SCALA.) Altarpiece: Madonna with SS. Sebastian and Julian (?). BROZZI (near Florence). S. ANDREA. L. WALL. Frescoes: Baptism, Madonna enthroned between SS. Dominic and Sebastian (Ghirlandajo's designs). QUINTOLE (NEAR FLORENCE). S. PIETRO. Pieta. L. VILLAMAGNA (NEAR FLORENCE), CHURCH. Madonna with SS. Gherardo and Donnino. Glasgow. MR. JAMES MANN. Madonna (?). E. London. VICTORIA AND ALBERT MUSEUM. Tondo: Madonna. MR. ROBERT BENSON. God the Father sending Holy Spirit to Christ kneeling, the Virgin recommending Donor, who has his Family present, and below a Saint pointing to a Scroll (?). E. DUKE OF BUCCLEUGH, 10. Madonna and infant John. Lucca. MARCHESE MANSI (S. MARIA FORISPORTAM). Tondo: Madonna and two Angels. Milan. COMM. BENIGNO CRESPI. Entry of Charles VIII into Florence. Munich. 1011. Madonna in Glory and four Saints (Ghirlandajo's design). Soon after 1494. 1061-1064. Panels with a Saint in each. L. 1065. Holy Family. New Haven (U. S. A.). JARVES COLLECTION, 86. Pieta. L. Oxford. CHRIST CHURCH LIBRARY. St. Francis. UNIVERSITY MUSEUM, 23. St. Antony of Padua and an Angel. Panshanger (near Hertford). Portrait of Lady. Paris. M. JEAN DOLLFUS. Madonna and Saints (?). M. D'EICHTAL. Bust of Lady. M. EUGENE RICHTEMBERGER. Nativity. M. JOSEPH SPIRIDON. Bust of Young Woman in Red. Philadelphia. MR. JOHN G. JOHNSON. Pieta in Landscape (?). E. Reigate (Surrey). THE PRIORY, MR. SOMERS SOMERSET. Madonna giving Girdle to St. Thomas. Rome. BORGHESE, 371. Maddalena Strozzi as St. Catherine. CORSINI, 573. Hebe. Scotland. (Glasgow, Cf. Glasgow). ROSSIE PRIORY (INCHTURE, PERTHSHIRE), LORD KINNAIRD. St. Lucy before her Judges. L. St. Petersburg. HERMITAGE, 22. Nativity with SS. Francis and Jerome. Vienna. COUNT LANCKORONSKI. Preaching of St. Stephen. HERR CARL WITTGENSTEIN. Bust of Woman in Green. (?). Warwick Castle. EARL OF WARWICK. Assumption of Virgin, and four Saints. L.

LEONARDO DA VINCI.

1452-1519. Pupil of Verrocchio.

Florence. UFFIZI, 1252. Adoration of Magi (unfinished). Begun in 1481. London. BURLINGTON HOUSE, DIPLOMA GALLERY. Large Cartoon for Madonna with St. Anne. Milan. S. MARIA DELLE GRAZIE, REFECTORY. Fresco: Last Supper. Paris. 1265. Annunciation. E. 1598. Madonna with St. Anne (unfinished). 1599. "La Vierge aux Rochers." 1601. "La Gioconda." Rome. VATICAN, PINACOTECA. St. Jerome, (unfinished).

NOTE:—An adequate conception of Leonardo as an artist can be obtained only by an acquaintance with his drawings, many of the best of which are reproduced in Dr. J. P. Richter's "Literary Works of Leonardo da Vinci," and in B. Berenson's "Drawings of the Florentine Painters."

FILIPPINO LIPPI

1457-1504. Pupil of Botticelli; influenced by Amico di Sandro, and very slightly by Piero di Cosimo.

