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+The Project Gutenberg EBook of The Florentine Painters of the Renaissance, by 
+Bernhard Berenson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Florentine Painters of the Renaissance
+       With An Index To Their Works
+
+Author: Bernhard Berenson
+
+Release Date: December 28, 2005 [EBook #17408]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE FLORENTINE PAINTERS ***
+
+
+
+
+Produced by Juliet Sutherland, Louise Pryor and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+[Illustration: _Portrait of a Lady._
+
+_From the Painting, possibly by Verrocchio, in the Poldi Museum at
+Milan._]
+
+
+
+
+THE
+FLORENTINE PAINTERS
+OF THE RENAISSANCE
+
+WITH AN INDEX TO THEIR WORKS
+
+BY
+BERNHARD BERENSON
+
+AUTHOR OF "VENETIAN PAINTERS OF THE RENAISSANCE,"
+"LORENZO LOTTO," "CENTRAL ITALIAN PAINTERS OF THE RENAISSANCE"
+
+
+THIRD EDITION, REVISED AND ENLARGED
+
+
+G. P. PUTNAM'S SONS
+NEW YORK AND LONDON
+The Knickerbocker Press
+
+
+
+
+COPYRIGHT, 1896
+BY
+G. P. PUTNAM'S SONS
+_Entered at Stationers' Hall, London_
+
+       *       *       *       *       *
+
+COPYRIGHT, 1909
+BY
+G. P. PUTNAM'S SONS
+(For revised edition)
+
+
+Made in the United States of America
+
+
+
+
+PREFACE TO THIRD EDITION
+
+
+Years have passed since the second edition of this book. But as most of
+this time has been taken up with the writing of my "Drawings of the
+Florentine Painters," it has, in a sense, been spent in preparing me to
+make this new edition. Indeed, it is to that bigger work that I must
+refer the student who may wish to have the reasons for some of my
+attributions. There, for instance, he will find the intricate Carli
+question treated quite as fully as it deserves. Jacopo del Sellajo is
+inserted here for the first time. Ample accounts of this frequently
+entertaining tenth-rate painter may be found in articles by Hans
+Makowsky, Mary Logan, and Herbert Horne.
+
+The most important event of the last ten years, in the study of Italian
+art, has been the rediscovery of an all but forgotten great master,
+Pietro Cavallini. The study of his fresco at S. Cecilia in Rome, and of
+the other works that readily group themselves with it, has illuminated
+with an unhoped-for light the problem of Giotto's origin and
+development. I felt stimulated to a fresh consideration of the subject.
+The results will be noted here in the inclusion, for the first time, of
+Cimabue, and in the lists of paintings ascribed to Giotto and his
+immediate assistants.
+
+B. B.
+
+_Boston, November, 1908._
+
+
+
+
+PREFACE TO THE SECOND EDITION
+
+
+The lists have been thoroughly revised, and some of them considerably
+increased. Botticini, Pier Francesco Fiorentino, and Amico di Sandro
+have been added, partly for the intrinsic value of their work, and
+partly because so many of their pictures are exposed to public
+admiration under greater names. Botticini sounds too much like
+Botticelli not to have been confounded with him, and Pier Francesco has
+similarly been confused with Piero della Francesca. Thus, Botticini's
+famous "Assumption," painted for Matteo Palmieri, and now in the
+National Gallery, already passed in Vasari's time for a Botticelli, and
+the attribution at Karlsruhe of the quaint and winning "Nativity" to the
+sublime, unyielding Piero della Francesca is surely nothing more than
+the echo of the real author's name.
+
+Most inadequate accounts, yet more than can be given here, of Pier
+Francesco, as well as of Botticini, will be found in the Italian edition
+of Cavalcaselle's _Storia della Pittura in Italia_, Vol. VII. The latter
+painter will doubtless be dealt with fully and ably in Mr. Herbert P.
+Horne's forthcoming book on Botticelli, and in this connection I am
+happy to acknowledge my indebtedness to Mr. Horne for having persuaded
+me to study Botticini. Of Amico di Sandro I have written at length in
+the _Gazette des Beaux Arts_, June and July, 1899.
+
+FIESOLE, November, 1899.
+
+
+
+
+CONTENTS.
+
+
+                                                    PAGE
+THE FLORENTINE PAINTERS OF THE RENAISSANCE             1
+
+INDEX TO THE WORKS OF THE PRINCIPAL
+FLORENTINE PAINTERS                                   95
+
+INDEX OF PLACES                                      189
+
+
+
+
+THE FLORENTINE PAINTERS OF THE RENAISSANCE
+
+I.
+
+
+Florentine painting between Giotto and Michelangelo contains the names
+of such artists as Orcagna, Masaccio, Fra Filippo, Pollaiuolo,
+Verrocchio, Leonardo, and Botticelli. Put beside these the greatest
+names in Venetian art, the Vivarini, the Bellini, Giorgione, Titian, and
+Tintoret. The difference is striking. The significance of the Venetian
+names is exhausted with their significance as painters. Not so with the
+Florentines. Forget that they were painters, they remain great
+sculptors; forget that they were sculptors, and still they remain
+architects, poets, and even men of science. They left no form of
+expression untried, and to none could they say, "This will perfectly
+convey my meaning." Painting, therefore, offers but a partial and not
+always the most adequate manifestation of their personality, and we feel
+the artist as greater than his work, and the man as soaring above the
+artist.
+
+[Page heading: MANYSIDEDNESS OF THE PAINTERS]
+
+The immense superiority of the artist even to his greatest achievement
+in any one art form, means that his personality was but slightly
+determined by the particular art in question, that he tended to mould it
+rather than let it shape him. It would be absurd, therefore, to treat
+the Florentine painter as a mere link between two points in a necessary
+evolution. The history of the art of Florence never can be, as that of
+Venice, the study of a placid development. Each man of genius brought to
+bear upon his art a great intellect, which, never condescending merely
+to please, was tirelessly striving to reincarnate what it comprehended
+of life in forms that would fitly convey it to others; and in this
+endeavour each man of genius was necessarily compelled to create forms
+essentially his own. But because Florentine painting was pre-eminently
+an art formed by great personalities, it grappled with problems of the
+highest interest, and offered solutions that can never lose their
+value. What they aimed at, and what they attained, is the subject of the
+following essay.
+
+
+II.
+
+The first of the great personalities in Florentine painting was Giotto.
+Although he affords no exception to the rule that the great Florentines
+exploited all the arts in the endeavour to express themselves, he,
+Giotto, renowned as architect and sculptor, reputed as wit and
+versifier, differed from most of his Tuscan successors in having
+peculiar aptitude for the essential in painting _as an art_.
+
+But before we can appreciate his real value, we must come to an
+agreement as to what in the art of figure-painting--the craft has its
+own altogether diverse laws--_is_ the essential; for figure-painting, we
+may say at once, was not only the one pre-occupation of Giotto, but the
+dominant interest of the entire Florentine school.
+
+[Page heading: IMAGINATION OF TOUCH]
+
+Psychology has ascertained that sight alone gives us no accurate sense
+of the third dimension. In our infancy, long before we are conscious of
+the process, the sense of touch, helped on by muscular sensations of
+movement, teaches us to appreciate depth, the third dimension, both in
+objects and in space.
+
+In the same unconscious years we learn to make of touch, of the third
+dimension, the test of reality. The child is still dimly aware of the
+intimate connection between touch and the third dimension. He cannot
+persuade himself of the unreality of Looking-Glass Land until he has
+touched the back of the mirror. Later, we entirely forget the
+connection, although it remains true, that every time our eyes recognise
+reality, we are, as a matter of fact, giving tactile values to retinal
+impressions.
+
+Now, painting is an art which aims at giving an abiding impression of
+artistic reality with only two dimensions. The painter must, therefore,
+do consciously what we all do unconsciously,--construct his third
+dimension. And he can accomplish his task only as we accomplish ours, by
+giving tactile values to retinal impressions. His first business,
+therefore, is to rouse the tactile sense, for I must have the illusion
+of being able to touch a figure, I must have the illusion of varying
+muscular sensations inside my palm and fingers corresponding to the
+various projections of this figure, before I shall take it for granted
+as real, and let it affect me lastingly.
+
+It follows that the essential in the art of painting--as distinguished
+from the art of colouring, I beg the reader to observe--is somehow to
+stimulate our consciousness of tactile values, so that the picture shall
+have at least as much power as the object represented, to appeal to our
+tactile imagination.
+
+[Page heading: GIOTTO]
+
+Well, it was of the power to stimulate the tactile consciousness--of the
+essential, as I have ventured to call it, in the art of painting--that
+Giotto was supreme master. This is his everlasting claim to greatness,
+and it is this which will make him a source of highest æsthetic delight
+for a period at least as long as decipherable traces of his handiwork
+remain on mouldering panel or crumbling wall. For great though he was as
+a poet, enthralling as a story-teller, splendid and majestic as a
+composer, he was in these qualities superior in degree only, to many of
+the masters who painted in various parts of Europe during the thousand
+years that intervened between the decline of antique, and the birth, in
+his own person, of modern painting. But none of these masters had the
+power to stimulate the tactile imagination, and, consequently, they
+never painted a figure which has artistic existence. Their works have
+value, if at all, as highly elaborate, very intelligible symbols,
+capable, indeed, of communicating something, but losing all higher value
+the moment the message is delivered.
+
+Giotto's paintings, on the contrary, have not only as much power of
+appealing to the tactile imagination as is possessed by the objects
+represented--human figures in particular--but actually more, with the
+necessary result that to his contemporaries they conveyed a _keener_
+sense of reality, of life-likeness than the objects themselves! We whose
+current knowledge of anatomy is greater, who expect more articulation
+and suppleness in the human figure, who, in short, see much less naïvely
+now than Giotto's contemporaries, no longer find his paintings more than
+life-like; but we still feel them to be intensely real in the sense
+that they still powerfully appeal to our tactile imagination, thereby
+compelling us, as do all things that stimulate our sense of touch while
+they present themselves to our eyes, to take their existence for
+granted. And it is only when we can take for granted the existence of
+the object painted that it can begin to give us pleasure that is
+genuinely artistic, as separated from the interest we feel in symbols.
+
+[Page heading: ANALYSIS OF ENJOYMENT OF PAINTING]
+
+At the risk of seeming to wander off into the boundless domain of
+æsthetics, we must stop at this point for a moment to make sure that we
+are of one mind regarding the meaning of the phrase "artistic pleasure,"
+in so far at least as it is used in connection with painting.
+
+What is the point at which ordinary pleasures pass over into the
+specific pleasures derived from each one of the arts? Our judgment about
+the merits of any given work of art depends to a large extent upon our
+answer to this question. Those who have not yet differentiated the
+specific pleasures of the art of painting from the pleasures they derive
+from the art of literature, will be likely to fall into the error of
+judging the picture by its dramatic presentation of a situation or its
+rendering of character; will, in short, demand of the painting that it
+shall be in the first place a good _illustration_. Those others who seek
+in painting what is usually sought in music, the communication of a
+pleasurable state of emotion, will prefer pictures which suggest
+pleasant associations, nice people, refined amusements, agreeable
+landscapes. In many cases this lack of clearness is of comparatively
+slight importance, the given picture containing all these
+pleasure-giving elements in addition to the qualities peculiar to the
+art of painting. But in the case of the Florentines, the distinction is
+of vital consequence, for they have been the artists in Europe who have
+most resolutely set themselves to work upon the specific problems of the
+art of figure-painting, and have neglected, more than any other school,
+to call to their aid the secondary pleasures of association. With them
+the issue is clear. If we wish to appreciate their merit, we are forced
+to disregard the desire for pretty or agreeable types, dramatically
+interpreted situations, and, in fact, "suggestiveness" of any kind.
+Worse still, we must even forego our pleasure in colour, often a
+genuinely artistic pleasure, for they never systematically exploited
+this element, and in some of their best works the colour is actually
+harsh and unpleasant. It was in fact upon form, and form alone, that the
+great Florentine masters concentrated their efforts, and we are
+consequently forced to the belief that, in their pictures at least, form
+is the principal source of our æsthetic enjoyment.
+
+Now in what way, we ask, can form in painting give me a sensation of
+pleasure which differs from the ordinary sensations I receive from form?
+How is it that an object whose recognition in nature may have given me
+no pleasure, becomes, when recognised in a picture, a source of æsthetic
+enjoyment, or that recognition pleasurable in nature becomes an enhanced
+pleasure the moment it is transferred to art? The answer, I believe,
+depends upon the fact that art stimulates to an unwonted activity
+psychical processes which are in themselves the source of most (if not
+all) of our pleasures, and which here, free from disturbing physical
+sensations, never tend to pass over into pain. For instance: I am in
+the habit of realising a given object with an intensity that we shall
+value as 2. If I suddenly realise this familiar object with an intensity
+of 4, I receive the immediate pleasure which accompanies a doubling of
+my mental activity. But the pleasure rarely stops here. Those who are
+capable of receiving direct pleasure from a work of art, are generally
+led on to the further pleasures of self-consciousness. The fact that the
+psychical process of recognition goes forward with the unusual intensity
+of 4 to 2, overwhelms them with the sense of having twice the capacity
+they had credited themselves with: their whole personality is enhanced,
+and, being aware that this enhancement is connected with the object in
+question, they for some time after take not only an increased interest
+in it, but continue to realise it with the new intensity. Precisely this
+is what form does in painting: it lends a higher coefficient of reality
+to the object represented, with the consequent enjoyment of accelerated
+psychical processes, and the exhilarating sense of increased capacity in
+the observer. (Hence, by the way, the greater pleasure we take in the
+object painted than in itself.)
+
+And it happens thus. We remember that to realise form we must give
+tactile values to retinal sensations. Ordinarily we have considerable
+difficulty in skimming off these tactile values, and by the time they
+have reached our consciousness, they have lost much of their strength.
+Obviously, the artist who gives us these values more rapidly than the
+object itself gives them, gives us the pleasures consequent upon a more
+vivid realisation of the object, and the further pleasures that come
+from the sense of greater psychical capacity.