Berlin. 78A. Allegory of Music. L. 96. Crucifixion with Virgin and St. Francis. L. 101. Madonna. Fragment of Fresco: Head of Youth in black cap, with brown curls. Bologna. S. DOMENICO, CHAPEL R. OF HIGH ALTAR. Marriage of St. Catherine. 1501. Copenhagen. Meeting of Joachim and Anne. L. Florence. ACADEMY, 89. St. Mary of Egypt. 91. St. Jerome. 93. The Baptist. 98. Deposition (finished by Perugino). PITTI, 336. Allegorical Subject. UFFIZI, 286. Fresco: Portrait of Himself. E. 1167. Fresco: Old Man. E. 1257. Adoration of Magi. 1496. 1268. Madonna and Saints. 1486. PALAZZO CORSINI. Tondo: Madonna and Angels. E. MR. HERBERT P. HORNE. Christ on Cross. L. PALAZZO TORRIGIANI. Bust of Youth. S. AMBROGIO, NICHE L. Monochromes: Angels, and medallions in predella. L. BADIA. Vision of St. Bernard with Piero di Francesco del Pugliese as Donor. Soon after 1480. CARMINE, BRANCACCI CHAPEL. Completion of Masaccio's Frescoes. 1484. Angel delivering St. Peter; Paul visiting Peter in Prison; Peter and Paul before the Proconsul; Martyrdom of Peter; (in the "Raising of the King's Son") the group of four men on the extreme L.; the Boy; and eight men and a child in a row. S. MARIA NOVELLA, STROZZI CHAPEL. Frescoes: Episodes from Lives of Evangelist and St. Philip, etc. Finished 1502. S. SPIRITO. Madonna and Saints, with Tanai di Nerli and his Wife. VILLA REALE DI POGGIO A CAJANO (near Florence), PORCH. Fragment of Fresco. Genoa. PALAZZO BIANCO, SALA V, 30. Madonna and Saints. 1503. Kiel. PROF. MARTIUS. Madonna. Lewes (Sussex). MR. E. P. WARREN. Tondo: Holy Family and St. Margaret. London. 293. Madonna with SS. Jerome and Dominic. 927. Angel adoring. MR. ROBERT BENSON. Dead Christ. SIR HENRY SAMUELSON. Moses striking the Rock. Adoration of Golden Calf. SIR JULIUS WERNHER. Madonna. L. Lucca. S. MICHELE, FIRST ALTAR R. SS. Helena, Jerome, Sebastian, and Roch. E. Naples. Annunciation, with Baptist and St. Andrew. E. New Haven (U. S. A.). JARVES COLLECTION, 81. Christ on Cross. Oxford. CHRIST CHURCH LIBRARY. Centaur; on back, unfinished allegorical figures. Prato. MUNICIPIO, 16. Madonna with Baptist and St. Stephen. 1503. Fresco in TABERNACLE ON STREET CORNER: Madonna and Saints. 1498. Rome. S. MARIA SOPRA MINERVA, CARAFFA CHAPEL. Annunciation. Frescoes: Triumph of St. Thomas Aquinas; Assumption of Virgin. 1489-1493. St. Petersburg. STROGANOFF COLLECTION. Annunciation. L. Strasburg. UNIVERSITY GALLERY, 214. Head of Angel (a fragment). Venice. SEMINARIO, 15. Christ and the Samaritan Woman. 17. "Noli me Tangere." Vienna. HERR EUGEN VON MILLER AICHOLZ. Christ on Cross.

FRA FILIPPO LIPPI.

1406-1469. Pupil of Lorenzo Monaco and follower of Masaccio; influenced by Fra Angelico.

Ashridge Park (Berkhampstead). EARL BROWNLOW. Madonna. Berlin. 58. Madonna. 69. Madonna adoring Child. 95. "Madonna della Misericordia." 95B. Predella: Miraculous Infancy of a Saint. Florence. ACADEMY, 55. Madonna and Saints. 62. Coronation of Virgin. 1441. 79. Virgin adoring Child. 82. Nativity. E. 86. Predelle: S. Frediano changing the Course of the Serchio; Virgin receiving the Announcement of her Death; St. Augustine in his Study. 263. Gabriel and Baptist. 264. Madonna and St. Antony Abbot. PITTI, 343. Madonna. 1442. UFFIZI, 1307. Madonna. PALAZZO ALESSANDRI. St. Antony Abbot and a Bishop. SS. Lawrence, Cosmas, and Damian and Donors. PALAZZO RICCARDI (PREFECTURE). Madonna. S. LORENZO, MARTELLI CHAPEL. Annunciation, and Predelle. London. 248. Vision of St. Bernard. 1447. 666. Annunciation. E. 667. Seven Saints. E. Lyons. M. EDOUARD AYNARD. Predella: St. Benedict and Novice. Munich. 1005. Annunciation. E. 1006. Madonna. Oxford. UNIVERSITY GALLERIES, 12. Meeting of Joachim and Anne. Paris. 1344. Madonna and Angels. 1437. Prato. DUOMO, CHOIR. Frescoes: Lives of St. Stephen and the Baptist (assisted by Fra Diamante). 1452-1464. R. TRANSEPT. Fresco: Death of St. Bernard (the upper part by Fra Diamante). Ordered 1450. Richmond (Surrey). SIR FREDERICK COOK. Tondo: Adoration of Magi. E. SS. Michael and Antony Abbot. 1457. Rome. LATERAN, 65. Triptych: Coronation, Saints and Donors (the angels are, in execution at least, by another hand, probably Fra Diamante's). PRINCE DORIA. Annunciation. MR. LUDWIG MOND. Annunciation and Donors. Spoleto. DUOMO, APSE. Frescoes: Life of Virgin (chiefly by Fra Diamante). Left unfinished at death. Turin. ACCADEMIA ALBERTINA, 140, 141. The Four Church Fathers.

LORENZO MONACO.

About 1370-1425. Follower of Agnolo Gaddi and the Sienese.

Altenburg. LINDENAU MUSEUM, 23. Crucifixion with SS. Francis, Benedict, and Romuald. E. 90. Flight into Egypt. Bergamo. MORELLI, 10. Dead Christ. Berlin. 1110. Madonna with Baptist and St. Nicholas. E. PRINT ROOM. Illuminations: Visitation. Journey of Magi. VON KAUFMANN COLLECTION. St. Jerome. Nativity. Brant Broughton (Lincolnshire). REV. ARTHUR F. SUTTON. Miracles of St. Benedict. Brunswick. SS. Stephen, Dominic, Francis, and Lawrence. E. Cambridge. FITZWILLIAM MUSEUM, 555. Madonna and two Angels. Cassel. 478. King David. Copenhagen. THORWALDSEN MUSEUM, i. Madonna. Empoli. OPERA DEL DUOMO, 20. Triptych. 1404. Fiesole. S. ANSANO (to be transferred to Museo). Christ on Cross between Mary, John, and Francis. Florence. ACADEMY, 143. Annunciation. 144. Life of St. Onofrio. 145. Nativity. 146. Life of St. Martin. 166. Three Pinnacles above Fra Angelico's Deposition. BARGELLO. Codex X, Miniatures. 1412-1413. UFFIZI, 39. Adoration of Magi (Annunciation and Prophets in frame by Cosimo Rosselli). 40. Pieta. 1404. 41. Triptych: Madonna and Saints. 1410. 42. Madonna with Baptist and St. Paul. 1309. Coronation and Saints. 1413. MUSEO DI SAN MARCO. 11, 12, 13. Crucifixion with Mary and John. BIBLIOTECA LAURENZIANA. Miniatures. 1409. HOSPITAL (S. MARIA NUOVA), OVER DOOR IN A CORRIDOR. Fresco: Fragment of a Pieta. E. MR. CHARLES LOESER. Crucifixion. S. CROCE, REFECTORY, 6. St. James enthroned. S. GIOVANNI DEI CAVALIERI. Crucifix; Mary; John. S. GIUSEPPE. Crucifix. CHIOSTRO DEGLI OBLATI (25 VIA S. EGIDIO). Frescoes: Pieta, with Symbols of Passion; Christ and Apostles; Agony in Garden. S. TRINITA, BARTOLINI CHAPEL. Altarpiece: Annunciation and Predelle. L. Frescoes: Life of Virgin. L. Gloucester. HIGHNAM COURT, SIR HUBERT PARRY, 49. Adoration of Magi; Visitation. London. 215, 216. Various Saints. 1897. Coronation of Virgin. MR. HENRY WAGNER. Legend of S. Giovanni Gualberto. Milan. COMM. BENIGNO CRESPI. Small Shrine with Madonna and Saints. CAV. ALDO NOSEDA. Madonna. 1405. Munich. LOTZBECK COLLECTION, 96. St. Peter enthroned. E. New Haven (U. S. A.). JARVES COLLECTION, 18. Crucifixion. Parcieux (near Trevoux). LA GRANGE BLANCHE, M. HENRI CHALANDON. Three Panels with Saint and Prophet in each. Paris. 1348. Agony in Garden; Three Marys at Tomb. 1408. Posen. RACZYNSKI COLLECTION. Adoration of Magi. Richmond (Surrey). SIR FREDERICK COOK. Madonna. Rome. VATICAN, MUSEO CRISTIANO, CASE C, II. Crucifixion. CASE S, III. Fragment of Predella: St. Antony Abbot visited by Madonna. XI. Benedict calling a dead Friar to life, and Demon tempting another Friar. Siena. 157. Triptych: Madonna and Saints. E. Turin. MUSEO CIVICO, 3023. Madonna with Baptist and old Saint (on Glass). 1408. Washington (U. S. A.). MR. VICTOR G. FISCHER. Madonna and two Angels. E.

BASTIANO MAINARDI.

About 1450-1513. Pupil and imitator of his brother-in-law, Domenico Ghirlandajo.