+
+Furthermore, the stimulation of our tactile imagination awakens our
+consciousness of the importance of the tactile sense in our physical and
+mental functioning, and thus, again, by making us feel better provided
+for life than we were aware of being, gives us a heightened sense of
+capacity. And this brings us back once more to the statement that the
+chief business of the figure painter, as an artist, is to stimulate the
+tactile imagination.
+
+The proportions of this small book forbid me to develop further a
+theme, the adequate treatment of which would require more than the
+entire space at my command. I must be satisfied with the crude and
+unillumined exposition given already, allowing myself this further word
+only, that I do not mean to imply that we get no pleasure from a picture
+except the tactile satisfaction. On the contrary, we get much pleasure
+from composition, more from colour, and perhaps more still from
+movement, to say nothing of all the possible associative pleasures for
+which every work of art is the occasion. What I do wish to say is that
+_unless_ it satisfies our tactile imagination, a picture will not exert
+the fascination of an ever-heightened reality; first we shall exhaust
+its ideas, and then its power of appealing to our emotions, and its
+"beauty" will not seem more significant at the thousandth look than at
+the first.
+
+My need of dwelling upon this subject at all, I must repeat, arises from
+the fact that although this principle is important indeed in other
+schools, it is all-important in the Florentine school. Without its due
+appreciation it would be impossible to do justice to Florentine
+painting. We should lose ourselves in admiration of its "teaching," or
+perchance of its historical importance--as if historical importance were
+synonymous with artistic significance!--but we should never realise what
+artistic idea haunted the minds of its great men, and never understand
+why at a date so early it became academic.
+
+[Page heading: GIOTTO AND VALUES OF TOUCH]
+
+Let us now turn back to Giotto and see in what way he fulfils the first
+condition of painting as an art, which condition, as we agreed, is
+somehow to stimulate our tactile imagination. We shall understand this
+without difficulty if we cover with the same glance two pictures of
+nearly the same subject that hang side by side in the Florence Academy,
+one by "Cimabue," and the other by Giotto. The difference is striking,
+but it does not consist so much in a difference of pattern and types, as
+of realisation. In the "Cimabue" we patiently decipher the lines and
+colours, and we conclude at last that they were intended to represent a
+woman seated, men and angels standing by or kneeling. To recognise these
+representations we have had to make many times the effort that the
+actual objects would have required, and in consequence our feeling of
+capacity has not only not been confirmed, but actually put in question.
+With what sense of relief, of rapidly rising vitality, we turn to the
+Giotto! Our eyes scarcely have had time to light on it before we realise
+it completely--the throne occupying a real space, the Virgin
+satisfactorily seated upon it, the angels grouped in rows about it. Our
+tactile imagination is put to play immediately. Our palms and fingers
+accompany our eyes much more quickly than in presence of real objects,
+the sensations varying constantly with the various projections
+represented, as of face, torso, knees; confirming in every way our
+feeling of capacity for coping with things,--for life, in short. I care
+little that the picture endowed with the gift of evoking such feelings
+has faults, that the types represented do not correspond to my ideal of
+beauty, that the figures are too massive, and almost unarticulated; I
+forgive them all, because I have much better to do than to dwell upon
+faults.
+
+But how does Giotto accomplish this miracle? With the simplest means,
+with almost rudimentary light and shade, and functional line, he
+contrives to render, out of all the possible outlines, out of all the
+possible variations of light and shade that a given figure may have,
+only those that we must isolate for special attention when we are
+actually realising it. This determines his types, his schemes of colour,
+even his compositions. He aims at types which both in face and figure
+are simple, large-boned, and massive,--types, that is to say, which in
+actual life would furnish the most powerful stimulus to the tactile
+imagination. Obliged to get the utmost out of his rudimentary light and
+shade, he makes his scheme of colour of the lightest that his contrasts
+may be of the strongest. In his compositions, he aims at clearness of
+grouping, so that each important figure may have its desired tactile
+value. Note in the "Madonna" we have been looking at, how the shadows
+compel us to realise every concavity, and the lights every convexity,
+and how, with the play of the two, under the guidance of line, we
+realise the significant parts of each figure, whether draped or
+undraped. Nothing here but has its architectonic reason. Above all,
+every line is functional; that is to say, charged with purpose. Its
+existence, its direction, is absolutely determined by the need of
+rendering the tactile values. Follow any line here, say in the figure of
+the angel kneeling to the left, and see how it outlines and models, how
+it enables you to realise the head, the torso, the hips, the legs, the
+feet, and how its direction, its tension, is always determined by the
+action. There is not a genuine fragment of Giotto in existence but has
+these qualities, and to such a degree that the worst treatment has not
+been able to spoil them. Witness the resurrected frescoes in Santa Croce
+at Florence!
+
+[Page heading: SYMBOLISM OF GIOTTO]
+
+The rendering of tactile values once recognised as the most important
+specifically artistic quality of Giotto's work, and as his personal
+contribution to the art of painting, we are all the better fitted to
+appreciate his more obvious though less peculiar merits--merits, I must
+add, which would seem far less extraordinary if it were not for the high
+plane of reality on which Giotto keeps us. Now what is back of this
+power of raising us to a higher plane of reality but a genius for
+grasping and communicating real significance? What is it to render the
+tactile values of an object but to communicate its material
+significance? A painter who, after generations of mere manufacturers of
+symbols, illustrations, and allegories had the power to render the
+material significance of the objects he painted, must, as a man, have
+had a profound sense of the significant. No matter, then, what his
+theme, Giotto feels its real significance and communicates as much of it
+as the general limitations of his art, and of his own skill permit. When
+the theme is sacred story, it is scarcely necessary to point out with
+what processional gravity, with what hieratic dignity, with what
+sacramental intentness he endows it; the eloquence of the greatest
+critics has here found a darling subject. But let us look a moment at
+certain of his symbols in the Arena at Padua, at the "Inconstancy," the
+"Injustice," the "Avarice," for instance. "What are the significant
+traits," he seems to have asked himself, "in the appearance and action
+of a person under the exclusive domination of one of these vices? Let me
+paint the person with these traits, and I shall have a figure that
+perforce must call up the vice in question." So he paints "Inconstancy"
+as a woman with a blank face, her arms held out aimlessly, her torso
+falling backwards, her feet on the side of a wheel. It makes one giddy
+to look at her. "Injustice," is a powerfully built man in the vigour of
+his years dressed in the costume of a judge, with his left hand
+clenching the hilt of his sword, and his clawed right hand grasping a
+double hooked lance. His cruel eye is sternly on the watch, and his
+attitude is one of alert readiness to spring in all his giant force upon
+his prey. He sits enthroned on a rock, overtowering the tall waving
+trees, and below him his underlings are stripping and murdering a
+wayfarer. "Avarice" is a horned hag with ears like trumpets. A snake
+issuing from her mouth curls back and bites her forehead. Her left hand
+clutches her money-bag, as she moves forward stealthily, her right hand
+ready to shut down on whatever it can grasp. No need to label them: as
+long as these vices exist, for so long has Giotto extracted and
+presented their visible significance.
+
+[Page heading: GIOTTO]
+
+Still another exemplification of his sense for the significant is
+furnished by his treatment of action and movement. The grouping, the
+gestures never fail to be just such as will most rapidly convey the
+meaning. So with the significant line, the significant light and shade,
+the significant look up or down, and the significant gesture, with means
+technically of the simplest, and, be it remembered, with no knowledge of
+anatomy, Giotto conveys a complete sense of motion such as we get in his
+Paduan frescoes of the "Resurrection of the Blessed," of the "Ascension
+of our Lord," of the God the Father in the "Baptism," or the angel in
+"Zacharias' Dream."
+
+This, then, is Giotto's claim to everlasting appreciation as an artist:
+that his thorough-going sense for the significant in the visible world
+enabled him so to represent things that we realise his representations
+more quickly and more completely than we should realise the things
+themselves, thus giving us that confirmation of our sense of capacity
+which is so great a source of pleasure.
+
+
+III.
+
+[Page heading: FOLLOWERS OF GIOTTO]
+
+For a hundred years after Giotto there appeared in Florence no painter
+equally endowed with dominion over the significant. His immediate
+followers so little understood the essence of his power that some
+thought it resided in his massive types, others in the swiftness of his
+line, and still others in his light colour, and it never occurred to any
+of them that the massive form without its material significance, its
+tactile values, is a shapeless sack, that the line which is not
+functional is mere calligraphy, and that light colour by itself can at
+the best spot a surface prettily. The better of them felt their
+inferiority, but knew no remedy, and all worked busily, copying and
+distorting Giotto, until they and the public were heartily tired. A
+change at all costs became necessary, and it was very simple when it
+came. "Why grope about for the significant, when the obvious is at hand?
+Let me paint the obvious; the obvious always pleases," said some clever
+innovator. So he painted the obvious,--pretty clothes, pretty faces, and
+trivial action, with the results foreseen: he pleased then, and he
+pleases still. Crowds still flock to the Spanish chapel in S. Maria
+Novella to celebrate the triumph of the obvious, and non-significant.
+Pretty faces, pretty colour, pretty clothes, and trivial action! Is
+there a single figure in the fresco representing the "Triumph of St.
+Thomas" which incarnates the idea it symbolises, which, without its
+labelling instrument, would convey any meaning whatever? One pretty
+woman holds a globe and sword, and I am required to feel the majesty of
+empire; another has painted over her pretty clothes a bow and arrow,
+which are supposed to rouse me to a sense of the terrors of war; a third
+has an organ on what was intended to be her knee, and the sight of this
+instrument must suffice to put me into the ecstasies of heavenly music;
+still another pretty lady has her arm akimbo, and if you want to know
+what edification she can bring, you must read her scroll. Below these
+pretty women sit a number of men looking as worthy as clothes and beards
+can make them; one highly dignified old gentleman gazes with all his
+heart and all his soul at--the point of his quill. The same lack of
+significance, the same obviousness characterise the fresco representing
+the "Church Militant and Triumphant." What more obvious symbol for _the_
+Church than _a_ church? what more significant of St. Dominic than the
+refuted Paynim philosopher who (with a movement, by the way, as obvious
+as it is clever) tears out a leaf from his own book? And I have touched
+only on the value of these frescoes as allegories. Not to speak of the
+emptiness of the one and the confusion of the other, as compositions,
+there is not a figure in either which has tactile values,--that is to
+say, artistic existence.
+
+While I do not mean to imply that painting between Giotto and Masaccio
+existed in vain--on the contrary, considerable progress was made in the
+direction of landscape, perspective, and facial expression,--it is true
+that, excepting the works of two men, no masterpieces of art were
+produced. These two, one coming in the middle of the period we have been
+dwelling upon, and the other just at its close, were Andrea Orcagna and
+Fra Angelico.
+
+[Page heading: ORCAGNA]
+
+Of Orcagna it is difficult to speak, as only a single fairly intact
+painting of his remains, the altar-piece in S. Maria Novella. Here he
+reveals himself as a man of considerable endowment: as in Giotto, we
+have tactile values, material significance; the figures artistically
+exist. But while this painting betrays no peculiar feeling for beauty of
+face and expression, the frescoes in the same chapel, the one in
+particular representing Paradise, have faces full of charm and grace. I
+am tempted to believe that we have here a happy improvement made by the
+recent restorer. But what these mural paintings must always have had is
+real artistic existence, great dignity of slow but rhythmic movement,
+and splendid grouping. They still convince us of their high purpose. On
+the other hand, we are disappointed in Orcagna's sculptured tabernacle
+at Or Sammichele, where the feeling for both material and spiritual
+significance is much lower.
+
+[Page heading: FRA ANGELICO]
+
+We are happily far better situated toward Fra Angelico, enough of whose
+works have come down to us to reveal not only his quality as an artist,
+but his character as a man. Perfect certainty of purpose, utter devotion
+to his task, a sacramental earnestness in performing it, are what the
+quantity and quality of his work together proclaim. It is true that
+Giotto's profound feeling for either the materially or the spiritually
+significant was denied him--and there is no possible compensation for
+the difference; but although his sense for the real was weaker, it yet
+extended to fields which Giotto had not touched. Like all the supreme
+artists, Giotto had no inclination to concern himself with his attitude
+toward the significant, with his feelings about it; the grasping and
+presentation of it sufficed him. In the weaker personality, the
+significant, vaguely perceived, is converted into emotion, is merely
+felt, and not realised. Over this realm of feeling Fra Angelico was the
+first great master. "God's in his heaven--all's right with the world" he
+felt with an intensity which prevented him from perceiving evil
+anywhere. When he was obliged to portray it, his imagination failed him
+and he became a mere child; his hells are bogy-land; his martyrdoms are
+enacted by children solemnly playing at martyr and executioner; and he
+nearly spoils one of the most impressive scenes ever painted--the great
+"Crucifixion" at San Marco--with the childish violence of St. Jerome's
+tears. But upon the picturing of blitheness, of ecstatic confidence in
+God's loving care, he lavished all the resources of his art. Nor were
+they small. To a power of rendering tactile values, to a sense for the
+significant in composition, inferior, it is true, to Giotto's, but
+superior to the qualifications of any intervening painter, Fra Angelico
+added the charm of great facial beauty, the interest of vivid
+expression, the attraction of delicate colour. What in the whole world
+of art more rejuvenating than Angelico's "Coronation" (in the
+Uffizi)--the happiness on all the faces, the flower-like grace of line
+and colour, the childlike simplicity yet unqualifiable beauty of the
+composition? And all this in tactile values which compel us to grant the
+reality of the scene, although in a world where real people are
+standing, sitting, and kneeling we know not, and care not, on what. It
+is true, the significance of the event represented is scarcely touched
+upon, but then how well Angelico communicates the feeling with which it
+inspired him! Yet simple though he was as a person, simple and
+one-sided as was his message, as a product he was singularly complex. He
+was the typical painter of the transition from Mediæval to Renaissance.
+The sources of his feeling are in the Middle Ages, but he _enjoys_ his
+feelings in a way which is almost modern; and almost modern also are his
+means of expression. We are too apt to forget this transitional
+character of his, and, ranking him with the moderns, we count against
+him every awkwardness of action, and every lack of articulation in his
+figures. Yet both in action and in articulation he made great progress
+upon his precursors--so great that, but for Masaccio, who completely
+surpassed him, we should value him as an innovator. Moreover, he was not
+only the first Italian to paint a landscape that can be identified (a
+view of Lake Trasimene from Cortona), but the first to communicate a
+sense of the pleasantness of nature. How readily we feel the freshness
+and spring-time gaiety of his gardens in the frescoes of the
+"Annunciation" and the "Noli me tangere" at San Marco!
+
+
+IV.
+
+[Page heading: MASACCIO]
+
+Giotto born again, starting where death had cut short his advance,
+instantly making his own all that had been gained during his absence,
+and profiting by the new conditions, the new demands--imagine such an
+avatar, and you will understand Masaccio.
+
+Giotto we know already, but what were the new conditions, the new
+demands? The mediæval skies had been torn asunder and a new heaven and a
+new earth had appeared, which the abler spirits were already inhabiting
+and enjoying. Here new interests and new values prevailed. The thing of
+sovereign price was the power to subdue and to create; of sovereign
+interest all that helped man to know the world he was living in and his
+power over it. To the artist the change offered a field of the freest
+activity. It is always his business to reveal to an age its ideals. But
+what room was there for sculpture and painting,--arts whose first
+purpose it is to make us realise the material significance of things--in
+a period like the Middle Ages, when the human body was denied all
+intrinsic significance? In such an age the figure artist can thrive, as
+Giotto did, only in spite of it, and as an isolated phenomenon. In the
+Renaissance, on the contrary, the figure artist had a demand made on him
+such as had not been made since the great Greek days, to reveal to a
+generation believing in man's power to subdue and to possess the world,
+the physical types best fitted for the task. And as this demand was
+imperative and constant, not one, but a hundred Italian artists arose,
+able each in his own way to meet it,--in their combined achievement,
+rivalling the art of the Greeks.
+
+In sculpture Donatello had already given body to the new ideals when
+Masaccio began his brief career, and in the education, the awakening, of
+the younger artist the example of the elder must have been of
+incalculable force. But a type gains vastly in significance by being
+presented in some action along with other individuals of the same type;
+and here Donatello was apt, rather than to draw his meed of profit, to
+incur loss by descending to the obvious--witness his _bas-reliefs_ at
+Siena, Florence, and Padua. Masaccio was untouched by this taint.
+Types, in themselves of the manliest, he presents with a sense for the
+materially significant which makes us realise to the utmost their power
+and dignity; and the spiritual significance thus gained he uses to give
+the highest import to the event he is portraying; this import, in turn,
+gives a higher value to the types, and thus, whether we devote our
+attention to his types or to his action, Masaccio keeps us on a high
+plane of reality and significance. In later painting we shall easily
+find greater science, greater craft, and greater perfection of detail,
+but greater reality, greater significance, I venture to say, never.
+Dust-bitten and ruined though his Brancacci Chapel frescoes now are, I
+never see them without the strongest stimulation of my tactile
+consciousness. I feel that I could touch every figure, that it would
+yield a definite resistance to my touch, that I should have to expend
+thus much effort to displace it, that I could walk around it. In short,
+I scarcely could realise it more, and in real life I should scarcely
+realise it so well, the attention of each of us being too apt to
+concentrate itself upon some dynamic quality, before we have at all
+begun to realise the full material significance of the person before us.
+Then what strength to his young men, and what gravity and power to his
+old! How quickly a race like this would possess itself of the earth, and
+brook no rivals but the forces of nature! Whatever they do--simply
+because it is they--is impressive and important, and every movement,
+every gesture, is world-changing. Compared with his figures, those in
+the same chapel by his precursor, Masolino, are childish, and those by
+his follower, Filippino, unconvincing and without significance, because
+without tactile values. Even Michelangelo, where he comes in rivalry,
+has, for both reality and significance, to take a second place. Compare
+his "Expulsion from Paradise" (in the Sixtine Chapel) with the one here
+by Masaccio. Michelangelo's figures are more correct, but far less
+tangible and less powerful; and while he represents nothing but a man
+warding off a blow dealt from a sword, and a woman cringing with ignoble
+fear, Masaccio's Adam and Eve stride away from Eden heart-broken with
+shame and grief, hearing, perhaps, but not seeing, the angel hovering
+high overhead who directs their exiled footsteps.
+
+Masaccio, then, like Giotto a century earlier,--himself the Giotto of an
+artistically more propitious world--was, as an artist, a great master of
+the significant, and, as a painter, endowed to the highest degree with a
+sense of tactile values, and with a skill in rendering them. In a career
+of but few years he gave to Florentine painting the direction it pursued
+to the end. In many ways he reminds us of the young Bellini. Who knows?
+Had he but lived as long, he might have laid the foundation for a
+painting not less delightful and far more profound than that of Venice.
+As it was, his frescoes at once became, and for as long as there were
+real artists among them remained, the training-school of Florentine
+painters.
+
+
+V.
+
+Masaccio's death left Florentine painting in the hands of three men
+older, and two somewhat younger than himself, all men of great talent,
+if not of genius, each of whom--the former to the extent habits already
+formed would permit, the latter overwhelmingly, felt his influence. The
+older, who, but for Masaccio, would themselves have been the sole
+determining personalities in their art, were Fra Angelico, Paolo
+Uccello, and Andrea del Castagno; the younger, Domenico Veneziano and
+Fra Filippo. As these were the men who for a whole generation after
+Masaccio's death remained at the head of their craft, forming the taste
+of the public, and communicating their habits and aspirations to their
+pupils, we at this point can scarcely do better than try to get some
+notion of each of them and of the general art tendencies they
+represented.
+
+[Page heading: PAOLO UCCELLO]
+
+Fra Angelico we know already as the painter who devoted his life to
+picturing the departing mediæval vision of a heaven upon earth. Nothing
+could have been farther from the purpose of Uccello and Castagno.
+Different as these two were from each other, they have this much in
+common, that in their works which remain to us, dating, it is true, from
+their years of maturity, there is no touch of mediæval sentiment, no
+note of transition. As artists they belonged entirely to the new era,
+and they stand at the beginning of the Renaissance as types of two
+tendencies which were to prevail in Florence throughout the whole of the
+fifteenth century, partly supplementing and partly undoing the teaching
+of Masaccio.
+
+Uccello had a sense of tactile values and a feeling for colour, but in
+so far as he used these gifts at all, it was to illustrate scientific
+problems. His real passion was perspective, and painting was to him a
+mere occasion for solving some problem in this science, and displaying
+his mastery over its difficulties. Accordingly he composed pictures in
+which he contrived to get as many lines as possible leading the eye
+inward. Prostrate horses, dead or dying cavaliers, broken lances,
+ploughed fields, Noah's arks, are used by him with scarcely an attempt
+at disguise, to serve his scheme of mathematically converging lines. In
+his zeal he forgot local colour--he loved to paint his horses green or
+pink--forgot action, forgot composition, and, it need scarcely be added,
+significance. Thus in his battle-pieces, instead of adequate action of
+any sort, we get the feeling of witnessing a show of stuffed figures
+whose mechanical movements have been suddenly arrested by some clog in
+their wires; in his fresco of the "Deluge," he has so covered his space
+with demonstrations of his cleverness in perspective and foreshortening
+that, far from bringing home to us the terrors of a cataclysm, he at the
+utmost suggests the bursting of a mill-dam; and in the neighbouring
+fresco of the "Sacrifice of Noah," just as some capitally constructed
+figures are about to enable us to realise the scene, all possibility of
+artistic pleasure is destroyed by our seeing an object in the air which,
+after some difficulty, we decipher as a human being plunging downward
+from the clouds. Instead of making this figure, which, by the way, is
+meant to represent God the Father, plunge toward us, Uccello
+deliberately preferred to make it dash inward, away from us, thereby
+displaying his great skill in both perspective and foreshortening, but
+at the same time writing himself down as the founder of two families of
+painters which have flourished ever since, the artists for dexterity's
+sake--mental or manual, it scarcely matters--and the naturalists. As
+these two clans increased rapidly in Florence, and, for both good and
+evil, greatly affected the whole subsequent course of Florentine
+painting, we must, before going farther, briefly define to ourselves
+dexterity and naturalism, and their relation to art.
+
+[Page heading: ART FOR DEXTERITY'S SAKE]
+
+The essential in painting, especially in figure-painting, is, we agreed,
+the rendering of the tactile values of the forms represented, because by
+this means, and this alone, can the art make us realise forms better
+than we do in life. The great painter, then, is, above all, an artist
+with a great sense of tactile values and great skill in rendering them.
+Now this sense, though it will increase as the man is revealed to
+himself, is something which the great painter possesses at the start, so
+that he is scarcely, if at all, aware of possessing it. His conscious
+effort is given to the means of rendering. It is of means of rendering,
+therefore, that he talks to others; and, because his triumphs here are
+hard-earned and conscious, it is on his skill in rendering that he
+prides himself. The greater the painter, the less likely he is to be
+aware of aught else in his art than problems of rendering--but all the
+while he is communicating what the force of his genius makes him feel
+without his striving for it, almost without his being aware of it, the
+material and spiritual significance of forms. However--his intimates
+hear him talk of nothing but skill; he seems to think of nothing but
+skill; and naturally they, and the entire public, conclude that his
+skill is his genius, and that skill _is_ art. This, alas, has at all
+times been the too prevalent notion of what art is, divergence of
+opinion existing not on the principle, but on the kind of dexterity to
+be prized, each generation, each critic, having an individual standard,
+based always on the several peculiar problems and difficulties that
+interest them. At Florence these inverted notions about art were
+especially prevalent because it was a school of art with a score of men
+of genius and a thousand mediocrities all egging each other on to
+exhibitions of dexterity, and in their hot rivalry it was all the great
+geniuses could do to be faithful to their sense of significance. Even
+Masaccio was driven to exhibit his mere skill, the much admired and by
+itself wonderfully realised figure of a naked man trembling with cold
+being not only without real significance, but positively distracting,
+in the representation of a baptism. A weaker man like Paolo Uccello
+almost entirely sacrificed what sense of artistic significance he may
+have started with, in his eagerness to display his skill and knowledge.
+As for the rabble, their work has now the interest of prize exhibitions
+at local art schools, and their number merely helped to accelerate the
+momentum with which Florentine art rushed to its end. But out of even
+mere dexterity a certain benefit to art may come. Men without feeling
+for the significant may yet perfect a thousand matters which make
+rendering easier and quicker for the man who comes with something to
+render, and when Botticelli and Leonardo and Michelangelo appeared, they
+found their artistic patrimony increased in spite of the fact that since
+Masaccio there had been no man at all approaching their genius. This
+increase, however, was due not at all so much to the sons of dexterity,
+as to the intellectually much nobler, but artistically even inferior
+race of whom also Uccello was the ancestor--the Naturalists.
+
+[Page heading: NATURALISM IN ART]
+
+What is a Naturalist? I venture upon the following definition:--A man
+with a native gift for science who has taken to art. His purpose is not
+to extract the material and spiritual significance of objects, thus
+communicating them to us more rapidly and intensely than we should
+perceive them ourselves, and thereby giving us a sense of heightened
+vitality; his purpose is research, and his communication consists of
+nothing but facts. From this perhaps too abstract statement let us take
+refuge in an example already touched upon--the figure of the Almighty in
+Uccello's "Sacrifice of Noah." Instead of presenting this figure as
+coming toward us in an attitude and with an expression that will appeal
+to our sense of solemnity, as a man whose chief interest was artistic
+would have done--as Giotto, in fact, did in his "Baptism"--Uccello seems
+to have been possessed with nothing but the scientific intention to find
+out how a man swooping down head-foremost would have looked if at a
+given instant of his fall he had been suddenly congealed and suspended
+in space. A figure like this may have a mathematical but certainly has
+no psychological significance. Uccello, it is true, has studied every
+detail of this phenomenon and noted down his observations, but because
+his notes happen to be in form and colour, they do not therefore
+constitute a work of art. Wherein does his achievement differ in quality
+from a coloured map of a country? We can easily conceive of a relief map
+of Cadore or Giverny on so large a scale, and so elaborately coloured,
+that it will be an exact reproduction of the physical aspects of those
+regions, but never for a moment should we place it beside a landscape by
+Titian or Monet, and think of it as a work of art. Yet its relation to
+the Titian or Monet painting is exactly that of Uccello's achievement to
+Giotto's. What the scientist who paints--the naturalist, that is to
+say,--attempts to do is not to give us what art alone can give us, the
+life-enhancing qualities of objects, but a reproduction of them as they
+are. If he succeeded, he would give us the exact visual impression of
+the objects themselves, but art, as we have already agreed, must give us
+not the mere reproductions of things but a quickened sense of capacity
+for realising them. Artistically, then, the naturalists, Uccello and
+his numerous successors, accomplished nothing. Yet their efforts to
+reproduce objects as they are, their studies in anatomy and perspective,
+made it inevitable that when another great genius did arise, he should
+be a Leonardo or a Michelangelo, and not a Giotto.
+
+[Page heading: ANDREA DEL CASTAGNO]
+
+Uccello, as I have said, was the first representative of two strong
+tendencies in Florentine painting--of art for dexterity's sake, and art
+for scientific purposes. Andrea del Castagno, while also unable to
+resist the fascination of mere science and dexterity, had too much
+artistic genius to succumb to either. He was endowed with great sense
+for the significant, although, it is true, not enough to save him
+completely from the pitfalls which beset all Florentines, and even less
+from one more peculiar to himself--the tendency to communicate at any
+cost a feeling of power. To make us feel power as Masaccio and
+Michelangelo do at their best is indeed an achievement, but it requires
+the highest genius and the profoundest sense for the significant. The
+moment this sense is at all lacking, the artist will not succeed in
+conveying power, but such obvious manifestations of it as mere
+strength, or, worse still, the insolence not infrequently accompanying
+high spirits. Now Castagno, who succeeds well enough in one or two such
+single figures as his Cumæan Sibyl or his Farinata degli Uberti, which
+have great, if not the greatest, power, dignity, and even beauty,
+elsewhere condescends to mere swagger,--as in his Pipo Spano or Niccolo
+di Tolentino--or to mere strength, as in his "Last Supper," or, worse
+still, to actual brutality, as in his Santa Maria Nuova "Crucifixion."