Altenburg. LINDENAU MUSEUM, 102. Bust of Woman. Berlin. 77. Madonna. 83. Portrait of Young Woman. 85. Portrait of a Cardinal. 86. Portrait of Young Man. Boston (U. S. A.). MRS. QUINCY A. SHAW. Madonna adoring Child. Cologne. 522. Madonna and five Saints. Dresden. 16 Tondo: Nativity. Florence. UFFIZI, 1315. St. Peter Martyr between SS. James and Peter. BARGELLO, CHAPEL. Fresco: Madonna. 1490. PALAZZO TORRIGIANI. Tondo: Madonna and two Angels. S. CROCE, BARONCELLI CHAPEL. Fresco: Virgin giving Girdle to St. Thomas. CHIESA DI ORBETELLO, R. WALL. Fresco: Madonna and two Cherubim (SS. Andrew and Dionysus, etc., by another Ghirlandajesque hand). BROZZI (near Florence), FATTORIA ORSINI. Frescoes: Nativity (Cf. Dresden 16); Saints. Hamburg. WEBER COLLECTION, 30. Madonna. Hildesheim. 1134. Tondo: Madonna. Locko Park (near Derby). MR. DRURY-LOWE. Replicas of Berlin Portraits, Nos. 83 and 86. London. 1230. Bust of Young Woman. SIR HENRY HOWORTH. Madonna and three Angels adoring Child. MR. GEORGE SALTING. Bust of Young Man. Longleat (Warminster). MARQUESS OF BATH. Madonna, four Saints, Putti, and Angels. Lyons. M. EDOUARD AYNARD. St. Stephen. Milan. COMM. BENIGNO CRESPI. Two panels with Men and Women Worshippers. Munich. 1012, 1013. SS. Lawrence and Catherine of Siena (soon after 1494). 1014. Madonna and Donor. 1015. SS. George and Sebastian. Muenster i./W. KUNSTVEREIN, 32. Marriage of St. Catherine. Oxford. UNIVERSITY MUSEUM, 21. SS. Bartholomew and Julian. Palermo. BARON CHIARAMONTE BORDONARO, 98. Madonna with SS. Paul and Francis. 1506. Paris. 1367. Tondo: Madonna with infant John and Angels. COMTESSE ARCONATI-VISCONTI. Busts of Man and Woman (free replicas of Berlin, Nos. 83 and 86). Philadelphia. MR. JOHN G. JOHNSON. Madonna with SS. Sebastian and Appolonia. Rome. VATICAN, MUSEO CRISTIANO, CASE O, XVI. Tondo: Nativity. COUNT GREGORI STROGANOFF. Three Saints. San Gemignano. MUNICIPIO, 8 and 9. Tondi: Madonnas. OSPEDALE DI S. FINA. Frescoes in Vaulting. VIA S. GIOVANNI. Fresco: Madonna and Cherubim. S. AGOSTINO, R. WALL. SS. Nicholas of Bari, Lucy, and Augustine. CEILING. Frescoes: The four Church Fathers. L. WALL. Frescoes for Tomb of Fra Domenico Strambi. 1487. COLLEGIATA, CHAPEL OF S. FINA. Frescoes in Ceiling. CHAPEL OF S. GIOVANNI. Annunciation. 1482. SACRISTY. Madonna in Glory, and Saints. MONTE OLIVETO, CHAPEL R. Madonna with SS. Bernard and Jerome. 1502. Siena. PALAZZO SARACINI, 205. Bust of Young Woman in Red. Vienna. HARRACH COLLECTION, 314. Nativity (replica of Dresden, 16). PRINCE LIECHTENSTEIN. Madonna and infant John.

MASACCIO.

1401-1428. Pupil of Masolino; influenced by Brunellesco and Donatello.

Berlin. 58A. Adoration of Magi. Probably 1426. 58B. Martyrdom of St. Peter and Baptist. Probably 1426. 58C. A Birth Plate. 58D. Four Saints. Probably 1426. Boston (U. S. A.). MRS. J. L. GARDNER. Profile of Young Man. Brant Broughton (Lincolnshire). REV. ARTHUR F. SUTTON. Madonna enthroned on high Seat with two Angels below worshipping and two others seated playing on Lutes. Probably 1426. Florence. ACADEMY, 73. Madonna with St. Anne. E. CARMINE, BRANCACCI CHAPEL. Frescoes: Expulsion from Paradise; Tribute Money; SS. Peter and John healing the Sick with their Shadows; St. Peter Baptising; SS. Peter and John distributing Alms; Raising of the King's Son (except the Son, a Child, and eight Figures of same group, as well as four figures on extreme left, all of which are by Filippino Lippi, while the fourth head of this group is again by Masaccio). S. MARIA NOVELLA, WALL R. OF ENTRANCE. Fresco: Trinity with Virgin and St. John and Donor and his Wife. Montemarciano (Val d'Arno Superiore). ORATORIO. Fresco: Madonna with Michael and Baptist. E. Naples. Crucifixion. Probably 1426. Pisa. SALA VI, 27. St. Paul. Probably 1426. Strasburg. UNIVERSITY GALLERY, 211. Resurrected Christ (?). E. Vienna. COUNT LANCKORONSKI. St. Andrew. Probably 1426.

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