+Nevertheless, his few remaining works lead us to suspect in him the
+greatest artist, and the most influential personality among the painters
+of the first generation after Masaccio.
+
+
+VI.
+
+[Page heading: DOMENICO VENEZIANO]
+
+To distinguish clearly, after the lapse of nearly five centuries,
+between Uccello and Castagno, and to determine the precise share each
+had in the formation of the Florentine school, is already a task fraught
+with difficulties. The scantiness of his remaining works makes it more
+than difficult, makes it almost impossible, to come to accurate
+conclusions regarding the character and influence of their somewhat
+younger contemporary, Domenico Veneziano. That he was an innovator in
+technique, in affairs of vehicle and medium, we know from Vasari; but as
+such innovations, indispensable though they may become to painting as a
+craft, are in themselves questions of theoretic and applied chemistry,
+and not of art, they do not here concern us. His artistic achievements
+seem to have consisted in giving to the figure movement and expression,
+and to the face individuality. In his existing works we find no trace of
+sacrifice made to dexterity and naturalism, although it is clear that he
+must have been master of whatever science and whatever craft were
+prevalent in his day. Otherwise he would not have been able to render a
+figure like the St. Francis in his Uffizi altar-piece, where tactile
+values and movement expressive of character--what we usually call
+individual _gait_--were perhaps for the first time combined; or to
+attain to such triumphs as his St. John and St. Francis, at Santa Croce,
+whose entire figures express as much fervour as their eloquent faces.
+As to his sense for the significant in the individual, in other words,
+his power as a portrait-painter, we have in the Pitti one or two heads
+to witness, perhaps, the first great achievements in this kind of the
+Renaissance.
+
+[Page heading: FRA FILIPPO LIPPI]
+
+No such difficulties as we have encountered in the study of Uccello,
+Castagno, and Veneziano meet us as we turn to Fra Filippo. His works are
+still copious, and many of them are admirably preserved; we therefore
+have every facility for judging him as an artist, yet nothing is harder
+than to appreciate him at his due. If attractiveness, and attractiveness
+of the best kind, sufficed to make a great artist, then Filippo would be
+one of the greatest, greater perhaps than any other Florentine before
+Leonardo. Where shall we find faces more winsome, more appealing, than
+in certain of his Madonnas--the one in the Uffizi, for instance--more
+momentarily evocative of noble feeling than in his Louvre altar-piece?
+Where in Florentine painting is there anything more fascinating than the
+playfulness of his children, more poetic than one or two of his
+landscapes, more charming than is at times his colour? And with all
+this, health, even robustness, and almost unfailing good-humour! Yet by
+themselves all these qualities constitute only a high-class illustrator,
+and such by native endowment I believe Fra Filippo to have been. That he
+became more--very much more--is due rather to Masaccio's potent
+influence than to his own genius; for he had no profound sense of either
+material or spiritual significance--the essential qualifications of the
+real artist. Working under the inspiration of Masaccio, he at times
+renders tactile values admirably, as in the Uffizi Madonna--but most
+frequently he betrays no genuine feeling for them, failing in his
+attempt to render them by the introduction of bunchy, billowy,
+calligraphic draperies. These, acquired from the late Giottesque painter
+(probably Lorenzo Monaco) who had been his first master, he seems to
+have prized as artistic elements no less than the tactile values which
+he attempted to adopt later, serenely unconscious, apparently, of their
+incompatibility. Filippo's strongest impulse was not toward the
+pre-eminently artistic one of re-creation, but rather toward expression,
+and within that field, toward the expression of the pleasant, genial,
+spiritually comfortable feelings of ordinary life. His real place is
+with the _genre_ painters; only his _genre_ was of the soul, as that of
+others--of Benozzo Gozzoli, for example--was of the body. Hence a sin of
+his own, scarcely less pernicious than that of the naturalists, and
+cloying to boot--expression at any cost.
+
+
+VII.
+
+[Page heading: NATURALISM IN FLORENTINE ART]
+
+From the brief account just given of the four dominant personalities in
+Florentine painting from about 1430 to about 1460, it results that the
+leanings of the school during this interval were not artistic and
+artistic alone, but that there were other tendencies as well, tendencies
+on the one side, toward the expression of emotion (scarcely less
+literary because in form and colour than if in words), and, on the
+other, toward the naturalistic reproduction of objects. We have also
+noted that while the former tendency was represented by Filippo alone,
+the latter had Paolo Uccello, and all of Castagno and Veneziano that the
+genius of these two men would permit them to sacrifice to naturalism
+and science. To the extent, however, that they took sides and were
+conscious of a distinct purpose, these also sided with Uccello and not
+with Filippo. It may be agreed, therefore, that the main current of
+Florentine painting for a generation after Masaccio was naturalistic,
+and that consequently the impact given to the younger painters who
+during this period were starting, was mainly toward naturalism. Later,
+in studying Botticelli, we shall see how difficult it was for any one
+young at the time to escape this tide, even if by temperament farthest
+removed from scientific interests.
+
+Meanwhile we must continue our study of the naturalists, but now of the
+second generation. Their number and importance from 1460 to 1490 is not
+alone due to the fact that art education toward the beginning of this
+epoch was mainly naturalistic, but also to the real needs of a rapidly
+advancing craft, and even more to the character of the Florentine mind,
+the dominant turn of which was to science and not to art. But as there
+were then no professions scientific in the stricter sense of the word,
+and as art of some form was the pursuit of a considerable proportion of
+the male inhabitants of Florence, it happened inevitably that many a lad
+with the natural capacities of a Galileo was in early boyhood
+apprenticed as an artist. And as he never acquired ordinary methods of
+scientific expression, and never had time for occupations not
+bread-winning, he was obliged his life long to make of his art both the
+subject of his strong instinctive interest in science, and the vehicle
+of conveying his knowledge to others.
+
+[Page heading: ALESSIO BALDOVINETTI]
+
+This was literally the case with the oldest among the leaders of the new
+generation, Alessio Baldovinetti, in whose scanty remaining works no
+trace of purely artistic feeling or interest can be discerned; and it is
+only less true of Alessio's somewhat younger, but far more gifted
+contemporaries, Antonio Pollaiuolo and Andrea Verrocchio. These also we
+should scarcely suspect of being more than men of science, if Pollaiuolo
+once or twice, and Verrocchio more frequently, did not dazzle us with
+works of almost supreme art, which, but for our readiness to believe in
+the manifold possibilities of Florentine genius, we should with
+exceeding difficulty accept as their creation--so little do they seem to
+result from their conscious striving. Alessio's attention being largely
+devoted to problems of vehicle--to the side of painting which is
+scarcely superior to cookery--he had time for little else, although that
+spare time he gave to the study of landscape, in the rendering of which
+he was among the innovators. Andrea and Antonio set themselves the much
+worthier task of increasing on every side the effectiveness of the
+figure arts, of which, sculpture no less than painting, they aimed to be
+masters.
+
+[Page heading: POLLAIUOLO AND VERROCCHIO]
+
+To confine ourselves, however, as closely as we may to painting, and
+leaving aside for the present the question of colour, which, as I have
+already said, is, in Florentine art, of entirely subordinate importance,
+there were three directions in which painting as Pollaiuolo and
+Verrocchio found it had greatly to advance before it could attain its
+maximum of effectiveness: landscape, movement, and the nude. Giotto had
+attempted none of these. The nude, of course, he scarcely touched;
+movement he suggested admirably, but never rendered; and in landscape
+he was satisfied with indications hardly more than symbolical, although
+quite adequate to his purpose, which was to confine himself to the human
+figure. In all directions Masaccio made immense progress, guided by his
+never failing sense for material significance, which, as it led him to
+render the tactile values of each figure separately, compelled him also
+to render the tactile values of groups as wholes, and of their landscape
+surroundings--by preference, hills so shaped as readily to stimulate the
+tactile imagination. For what he accomplished in the nude and in
+movement, we have his "Expulsion" and his "Man Trembling with Cold" to
+witness. But in his works neither landscape nor movement, nor the nude,
+are as yet distinct sources of artistic pleasure--that is to say, in
+themselves life-enhancing. Although we can well leave the nude until we
+come to Michelangelo, who was the first to completely realise its
+distinctly artistic possibilities, we cannot so well dispense with an
+enquiry into the sources of our æsthetic pleasure in the representation
+of movement and of landscape, as it was in these two directions--in
+movement by Pollaiuolo especially, and in landscape by Baldovinetti,
+Pollaiuolo, and Verrocchio--that the great advances of this generation
+of Florentine painters were made.
+
+
+VIII.
+
+[Page heading: REPRESENTATION OF MOVEMENT]
+
+Turning our attention first to movement--which, by the way, is not the
+same as motion, mere change of place--we find that we realise it just as
+we realise objects, by the stimulation of our tactile imagination, only
+that here touch retires to a second place before the muscular feelings
+of varying pressure and strain. I see (to take an example) two men
+wrestling, but unless my retinal impressions are immediately translated
+into images of strain and pressure in my muscles, of resistance to my
+weight, of touch all over my body, it means nothing to me in terms of
+vivid experience--not more, perhaps, than if I heard some one say "Two
+men are wrestling." Although a wrestling match may, in fact, contain
+many genuinely artistic elements, our enjoyment of it can never be quite
+artistic; we are prevented from completely realising it not only by our
+dramatic interest in the game, but also, granting the possibility of
+being devoid of dramatic interest, by the succession of movements being
+too rapid for us to realise each completely, and too fatiguing, even if
+realisable. Now if a way could be found of conveying to us the
+realisation of movement without the confusion and the fatigue of the
+actuality, we should be getting out of the wrestlers more than they
+themselves can give us--the heightening of vitality which comes to us
+whenever we keenly realise life, such as the actuality itself would give
+us, _plus_ the greater effectiveness of the heightening brought about by
+the clearer, intenser, and less fatiguing realisation. This is precisely
+what the artist who succeeds in representing movement achieves: making
+us realise it as we never can actually, he gives us a heightened sense
+of capacity, and whatever is in the actuality enjoyable, he allows us to
+enjoy at our leisure. In words already familiar to us, he _extracts the
+significance of movements_, just as, in rendering tactile values, the
+artist extracts the corporeal significance of objects. His task is,
+however, far more difficult, although less indispensable:--it is not
+enough that he should extract the values of what at any given moment is
+an actuality, as is an object, but what at no moment really is--namely
+movement. He can accomplish his task in only one way, and that is by so
+rendering the one particular movement that we shall be able to realise
+all other movements that the same figure may make. "He is grappling with
+his enemy now," I say of my wrestler. "What a pleasure to be able to
+realise in my own muscles, on my own chest, with my own arms and legs,
+the life that is in him as he is making his supreme effort! What a
+pleasure, as I look away from the representation, to realise in the same
+manner, how after the contest his muscles will relax, and rest trickle
+like a refreshing stream through his nerves!" All this I shall be made
+to enjoy by the artist who, in representing any one movement, can give
+me the logical sequence of visible strain and pressure in the parts and
+muscles.
+
+It is just here that the scientific spirit of the Florentine naturalists
+was of immense service to art. This logic of sequence is to be attained
+only by great, although not necessarily more than empiric, knowledge of
+anatomy, such perhaps as the artist pure would never be inclined to work
+out for himself, but just such as would be of absorbing interest to
+those scientists by temperament and artists by profession whom we have
+in Pollaiuolo and, to a less extent, in Verrocchio. We remember how
+Giotto contrived to render tactile values. Of all the possible outlines,
+of all the possible variations of light and shade that a figure may
+have, he selected those that we must isolate for special attention when
+we are actually realising it. If instead of figure, we say figure in
+movement, the same statement applies to the way Pollaiuolo rendered
+movement--with this difference, however, that he had to render what in
+actuality we never can perfectly isolate, the line and light and shade
+most significant of any given action. This the artist must construct
+himself out of his dramatic feeling for pressure and strain and his
+ability to articulate the figure in all its logical sequences, for, if
+he would convey a sense of movement, he must give the line and the
+light and shade which will best render not tactile values alone, but the
+sequences of articulations.
+
+[Page heading: "BATTLE OF THE NUDES"]
+
+It would be difficult to find more effective illustration of all that
+has just been said about movement than one or two of Pollaiuolo's own
+works, which, in contrast to most of his achievements, where little more
+than effort and research are visible, are really masterpieces of
+life-communicating art. Let us look first at his engraving known as the
+"Battle of the Nudes." What is it that makes us return to this sheet
+with ever renewed, ever increased pleasure? Surely it is not the hideous
+faces of most of the figures and their scarcely less hideous bodies. Nor
+is it the pattern as decorative design, which is of great beauty indeed,
+but not at all in proportion to the spell exerted upon us. Least of all
+is it--for most of us--an interest in the technique or history of
+engraving. No, the pleasure we take in these savagely battling forms
+arises from their power to directly communicate life, to immensely
+heighten our sense of vitality. Look at the combatant prostrate on the
+ground and his assailant bending over, each intent on stabbing the
+other. See how the prostrate man plants his foot on the thigh of his
+enemy, and note the tremendous energy he exerts to keep off the foe,
+who, turning as upon a pivot, with his grip on the other's head, exerts
+no less force to keep the advantage gained. The significance of all
+these muscular strains and pressures is so rendered that we cannot help
+realising them; we imagine ourselves imitating all the movements, and
+exerting the force required for them--and all without the least effort
+on our side. If all this without moving a muscle, what should we feel if
+we too had exerted ourselves! And thus while under the spell of this
+illusion--this hyperæsthesia not bought with drugs, and not paid for
+with cheques drawn on our vitality--we feel as if the elixir of life,
+not our own sluggish blood, were coursing through our veins.
+
+[Page heading: "HERCULES STRANGLING DAVID"]
+
+Let us look now at an even greater triumph of movement than the Nudes,
+Pollaiuolo's "Hercules Strangling Antæus." As you realise the suction of
+Hercules' grip on the earth, the swelling of his calves with the pressure
+that falls on them, the violent throwing back of his chest, the stifling
+force of his embrace; as you realise the supreme effort of Antæus, with
+one hand crushing down upon the head and the other tearing at the arm of
+Hercules, you feel as if a fountain of energy had sprung up under your
+feet and were playing through your veins. I cannot refrain from
+mentioning still another masterpiece, this time not only of movement, but
+of tactile values and personal beauty as well--Pollaiuolo's "David" at
+Berlin. The young warrior has sped his stone, cut off the giant's head,
+and now he strides over it, his graceful, slender figure still vibrating
+with the rapidity of his triumph, expectant, as if fearing the ease of
+it. What lightness, what buoyancy we feel as we realise the movement of
+this wonderful youth!
+
+
+IX.
+
+[Page heading: VERROCCHIO AND LANDSCAPE]
+
+In all that concerns movement, Verrocchio was a learner from Pollaiuolo,
+rather than an initiator, and he probably never attained his master's
+proficiency. We have unfortunately but few terms for comparison, as the
+only paintings which can be with certainty ascribed to Verrocchio are
+not pictures of action. A drawing however like that of his angel, in the
+British Museum, which attempts as much movement as the Hercules by
+Pollaiuolo, in the same collection, is of obviously inferior quality.
+Yet in sculpture, along with works which are valuable as harbingers of
+Leonardo rather than for any intrinsic perfection, he created two such
+masterpieces of movement as the "Child with the Dolphin" in the
+courtyard of the Palazzo Vecchio, and the Colleoni monument at
+Venice--the latter sinning, if at all, by an over-exuberance of
+movement, by a step and swing too suggestive of drums and trumpets. But
+in landscape Verrocchio was a decided innovator. To understand what new
+elements he introduced, we must at this point carry out our
+determination to enquire into the source of our pleasure in landscape
+painting; or rather--to avoid a subject of vast extent for which this is
+not the place--of landscape painting as practised by the Florentines.
+
+[Page heading: LANDSCAPE PAINTING]
+
+Before Verrocchio, his precursors, first Alessio Baldovinetti and then
+Pollaiuolo, had attempted to treat landscape as naturalistically as
+painting would permit. Their ideal was to note it down with absolute
+correctness from a given point of view; their subject almost invariably
+the Valdarno; their achievement, a bird's-eye view of this Tuscan
+paradise. Nor can it be denied that this gives pleasure, but the
+pleasure is only such as is conveyed by tactile values. Instead of
+having the difficulty we should have in nature to distinguish clearly
+points near the horizon's edge, we here see them perfectly and without
+an effort, and in consequence feel great confirmation of capacity for
+life. Now if landscape were, as most people vaguely believe, a pleasure
+coming through the eyes alone, then the Pollaiuolesque treatment could
+be equalled by none that has followed, and surpassed only by Rogier van
+der Weyden, or by the quaint German "Master of the Lyversberg Passion,"
+who makes us see objects miles away with as great a precision and with
+as much intensity of local colour as if we were standing off from them a
+few feet. Were landscape really this, then nothing more inartistic than
+gradation of tint, atmosphere, and _plein air_, all of which help to
+make distant objects less clear, and therefore tend in no way to
+heighten our sense of capacity. But as a matter of fact the pleasure we
+take in actual landscape is only to a limited extent an affair of the
+eye, and to a great extent one of unusually intense well-being. The
+painter's problem, therefore, is not merely to render the tactile values
+of the visible objects, but to convey, more rapidly and unfailingly than
+nature would do, _the consciousness_ of an unusually intense degree of
+well-being. This task--the communication by means purely visual of
+feelings occasioned chiefly by sensations non-visual--is of such
+difficulty that, until recently, successes in the rendering of what is
+peculiar to landscape as an art, and to landscape alone, were accidental
+and sporadic. Only now, in our own days, may painting be said to be
+grappling with this problem seriously; and perhaps we are already at the
+dawn of an art which will have to what has hitherto been called
+landscape, the relation of our music to the music of the Greeks or of
+the Middle Ages.
+
+[Page heading: VERROCCHIO'S LANDSCAPES]
+
+Verrocchio was, among Florentines at least, the first to feel that a
+faithful reproduction of the contours is not landscape, that the
+painting of nature is an art distinct from the painting of the figure.
+He scarcely knew where the difference lay, but felt that light and
+atmosphere play an entirely different part in each, and that in
+landscape these have at least as much importance as tactile values. A
+vision of _plein air_, vague I must grant, seems to have hovered before
+him, and, feeling his powerlessness to cope with it in full effects of
+light such as he attempted in his earlier pictures, he deliberately
+chose the twilight hour, when, in Tuscany, on fine days, the trees stand
+out almost black against a sky of light opalescent grey. To render this
+subduing, soothing effect of the coolness and the dew after the glare
+and dust of the day--the effect so matchlessly given in Gray's
+"Elegy"--seemed to be his first desire as a painter, and in presence of
+his "Annunciation" (in the Uffizi), we feel that he succeeded as only
+one other Tuscan succeeded after him, that other being his own pupil
+Leonardo.
+
+
+X.
+
+[Page heading: GENRE ARTISTS]
+
+It is a temptation to hasten on from Pollaiuolo and Verrocchio to
+Botticelli and Leonardo, to men of genius as artists reappearing again
+after two generations, men who accomplished with scarcely an effort what
+their precursors had been toiling after. But from these it would be even
+more difficult than at present to turn back to painters of scarcely any
+rank among the world's great artists, and of scarcely any importance as
+links in a chain of evolution, but not to be passed by, partly because
+of certain qualities they do possess, and partly because their names
+would be missed in an account, even so brief as this, of Florentine
+painting. The men I chiefly refer to, one most active toward the middle
+and the other toward the end of the fifteenth century, are Benozzo
+Gozzoli and Domenico Ghirlandaio. Although they have been rarely coupled
+together, they have much in common. Both were, as artists, little more
+than mediocrities with almost no genuine feeling for what makes painting
+a great art. The real attractiveness of both lies entirely outside the
+sphere of pure art, in the realms of _genre_ illustration. And here the
+likeness between them ends; within their common ground they differed
+widely.
+
+[Page heading: BENOZZO GOZZOLI]
+
+Benozzo was gifted with a rare facility not only of execution but of
+invention, with a spontaneity, a freshness, a liveliness in telling a
+story that wake the child in us, and the lover of the fairy tale. Later
+in life, his more precious gifts deserted him, but who wants to resist
+the fascination of his early works, painted, as they seem, by a Fra
+Angelico who had forgotten heaven and become enamoured of the earth and
+the spring-time? In his Riccardi Palace frescoes, he has sunk already to
+portraying the Florentine apprentice's dream of a holiday in the country
+on St. John's Day; but what a _naïf_ ideal of luxury and splendour it
+is! With these, the glamour in which he saw the world began to fade away
+from him, and in his Pisan frescoes we have, it is true, many a quaint
+bit of _genre_ (superior to Teniers only because of superior
+associations), but never again the fairy tale. And as the better
+recedes, it is replaced by the worse, by the bane of all _genre_
+painting, non-significant detail, and positive bad taste. Have London
+or New York or Berlin worse to show us than the jumble of buildings in
+his ideal of a great city, his picture of Babylon? It may be said he
+here continues mediæval tradition, which is quite true, but this very
+fact indicates his real place, which, in spite of his adopting so many
+of the fifteenth-century improvements, is not with the artists of the
+Renaissance, but with the story-tellers and costumed fairy-tale painters
+of the transition, with Spinello Aretino and Gentile da Fabriano, for
+instance. And yet, once in a while, he renders a head with such
+character, or a movement with such ease that we wonder whether he had
+not in him, after all, the making of a real artist.
+
+[Page heading: GHIRLANDAIO]
+
+Ghirlandaio was born to far more science and cunning in painting than
+was current in Benozzo's early years, and all that industry, all that
+love of his occupation, all that talent even, can do for a man, they did
+for him; but unfortunately he had not a spark of genius. He appreciated
+Masaccio's tactile values, Pollaiuolo's movement, Verrocchio's effects
+of light, and succeeded in so sugaring down what he adopted from these
+great masters that the superior philistine of Florence could say: "There
+now is a man who knows as much as any of the great men, but can give me
+something that I can really enjoy!" Bright colour, pretty faces, good
+likenesses, and the obvious everywhere--attractive and delightful, it
+must be granted, but, except in certain single figures, never
+significant. Let us glance a moment at his famous frescoes in Santa
+Maria Novella. To begin with, they are so undecorative that, in spite of
+the tone and surface imparted to them by four centuries, they still
+suggest so many _tableaux vivants_ pushed into the wall side by side,
+and in tiers. Then the compositions are as overfilled as the sheets of
+an illustrated newspaper--witness the "Massacre of the Innocents," a
+scene of such magnificent artistic possibilities. Finally, irrelevant
+episodes and irrelevant groups of portraits do what they can to distract
+our attention from all higher significance. Look at the "Birth of John";
+Ginevra dei Benci stands there, in the very foreground, staring out at
+you as stiff as if she had a photographer's iron behind her head. An
+even larger group of Florentine housewives in all their finery
+disfigures the "Birth of the Virgin," which is further spoiled by a _bas
+relief_ to show off the painter's acquaintance with the antique, and by
+the figure of the serving maid who pours out water, with the rush of a
+whirlwind in her skirts--this to show off skill in the rendering of
+movement. Yet elsewhere, as in his "Epiphany" in the Uffizi, Ghirlandaio
+has undeniable charm, and occasionally in portraits his talent, here at
+its highest, rises above mediocrity, in one instance, the fresco of
+Sassetti in Santa Trinità, becoming almost genius.
+
+
+XI.
+
+[Page heading: LEONARDO]
+
+All that Giotto and Masaccio had attained in the rendering of tactile
+values, all that Fra Angelico or Filippo had achieved in expression, all
+that Pollaiuolo had accomplished in movement, or Verrocchio in light and
+shade, Leonardo, without the faintest trace of that tentativeness, that
+painfulness of effort which characterised his immediate precursors,
+equalled or surpassed. Outside Velasquez, and perhaps, when at their
+best, Rembrandt and Degas, we shall seek in vain for tactile values so
+stimulating and so convincing as those of his "Mona Lisa"; outside
+Degas, we shall not find such supreme mastery over the art of movement
+as in the unfinished "Epiphany" in the Uffizi; and if Leonardo has been
+left far behind as a painter of light, no one has succeeded in conveying
+by means of light and shade a more penetrating feeling of mystery and
+awe than he in his "Virgin of the Rocks." Add to all this, a feeling for
+beauty and significance that have scarcely ever been approached. Where
+again youth so poignantly attractive, manhood so potently virile, old
+age so dignified and possessed of the world's secrets! Who like Leonardo
+has depicted the mother's happiness in her child and the child's joy in
+being alive; who like Leonardo has portrayed the timidity, the newness
+to experience, the delicacy and refinement of maidenhood; or the
+enchantress intuitions, the inexhaustible fascination of the woman in
+her years of mastery? Look at his many sketches for Madonnas, look at
+his profile drawing of Isabella d'Este, or at the _Belle Joconde_, and
+see whether elsewhere you find their equals. Leonardo is the one artist
+of whom it may be said with perfect literalness: Nothing that he touched
+but turned into a thing of eternal beauty. Whether it be the
+cross-section of a skull, the structure of a weed, or a study of
+muscles, he, with his feeling for line and for light and shade, forever
+transmuted it into life-communicating values; and all without intention,
+for most of these magical sketches were dashed off to illustrate purely
+scientific matter, which alone absorbed his mind at the moment.
+
+And just as his art is life-communicating as is that of scarcely
+another, so the contemplation of his personality is life-enhancing as
+that of scarcely any other man. Think that great though he was as a
+painter, he was no less renowned as a sculptor and architect, musician
+and improviser, and that all artistic occupations whatsoever were in his
+career but moments snatched from the pursuit of theoretical and
+practical knowledge. It would seem as if there were scarcely a field of
+modern science but he either foresaw it in vision, or clearly
+anticipated it, scarcely a realm of fruitful speculation of which he
+was not a freeman; and as if there were hardly a form of human energy
+which he did not manifest. And all that he demanded of life was the
+chance to be useful! Surely, such a man brings us the gladdest of all
+tidings--the wonderful possibilities of the human family, of whose
+chances we all partake.
+
+Painting, then, was to Leonardo so little of a preoccupation that we
+must regard it as merely a mode of expression used at moments by a man
+of universal genius, who recurred to it only when he had no more
+absorbing occupation, and only when it could express what nothing else
+could, the highest spiritual through the highest material significance.
+And great though his mastery over his craft, his feeling for
+significance was so much greater that it caused him to linger long over
+his pictures, labouring to render the significance he felt but which his
+hand could not reproduce, so that he rarely finished them. We thus have
+lost in quantity, but have we lost in quality? Could a mere painter, or
+even a mere artist, have seen and felt as Leonardo? We may well doubt.
+We are too apt to regard a universal genius as a number of ordinary
+brains somehow conjoined in one skull, and not always on the most
+neighbourly terms. We forget that genius means mental energy, and that a
+Leonardo, for the self-same reason that prevents his being merely a
+painter--the fact that it does not exhaust a hundredth part of his
+energy--will, when he does turn to painting, bring to bear a power of
+seeing, feeling, and rendering, as utterly above that of the ordinary
+painter as the "Mona Lisa" is above, let us say, Andrea del Sarto's
+"Portrait of his Wife." No, let us not join in the reproaches made to
+Leonardo for having painted so little; because he had much more to do
+than to paint, he has left all of us heirs to one or two of the
+supremest works of art ever created.
+
+
+XII.
+
+[Page heading: BOTTICELLI]
+
+Never pretty, scarcely ever charming or even attractive; rarely correct
+in drawing, and seldom satisfactory in colour; in types, ill-favoured;
+in feeling acutely intense and even dolorous--what is it then that makes
+Sandro Botticelli so irresistible that nowadays we may have no
+alternative but to worship or abhor him? The secret is this, that in
+European painting there has never again been an artist so indifferent to
+representation and so intent upon presentation. Educated in a period of
+triumphant naturalism, he plunged at first into mere representation with
+almost self-obliterating earnestness; the pupil of Fra Filippo, he was
+trained to a love of spiritual _genre_; himself gifted with strong
+instincts for the significant, he was able to create such a type of the
+thinker as in his fresco of St. Augustin; yet in his best years he left
+everything, even spiritual significance, behind him, and abandoned
+himself to the presentation of those qualities alone which in a picture
+are _directly_ life-communicating, and life-enhancing. Those of us who
+care for nothing in the work of art but what it represents, are either
+powerfully attracted or repelled by his unhackneyed types and quivering
+feeling; but if we are such as have an imagination of touch and of
+movement that it is easy to stimulate, we feel a pleasure in Botticelli
+that few, if any, other artists can give us. Long after we have
+exhausted both the intensest sympathies and the most violent
+antipathies with which the representative elements in his pictures may
+have inspired us, we are only on the verge of fully appreciating his
+real genius. This in its happiest moments is an unparalleled power of
+perfectly combining values of touch with values of movement.
+
+Look, for instance, at Botticelli's "Venus Rising from the Sea."
+Throughout, the tactile imagination is roused to a keen activity, by
+itself almost as life heightening as music. But the power of music is
+even surpassed where, as in the goddess' mane-like tresses of hair
+fluttering to the wind, not in disorderly rout but in masses yielding
+only after resistance, the movement is directly life-communicating. The
+entire picture presents us with the quintessence of all that is
+pleasurable to our imagination of touch and of movement. How we revel in
+the force and freshness of the wind, in the life of the wave! And such
+an appeal he always makes. His subject may be fanciful, as in the "Realm
+of Venus" (the "Spring"); religious, as in the Sixtine Chapel frescoes
+or in the "Coronation of the Virgin"; political, as in the recently
+discovered "Pallas Taming a Centaur"; or even crudely allegorical, as in
+the Louvre frescoes,--no matter how unpropitious, how abstract the idea,
+the vivid appeal to our tactile sense, the life-communicating movement
+is always there. Indeed, at times it seems that the less artistic the
+theme, the more artistic the fulfilment, the painter being impelled to
+give the utmost values of touch and movement to just those figures which
+are liable to be read off as mere empty symbols. Thus, on the figure
+representing political disorder--the Centaur--in the "Pallas,"
+Botticelli has lavished his most intimate gifts. He constructs the torso
+and flanks in such a way that every line, every indentation, every boss
+appeals so vividly to the sense of touch that our fingers feel as if
+they had everywhere been in contact with his body, while his face gives
+to a still heightened degree this convincing sense of reality, every
+line functioning perfectly for the osseous structure of brow, nose, and
+cheeks. As to the hair--imagine shapes having the supreme life of line
+you may see in the contours of licking flames, and yet possessed of all
+the plasticity of something which caresses the hand that models it to
+its own desire!
+
+[Page heading: LINEAL DECORATION]
+
+In fact, the mere subject, and even representation in general, was so
+indifferent to Botticelli, that he appears almost as if haunted by the
+idea of communicating the _unembodied_ values of touch and movement. Now
+there is a way of rendering even tactile values with almost no body, and
+that is by translating them as faithfully as may be into values of
+movement. For instance:--we want to render the roundness of a wrist
+without the slightest touch of either light or shade; we simply give the
+movement of the wrist's outline and the movement of the drapery as it
+falls over it, and the roundness is communicated to us almost entirely
+in terms of movement. But let us go one step further. Take this line
+that renders the roundness of the wrist, or a more obvious example, the
+lines that render the movements of the tossing hair, the fluttering
+draperies, and the dancing waves in the "Birth of Venus"--take these
+lines alone with all their power of stimulating our imagination of
+movement, and what do we have? Pure values of movement abstracted,
+unconnected with any representation whatever. This kind of line, then,
+being the quintessence of movement, has, like the essential elements in
+all the arts, a power of stimulating our imagination and of directly
+communicating life. Well! imagine an art made up entirely of these
+quintessences of movement-values, and you will have something that holds
+the same relation to representation that music holds to speech--and this
+art exists, and is called lineal decoration. In this art of arts Sandro
+Botticelli may have had rivals in Japan and elsewhere in the East, but
+in Europe never. To its demands he was ready to sacrifice everything
+that habits acquired under Filippo and Pollaiuolo,--and his
+employers!--would permit. The representative element was for him a mere
+_libretto_: he was happiest when his subject lent itself to translation
+into what may be called a lineal symphony. And to this symphony
+everything was made to yield; tactile values were translated into values
+of movement, and, for the same reason--to prevent the drawing of the eye
+inward, to permit it to devote itself to the rhythm of the line--the
+backgrounds were either entirely suppressed or kept as simple as
+possible. Colour also, with almost a contempt for its representative
+function, Botticelli entirely subordinated to his lineal scheme,
+compelling it to draw attention to the line, rather than, as is usual,
+away from it.
+
+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 _Götterdämmerung_--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.
+    MUSÉE. 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.
+    MUSÉE. 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 Besançon). 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.
+    MUSÉE. 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. _Pietà_ 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. _Pietà_.
+    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
+        Lapithæ.
+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. _Pietà_
+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.
+    MUSÉE CONDÉ. _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: Cæsar
+        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. _Pietà_.
+    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.
+    GESÙ. Annunciation. E.
+      Two _Predelle_. E.
+      Triptych: Madonna with four Saints, etc.
+Düsseldorf.
+    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_: _Pietà_ 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); _Pietà_; 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. _Pietà_.
+        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 _Pietà_.
+        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.
+    Musée, 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.
+    MUSÉE. 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 ANDRÉ. 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.
+Besançon.
+    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.
+    MUSÉE, 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.
+Béziers.
+    MUSÉE, 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_: _Pietà_ 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 MENDICITÀ (ancient Refectory of S. Domenico).
+        Frescoes: Crucifixion and Saints; St. Dominic and two Angels (in
+        part). L.
+    UNIVERSITÀ DEI CAPPELLANI (Piazza del Duomo). Madonna, Saints, and
+        Donors. 1470.
+Rome.
+    LATERAN, 60. Polyptych. 1450.
+    VATICAN, MUSEO CRISTIANO, CASE S, XII. Small _Pietà_.
+    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 GESÙ. 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.)
+Göttingen.
+    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 Trévoux).
+    LA GRANGE BLANCHE, M. HENRI CHALANDON. Nativity.
+Paris.
+    1482. Madonna in Glory, and Saints.
+    MME. EDOUARD ANDRÉ. Madonna and four Saints; A Version of Fra
+        Filippo's Uffizi Madonna; _Pietà_ 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.
+Besançon.
+    MUSÉE, 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.
+    MUSÉE. 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.
+    MUSÉE DES ARTS DECORATIFS, SALLE, 253. Bust of Woman with
+        Prayer-Book.
+    MME. EDOUARD ANDRÉ. 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.
+Düsseldorf.
+    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.
+    MUSÉE, 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. _Pietà_.
+Oxford.
+    CHRIST CHURCH LIBRARY. The Magdalen.
+Paris.
+    1303. Coronation and four Saints.
+    BARON MICHELE LAZZARONI. Resurrection, with kneeling Donors.
+    M. EUGÈNE 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; Cumæan Sibyl;
+        Niccolò 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 Niccolò
+        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.
+Forlì.
+    130. Portrait of Lady. E.
+Glasgow.
+    MR. WILLIAM BEATTIE. Portrait of the Artist. 1488.
+Göttingen.
+    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.
+    MUSÉE DE LA VILLE. Profile of Old Man.
+Chantilly.
+    MUSÉE CONDÉ, 41. Bust of Man.
+Cracow.
+    POTOCKI COLLECTION. Madonna with infant John (?).
+Dijon.
+    MUSÉE, 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
+        Cæsar. 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.
+Nîmes.
+    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. _Pietà_.
+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 _Pietà_ 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. _Pietà_. 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.
+    MUSÉE CONDÉ, 95. Madonna (from Ghirlandajo's studio) (?).
+Città 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. _Pietà_. 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. _Pietà_. 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. EUGÈNE RICHTEMBERGER. Nativity.
+    M. JOSEPH SPIRIDON. Bust of Young Woman in Red.
+Philadelphia.
+    MR. JOHN G. JOHNSON. _Pietà_ 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. _Pietà_. 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 _Pietà_. 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: _Pietà_, 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 Trévoux).
+    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.
+Münster 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.
+
+
+MASOLINO.
+
+1384-after 1435.
+
+Bremen.
+    KUNSTHALLE, 164. Madonna. 1423.
+Castiglione d'Olona.
+    CHURCH. Frescoes: Life of Virgin.
+    BAPTISTERY. Frescoes: Life of Baptist.
+    PALAZZO CASTIGLIONE. Frescoes: A Landscape and Friezes.
+Empoli.
+    DUOMO, BAPTISTERY. Fresco: _Pietà_.
+    S. STEFANO. Fresco in an Arch: Madonna and Angels. Probably 1424.
+Florence.
+    CARMINE, BRANCACCI CHAPEL. Frescoes: Preaching of St. Peter;
+        Raising of Tabitha and Healing of Cripple; Fall of Adam and Eve.
+Munich.
+    1019. Madonna and Angels.
+Naples.
+    Christ receiving Virgin in Paradise.
+    Founding of S. Maria Maggiore.
+Rome.
+    VATICAN, MUSEO CRISTIANO, CASE P, V. _Predella_: Dormition (?).
+      CASE R, II. Crucifixion (in part?).
+    S. CLEMENTE. Frescoes: Episodes from Lives of SS. Ambrose and
+        Catherine of Alexandria; Crucifixion (some of these frescoes are
+        completely repainted).
+Scotland.
+    GOSFORD HOUSE, EARL OF WEMYSS. Annunciation.
+Todi.
+    S. FORTUNATO, FOURTH CHAPEL R. Fresco: Madonna with two Angels.
+
+
+MICHELANGELO BUONARROTI.
+
+1475-1564. Pupil of Ghirlandaio; influenced by the works of Jacopo della
+    Quercia, Donatello, and Signorelli.
+
+Florence.
+    UFFIZI, 1139. _Tondo_: Holy Family.
+London.
+    790. Deposition (unfinished).
+Rome.
+    VATICAN, SIXTINE CHAPEL. Frescoes: On Ceiling, 1508-1512. W. WALL.
+        Last Judgment. 1534-1541.
+      CAPPELLA PAOLINA. Frescoes: Conversion of Paul; Martyrdom of St.
+          Peter. L.
+
+SCULPTURE.
+
+Berlin.
+    Small Marble Apollo.
+Bologna.
+    S. DOMENICO. S. Petronio; An Angel (for Ark of St. Dominic). 1494.
+Bruges.
+    NOTRE DAME. Madonna. Finished before August, 1506.
+Florence.
+    ACADEMY. David. 1504. Life size model of reclining Male Figure.
+      COURT. St. Matthew. 1504.
+    BARGELLO. Bacchus. E. Bust of Brutus. _Tondo_, Relief: Madonna.
+        Apollo.
+      COURT. Victory.
+    BOBOLI GARDENS, GROTTO. Four unfinished Figures.
+    CASA BUONARROTI. Reliefs: Centaurs and Lapithæ. E. Madonna. E.
+    DUOMO, BEHIND HIGH ALTAR. _Pietà_. L.
+    S. LORENZO, NEW SACRISTY. Madonna; Tombs of Lorenzo dei Medici,
+        Duke of Urbino, and Giuliano, Duke of Nemours. Left unfinished
+        1534.
+London.
+    BURLINGTON HOUSE, DIPLOMA GALLERY. _Tondo_, Relief: Madonna.
+    VICTORIA AND ALBERT MUSEUM. Cupid.
+    BEIT COLLECTION. Young Athlete (bronze).
+Milan.
+    PRINCE TRIVULZIO. Small Slave (bronze).
+Paris.
+    ROOM OF RENAISSANCE SCULPTURE. Two Slaves.
+Rome.
+    PALAZZO RONDANINI. _Pietà_ (unfinished). L.
+    S. MARIA SOPRA MINERVA. Christ with Cross. Finished 1521.
+    ST. PETER'S. _Pietà_. 1499.
+    S. PIETRO IN VINCOLI. Moses, Rachel, and Leah.
+St. Petersburg.
+    Crouching Boy.
+
+
+MONACO see LORENZO.
+
+
+ANDREA ORCAGNA AND HIS BROTHERS.
+
+Andrea, 1308(?)-1368. Pupil of Andrea Pisano; follower of Giotto;
+    influenced by Ambrogio Lorenzetti of Siena.
+
+Of the brothers, Nardo, who died in 1365, was scarcely his inferior.
+
+The only painting certainly from Andrea's hand is the altarpiece at S.
+    Maria Novella. The frescoes in the same church are probably by
+    Nardo.
+
+Budapest.
+    50. Madonna and Angels.
+Florence.
+    ACADEMY, 14. Vision of St. Bernard and Saints.
+    40. Trinity with Evangelist and St. Romuald. 1365.
+    UFFIZI, 10. St. Bartholomew and Angel (?). E.
+    29. Coronation of the Virgin.
+      THIRD TUSCAN ROOM. 20. St. Matthew Triptych. Begun in 1367.
+    MR. B. BERENSON. St. Benedict receiving a Novice.
+    BADIA, CAPPELLA BONSI. Descent of Holy Spirit.
+    S. CROCE, SACRISTY. Madonna with SS. Gregory and Job. 1365.
+    S. MARIA NOVELLA, L. TRANSEPT. Altarpiece. 1357. Frescoes:
+        Paradise; Last Judgment; Hell.
+      CLOISTER. Frescoes: Annunciation to Joachim and Anne; Meeting of
+          Same; Birth of Virgin; Presentation of Virgin in Temple; Full
+          length figures of Saints.
+    CERTOSA (near Florence), CHAPEL. Madonna.
+London.
+    569-578. Coronation and Saints, with nine smaller panels
+        representing the Trinity, Angels, and Gospel Scenes.
+New Haven (U. S. A.).
+    JARVES COLLECTION, 25. Baptist.
+    26. St. Peter.
+Palermo.
+    BARON CHIARAMONTE-BORDONARO. Madonna.
+
+SCULPTURE (by Andrea).
+
+Berlin.
+    VON KAUFMANN COLLECTION. Head of female Saint.
+Florence.
+    BARGELLO. 139. Angel playing Viol.
+    OR SAN MICHELE. Tabernacle. Finished 1359.
+
+
+FRANCESCO PESELLINO.
+
+1422-1457. Pupil possibly of his grandfather, Giuliano Pesello; follower
+    of Fra Angelico, Masaccio and Domenico Veneziano, but chiefly of Fra
+    Filippo Lippi.
+
+Altenburg.
+    LINDENAU MUSEUM, 96. SS. Jerome and Francis.
+Bergamo.
+    MORELLI, 9. Florentine arraigned before a Judge.
+    11. Story of Griselda.
+Berlin.
+    Small Crucifixion.
+Boston (U. S. A.).
+    MRS. J. L. GARDNER. Two _Cassone_ panels: Triumphs of Petrarch.
+Chantilly.
+    MUSÉE CONDÉ, 11. Madonna and Saints.
+    12. Adoration of Magi. (?).
+Empoli.
+    OPERA DEL DUOMO, 24. Madonna and Saints.
+Florence.
+    ACADEMY, 72. _Predelle_: Nativity; Martyrdom of SS. Cosmas and
+        Damian; Miracle of St. Antony of Padua.
+Gloucester.
+    HIGHNAM COURT, SIR HUBERT PARRY, 95. Annunciation.
+London.
+    COL. G. L. HOLFORD, DORCHESTER HOUSE. Madonna and Saints.
+Milan.
+    POLDI-PEZZOLI, 436. Annunciation (early XVI century copy).
+    587. _Pietà_.
+Paris.
+    1414. _Predelle_: Miracle of SS. Cosmas and Damian; St. Francis
+        receiving the Stigmata.
+Rome.
+    PRINCE DORIA. _Predelle_: Pope Sylvester before Constantine; Pope
+        Sylvester subduing Dragon.
+Wantage.
+    LOCKINGE HOUSE, LADY WANTAGE. Two _Cassone_ panels: Story of David.
+
+
+PIER DI COSIMO.
+
+1462-1521. Pupil of Cosimo Rosselli; influenced by Verrocchio,
+    Signorelli, Filippino, Leonardo, and Credi.
+
+Berlin.
+    107. Venus, Cupid, and Mars.
+    204. Adoration of Shepherds.
+    VON KAUFMANN COLLECTION. Prometheus Myth (Cf. Strasburg).
+Borgo San Lorenzo (Mugello).
+    CHIESA DEL CROCIFISSO. Madonna with St. Thomas and Baptist.
+Chantilly.
+    MUSÉE CONDÉ, 13. "La Bella Simonetta."
+Dresden.
+    20. Holy Family and Angels.
+Dulwich.
+    Head of Young Man.
+Fiesole.
+    S. FRANCESCO. Coronation of Virgin (in part). L.
+Florence.
+    PITTI, 370. Head of a Saint.
+    UFFIZI. Immaculate Conception.
+    82, 83, 84. Story of Perseus and Andromeda.
+    1312. Rescue of Andromeda.
+    3414. Portrait of "Caterina Sforza" (?).
+      MAGAZINE. _Tondo_: Madonna with infant John. L.
+    INNOCENTI, GALLERY. Holy Family and Saints.
+    S. LORENZO, R. TRANSEPT. Madonna and Saints adoring Child.
+Glasgow.
+    MR. WILLIAM BEATTIE. _Tondo_: Madonna with the two Holy Children
+        embracing.
+The Hague.
+    254, 255. Giuliano di Sangallo and his Father.
+Harrow-on-the-Hill.
+    REV. J. STOGDON. Large Nativity with three Saints and three Donors
+        (?). E. _Tondo_: Madonna and Angels.
+London.
+    698. Death of Procris.
+    895. Portrait of Man in Armour.
+    HERTFORD HOUSE. Triumph of Venus (?).
+    MR. ROBERT BENSON. Hylas and the Nymphs. E. Portrait of Clarissa
+        Orsini (?).
+    EARL OF PLYMOUTH. Head of Young Man.
+    MR. CHARLES RICKETTS. Combat of Centaurs and Lapithæ (Cf. New
+        York).
+    MR. A. E. STREET. _Tondo_: Madonna adoring Child.
+Lyons.
+    M. EDOUARD AYNARD. _Tondo_: Madonna with Lamb.
+Milan.
+    BORROMEO. Madonna. L.
+    PRINCE TRIVULZIO. Madonna and Angels. L.
+New Haven (U. S. A.).
+    JARVES COLLECTION, 68. Lady holding Rabbit.
+Newlands Manor (Hampshire).
+    COL. CORNWALLIS WEST. Visitation.
+New York.
+    METROPOLITAN MUSEUM. The Hunt. Return from the Hunt (Cf. Mr.
+        Ricketts, London).
+Oxford.
+    CHRIST CHURCH LIBRARY, 2. _Tondo_: _Pietà_. L.
+Paris.
+    1274. The Young Baptist.
+    1416. Coronation of Virgin. L.
+    1662. Madonna.
+Philadelphia.
+    MR. JOHN G. JOHNSON. Bust of Physician. Portrait of Man. 1512.
+        Madonna (fragment).
+Rome.
+    BORGHESE. 329. Judgment of Solomon.
+    335. Holy Family L. (?).
+    343. _Tondo_: Madonna and Angels adoring Child.
+    CORSINI. Magdalen. _Pietà_.
+    VATICAN, SIXTINE CHAPEL. Fresco: Destruction of Pharaoh. 1482.
+Scotland. (Glasgow, Cf. Glasgow).
+    CAWDER HOUSE (BISHOPBRIGGS, NEAR GLASGOW), CAPT. ARCHIBALD
+        STIRLING. Madonna and infant John.
+    GOSFORD HOUSE, EARL OF WEMYSS. Bust of Man.
+    NEWBATTLE ABBEY (DALKEITH), MARQUESS OF LOTHIAN. Mythological
+        Scene.
+Siena.
+    MONASTERO DEL SANTUCCIO, ALTAR L. Nativity.
+Stockholm.
+    ROYAL GALLERY. Madonna.
+Strasburg.
+    UNIVERSITY GALLERY, 216A. Madonna.
+    216B. Prometheus Myth (Cf. Von Kaufmann Collection, Berlin).
+Vienna.
+    HARRACH COLLECTION, 136. Holy Family and Angels. L.
+    PRINCE LIECHTENSTEIN. Madonna and infant John. L. _Tondo_:
+        Landscape with Water, etc.
+Worksop (Nottinghamshire).
+    CLUMBER PARK, DUKE OF NEWCASTLE. Altarpiece with _Predelle_:
+        Madonna with St. Peter and Baptist and kneeling Ecclesiastic.
+
+
+PIER FRANCESCO FIORENTINO.
+
+Known to have been active during the last three decades of the fifteenth
+    century. Pupil possibly of Fra Angelico or Benozzo Gozzoli;
+    influenced by Neri di Bicci; eclectic imitator of Alesso
+    Baldovinetti, Fra Filippo, and Pesellino. Some of the best of the
+    following are copies of the two last and of Compagno di Pesellino.
+
+Altenburg.
+    LINDENAU MUSEUM, 97. Madonna with infant John.
+Bergamo.
+    MORELLI, 36. SS. Jerome and Francis (version of Pesellino at
+        Altenburg).
+Berlin.
+    71A. Madonna against Rose-hedge (version of M. Aynard's Compagno di
+        Pesellino).
+Brussels.
+    Madonna.
+Budapest.
+    55. Madonna and infant John.
+Cambridge (U. S. A.).
+    FOGG MUSEUM. Madonna.
+Castelnuovo di Val d'Elsa.
+    S. BARBARA, HIGH ALTAR. Madonna and Saints surrounded by Frescoes.
+      FIRST ALTAR R. Madonna and Saints.
+Certaldo.
+    PALAZZO DEI PRIORI, LOWER FLOOR. Fresco: _Pietà_. 1484. Fresco:
+        Incredulity of Thomas.
+      UPPER FLOOR. Fresco: Madonna. 1495.
+    CAPPELLA DEL PONTE D'AGLIENA. Frescoes: Tobias and Angel. St.
+        Jerome.
+Cleveland (U. S. A.).
+    HOLDEN COLLECTION, 8. Madonna adoring Child.
+Colle di Val d'Elsa.
+    PALAZZO ANTICO DEL COMUNE. Altarpiece: Madonna and four Saints,
+        _Predelle_, etc. Madonna with SS. Bernardino, Antony Abbot,
+        Magdalen, and Catherine.
+    VIA GOZZINA. Tabernacle, Fresco: Madonna and two Bishops.
+    VIA S. LUCIA. Frescoes in Tabernacle: Annunciation and various
+        fragments.
+Detroit (U. S. A.).
+    4. Madonna adoring Child.
+Dijon.
+    DONATION JULES MACIET. Madonna and infant John.
+Eastnor Castle (Ledbury).
+    LADY HENRY SOMERSET. Madonna against Rose-hedge (version of M.
+        Aynard's Compagno di Pesellino at Lyons).
+Empoli.
+    OPERA DEL DUOMO, 22. Madonna and four Saints.
+    30. Madonna.
+Englewood (New Jersey, U. S. A.).
+    MR. D. F. PLATT. Madonna with Angel and infant John.
+Florence.
+    UFFIZI, 61. Madonna and Angels (copied from Compagno di Pesellino
+        formerly in Hainauer Collection, Berlin).
+    BARGELLO, CARRAND COLLECTION, 15. Madonna with infant John.
+    CENACOLO DI S. APPOLONIA. Nativity.
+    MR. EDMUND HOUGHTON. Madonna adoring Child.
+    CONTE SERRISTORI. Madonna.
+    S. FRANCESCO DELLE STIMATE. Madonna.
+    S. GIOVANNINO DEI CAVALIERI, SACRISTY. Madonna.
+Frankfort a./M.
+    STÄDELINSTITUT, 10. Madonna and Angels.
+Frome (Somerset).
+    MELLS PARK, LADY HORNER. Madonna, Saints, and Angels.
+Gloucester.
+    HIGHNAM COURT, SIR HUBERT PARRY. 48. Madonna with infant John (Cf.
+        Herr Brachts' Compagno di Pesellino, Berlin).
+    56. Madonna, with two Angels.
+Göttingen.
+    UNIVERSITY GALLERY, 226. Copy of Fra Filippo's Annunciation (in the
+        Doria Gallery, Rome).
+Gubbio.
+    PINACOTECA, 49. Madonna and infant John.
+Hamburg.
+    WEBER COLLECTION, 22. Madonna and St. Catherine against Rose-hedge.
+Harrow-on-the-Hill.
+    REV. J. STOGDON. Madonna and infant John (after Fra Filippo).
+Hatfield.
+    WARREN WOOD, MR. CHARLES BUTLER. Two Madonnas.
+Le Mans.
+    MUSÉE, 407. Madonna.
+Lille.
+    MUSÉE, 21. Madonna and Angel.
+    929. Procris and Cephalus (?).
+    930. Scene in Temple (?).
+Liverpool.
+    WALKER ART GALLERY, 19. Head of Woman (possibly copy of lost
+        portrait of Lucrezia Buti by Fra Filippo).
+    23. Madonna and Angels.
+London.
+    1199. Madonna, infant John, and Angels.
+    VICTORIA AND ALBERT MUSEUM. Fresco: Baptist and St. Dorothy.
+      IONIDES BEQUEST. Madonna (version of M. Aynard's Compagno di
+          Pesellino at Lyons).
+    MR. CHARLES BUTLER. Madonna.
+    MR. WILLIAM E. GREY. Madonna and infant John (after Fra Filippo).
+    MRS. LOUISA HERBERT. Madonna in Landscape.
+    LADY HORNER. Nativity.
+Montefortino (near Amandola, Marches).
+    MUNICIPIO. Madonna with Tobias and two Archangels. 1497.
+Narbonne.
+    MUSÉE, 243. _Tondo_: Madonna and Angels adoring Child.
+New Haven (U. S. A.).
+    JARVES COLLECTION. 61. Madonna; St. Catherine, and Angels (perhaps
+        after a lost Filippo).
+Palermo.
+    BARON CHIARAMONTE BORDONARO, 54. Madonna and Angels.
+Parcieux (near Trévoux).
+    LA GRANGE BLANCHE, M. HENRI CHALANDON. Madonna and two Angels.
+Paris.
+    MME. EDOUARD ANDRÉ. Madonna with Baptist and Angels. Painted Flower
+        background to Desideriesque gesso relief of Madonna.
+    M. LÉON BONNAT. Madonna and Angels.
+    M. HENRI HEUGEL. Madonna and infant John (after Fra Filippo).
+Pavia.
+    GALLERIA MALASPINA, 25. Madonna with SS. Catherine and Antony
+        Abbot.
+Perugia.
+    MARCHESE MENICONI BRACCESCHI. Madonna and infant John (after Fra
+        Filippo).
+Philadelphia.
+    MR. JOHN G. JOHNSON. Madonna with two Angels. Madonna against
+        Rose-hedge (version of M. Aynard's Compagno di Pesellino at
+        Lyons).
+    ELKINS PARK, MR. PETER WIDENER. Madonna against Rose-hedge (version
+        of M. Aynard's Compagno di Pesellino at Lyons).
+Richmond (Surrey).
+    SIR FREDERICK COOK. Madonna.
+San Gemignano.
+    MUNICIPIO, PINACOTECA. Madonna between two kneeling Saints. 1477.
+      SALA DEL GIUDICE CONCILIATORE. Fresco: Trinity and small scenes
+          from sacred Legends. 1497.
+      TOWER. Fresco: Madonna.
+    S. AGOSTINO, FIRST ALTAR R. Madonna and Saints. 1494.
+    COLLEGIATA, NAVE. Monochrome Frescoes: Ten Disciples in medallions,
+        and two smaller Busts; decoration of _Putti_ and Garlands.
+        1474-1475.
+      OVER TRIUMPHAL ARCH. Fresco: Dead Christ. 1474-1475.
+      L. AISLE, SPANDRILS OF ARCHES. Frescoes: Abraham and six
+          Prophets.
+      L. WALL. Fresco: Adam and Eve driven forth from Paradise
+          (original fresco of Taddeo di Bartolo restored by Pier
+          Francesco).
+      CLOISTER. Fresco: Dead Christ. 1477.
+    S. JACOPO, PILLAR R. Fresco: St. James.
+    S. LUCIA, BEHIND HIGH ALTAR. Fresco: Crucifixion. E.
+    CAPPELLA DI MONTE (near San Gemignano). Madonna with SS. Antony
+        Abbot and Bartholomew. 1490.
+    S. MARIA ASSUNTA A PANCOLE (near San Gemignano). Madonna.
+    PIEVE DI ULIGNANO (near San Gemignano). Madonna with SS. Stephen
+        and Bartholomew.
+Siena.
+    149-152. Triumphs of Petrarch.
+    209. Nativity.
+Sinalunga (Val di Chiana).
+    S. MARTINO, SACRISTY. _Tondo_: Madonna and infant John.
+Todi.
+    PINACOTECA. Madonna.
+Vienna.
+    FANITEUM (ÜBER ST. VEIT). Fresco: Madonna with Bishop and St.
+        Christina. 1485.
+    COUNT LANCKORONSKI. Madonna against Rose-hedge.
+Volterra.
+    MUNICIPIO. Fresco: Crucifixion.
+    ORATORIO DI S. ANTONIO. Nativity.
+
+
+THE POLLAJUOLI.
+
+Antonio. 1429-1498. Pupil of Donatello and Andrea del Castagno; strongly
+    influenced by Baldovinetti. Sculptor as well as painter.
+
+Piero. 1443-1496. Pupil of Baldovinetti; worked mainly on his brother's
+    designs. (Where the execution can be clearly distinguished as of
+    either of the brothers separately, the fact is indicated).
+
+Berlin.
+    73. Annunciation (Piero).
+    73A. David (Antonio).
+Boston (U. S. A.).
+    MRS. J. L. GARDNER. Profile of Lady (Antonio).
+Florence.
+    UFFIZI, 30. Portrait of Galeazzo Sforza.
+    69. Hope.
+    70. Justice.
+    71. Temperance. (The execution of these three was perhaps largely
+        the work of pupils.)
+    72. Faith (Piero).
+    73. Cartoon for "Charity" (on back of picture, the execution of
+        which is studio work). (Antonio). 1469.
+    1153. Hercules and the Hydra; Hercules and Antæus (Antonio).
+    1301. SS. Eustace, James, and Vincent (Piero). 1467.
+    1306. Prudence (Piero). 1470.
+    3358. Miniature Profile of Lady (Piero).
+    TORRE DI GALLO (ARCETRI). Fresco (discovered in 1897 and since then
+        entirely repainted): Dance of Nudes (Antonio).
+    S. MINIATO, PORTUGUESE CHAPEL. Fresco (around Window): Flying
+        Angels (executed probably 1466). (Antonio).
+    S. NICCOLÒ. Fresco: Assumption of Virgin (Piero). E.
+London.
+    292. St. Sebastian (Antonio). 1475.
+    928. Apollo and Daphne (Antonio).
+New Haven (U. S. A.).
+    JARVES COLLECTION, 64. Hercules and Nessus (Antonio).
+New York.
+    METROPOLITAN MUSEUM, 85. Fresco; St. Christopher (Piero).
+Paris.
+    1367A. Madonna (Piero) (?).
+San Gemignano.
+    COLLEGIATA, CHOIR. Coronation of Virgin (Piero). 1483.
+Staggia (near Siena).
+    S. MARIA ASSUNTA, R. TRANSEPT. St. Mary of Egypt upborne by Angels
+        (design Antonio, execution Piero).
+Strasburg.
+    212A. Madonna enthroned (Piero).
+Turin.
+    117. Tobias and the Angel.
+
+SCULPTURE, ETC.
+
+Assisi.
+    S. FRANCESCO. Altar-frontal embroidered probably from designs by
+        Piero.
+Florence.
+    BARGELLO. Bust of Young Warrior (Terra-cotta). Hercules and Antæus
+        (Bronze).
+    OPERA DEL DUOMO. Enamels in Pedestal of Silver Crucifix. Finished
+        1459. Birth of Baptist (Relief in Silver). Twenty-seven Scenes
+        from Life of Baptist (embroideries after Antonio's designs).
+        1466-1473.
+London.
+    VICTORIA AND ALBERT MUSEUM. "Discord" (Relief in Gesso).
+Rome.
+    ST. PETER'S, CHAPEL OF SACRAMENT. Tomb of Sixtus IV (Bronze).
+        Finished 1493.
+      L. AISLE. Tomb of Innocent VIII (Bronze). Finished 1498.
+
+
+PONTORMO (Jacopo Carucci).
+
+1494-1556. Pupil of Andrea del Sarto; influenced by Michelangelo.
+
+Bergamo.
+    MORELLI, 59. Portrait of Baccio Bandinelli.
+Berlin.
+    Portrait of Andrea del Sarto (not exhibited).
+    HERR VON DIRKSEN. Portrait of a Lady seated.
+Borgo San Sepolcro.
+    MUNICIPIO. St. Quentin in the Pillory (in part).
+Carmignano (near Florence).
+    PARISH CHURCH. Visitation.
+Dzikow (Poland).
+    M. ZANISLAS TARNOWSKI. Full face bust of oldish Lady in velvet,
+        lace, and pearls.
+Florence.
+    ACADEMY, 183. _Pietà_. L.
+    190. Christ at Emmaus. 1528.
+    Fresco (behind the Giotto): Hospital of S. Matteo, E.
+    PITTI, 149. Portrait of Man in Armour with Dog (?).
+    182. Martyrdom of forty Saints.
+    233. St. Antony. L.
+    249. Portrait of Man.
+    379. Adoration of Magi.
+    UFFIZI, 1177. Madonna with SS. Francis and Jerome.
+    1187. Martyrdom of S. Maurizio.
+    1198. Birth Plate: Birth of St. John.
+    1220. Portrait of Man.
+    1267. Cosimo del Medici.
+    1270. Cosimo I, Duke of Florence.
+    1284. Venus and Cupid (designed by Michelangelo).
+    COLLEGIO MILITARE, POPE'S CHAPEL. Frescoes. 1513.
+    MUSEO DI S. MARCO, ROOM 38. Portrait of Cosimo dei Medici.
+    PALAZZO CAPPONI, MARCHESE FARINOLA. Madonna and infant John.
+    CORSINI GALLERY, 141. Madonna and infant John.
+    185. Madonna and infant John.
+    SS. ANNUNZIATA, CLOISTER R. Fresco: Visitation. 1516.
+      CAPPELLA DI S. LUCA. Fresco: Madonna and Saints. E.
+    S. FELICITÀ, CHAPEL R. Altarpiece: Deposition. Frescoes:
+        Annunciation; Medallions of Prophets.
+    S. MICHELE VISDOMINI. Holy Family and Saints. 1518.
+    CERTOSA (near Florence). CLOISTER. Fresco: Christ before Pilate.
+        1523.
+    POGGIO A CAJANO (Royal Villa near Florence). Decorative fresco
+        around window: Vertumnus, Pomona, Diana, and other figures.
+        1521.
+Frankfort a./M.
+    STÄDELINSTITUT, 14A. Portrait of Lady with Dog.
+Genoa.
+    PALAZZO BIANCO. Portrait of Youth.
+    PALAZZO BRIGNOLE-SALE. Man in Red with Sword.
+Hatfield.
+    WARREN WOOD, MR. CHARLES BUTLER. Birth Plate.
+London.
+    1131. Joseph and his Kindred in Egypt. E.
+    MR. LUDWIG MOND. A Conversation.
+    EARL OF PLYMOUTH. Portrait of Youth.
+Lucca.
+    SALA I, 5. Portrait of Youth.
+Milan.
+    PRINCE TRIVULZIO. Portrait of Rinuccini Lady. Portrait of Youth
+        holding Book.
+New Haven (U. S. A.).
+    JARVES COLLECTION, 100. Cosimo dei Medici. L.
+    104. Bust of Lady. L.
+Oldenburg.
+    19. Portrait of Lady.
+Palermo.
+    406. Judith. L.
+Panshanger (Hertford).
+    Portrait of Youth. Two panels with Story of Joseph. E.
+Paris.
+    1240. Holy Family and Saints. 1543.
+    1241. Portrait of Engraver of Precious Stones.
+Pontormo (near Empoli).
+    PARISH CHURCH. SS. John the Evangelist and Michael. E.
+Rome.
+    BARBERINI GALLERY, 83. Pygmalion and Galatea.
+    BORGHESE GALLERY, 75. Lucretia (?).
+    173. Tobias and Angel. L.
+    408. Portrait of Cardinal.
+    CORSINI GALLERY, 577. Bust of Man.
+Scotland.
+    KEIR (DUNBLANE), CAPTAIN ARCHIBALD STIRLING. Portrait of
+        Bartolommeo Compagni.
+    NEWBATTLE ABBEY (DALKEITH), MARQUESS OF LOTHIAN. Portrait of Youth.
+Turin.
+    122. Portrait of Lady.
+Vienna.
+    45. Portrait of Lady. L.
+    48. Portrait of Lady. L.
+    50. Young Man with Letter (?).
+
+
+COSIMO ROSSELLI.
+
+1439-1507. Pupil of Neri di Bicci; influenced by Benozzo Gozzoli and
+    Alesso Baldovinetti.
+
+Agram (Croatia).
+    STROSSMAYER COLLECTION. Madonna and two Angels.
+Amsterdam.
+    DR. OTTO LANZ. Madonna with St. Joseph and two Angels adoring
+        Child.
+Berlin.
+    59. Madonna, Saints, and Angels. L.
+    59A. Glory of St. Anne. 1471.
+    (MAGAZINE.) 71. Entombment.
+Breslau.
+    SCHLESISCHES MUSEUM. 171. Madonna and infant John.
+Cambridge.
+    FITZWILLIAM MUSEUM, 556. Madonna and four Saints. 1493.
+Cologne.
+    518. Madonna, Saints, and Innocents. E.
+Cortona.
+    SIGNOR COLONNESI. Madonna with SS. Jerome and Antony of Padua.
+Düsseldorf.
+    AKADEMIE, 110. Madonna adoring Child (?).
+Eastnor Castle (Ledbury).
+    LADY HENRY SOMERSET. Madonna with SS. Sebastian and Michael.
+Empoli.
+    OPERA DEL DUOMO, 32. Holy Family and infant John.
+Fiesole.
+    DUOMO, SALUTATI CHAPEL. Frescoes: Various Saints.
+Florence.
+    ACADEMY, 52. SS. Barbara, John, and Matthew. E.
+    160. Nativity.
+    275. Moses and Abraham.
+    276. David and Noah.
+    UFFIZI, 50. Coronation of Virgin.
+    59. Madonna adored by two Angels.
+    65. Adoration of Magi. E.
+    65. (From S. M. Nuova). Madonna in Clouds.
+    1280 bis. Madonna, Saints, and Angels. 1492.
+    VIA RICASOLI. Fresco in shrine: Madonna enthroned and two Angels.
+    MR. B. BERENSON. Madonna.
+    CORSINI GALLERY, 339. _Tondo_: Madonna and Angels adoring Child.
+    MME. FINALI, VILLA LANDAU. Preaching of St. Bernardino.
+    SIGNOR ANGELO ORVIETO. Nativity.
+    S. AMBROGIO, THIRD ALTAR L. Assumption and _Predella_. 1498.
+      CHAPEL OF SACRAMENT. Frescoes: Miraculous Chalice, etc. 1486.
+    SS. ANNUNZIATA, L. CLOISTER. Fresco: St. Filippo Benizzi taking
+        Servite Habit. 1476.
+    S. CROCE, CAPPELLA MEDICEA, OVER DOOR. Lunette: God and Cherubim
+        (?)
+    S. MARIA MADDALENA DEI PAZZI. Coronation of Virgin. 1505.
+Genoa.
+    PALAZZO ADORNO. Small Triumphs.
+Lille.
+    667. St. Mary of Egypt.
+Liverpool.
+    WALKER ART GALLERY, 15. St. Lawrence.
+London.
+    1196. Combat of Love and Chastity.
+    MR. CHARLES BUTLER. St. Catherine of Siena instituting her Order.
+        Madonna and Cherubs.
+Lucca.
+    DUOMO, WALL L. OF ENTRANCE. Fresco: Story of True Cross.
+    S FRANCESCO. Frescoes: Presentation of Virgin, etc.
+Milan.
+    CONTE CASATTI. Nativity.
+Münster i./W.
+    KUNSTVEREIN, 33. Madonna with Gabriel and infant John.
+Paris.
+    1656. Annunciation and Saints. 1471.
+    MUSÉE DES ARTS DECORATIFS. LEGS M. PEYRE, 253. Madonna and two
+        Angels.
+    MME. EDOUARD ANDRÉ. Madonna and Angels adoring Child.
+    M. JOSEPH SPIRIDON. Portrait of Man.
+Philadelphia.
+    MR. JOHN G. JOHNSON. Madonna with Child holding Bird and
+        Pomegranate. E.
+Reigate.
+    THE PRIORY, Mr. Somers Somerset. Small Descent from Cross.
+Rome.
+    VATICAN, SIXTINE CHAPEL. Frescoes: Christ Preaching. Moses
+        destroying the Tables of the Law. Last Supper (but not the
+        scenes visible through painted windows). All 1482.
+    MR. LUDWIG MOND. Madonna and Angel adoring Child.
+Turin.
+    106. Triumph of Chastity.
+
+
+ROSSO FIORENTINO.
+
+1494-1541. Pupil of Andrea del Sarto; influenced by Pontormo and
+    Michelangelo.
+
+Arezzo.
+    SALA II, 6. Christ bearing Cross.
+Borgo San Sepolcro.
+    ORFANELLE. Deposition.
+Città di Castello.
+    DUOMO. Transfiguration. Finished 1528.
+Dijon.
+    68. Bust of Baptist.
+Florence.
+    PITTI, 113. Three Fates.
+    237. Madonna and Saints.
+    UFFIZI, 1241. Angel playing Guitar. Madonna and four Saints with
+        two _Putti_ reading, 1517.
+    BARGELLO, DELLA ROBBIA ROOM. Fresco: Justice.
+    SS. ANNUNZIATA, R. CLOISTER. Fresco: Assumption.
+    S. LORENZO. _Sposalizio_.
+Frankfort a./M.
+    STÄDELINSTITUT, 14. Madonna.
+Paris.
+    1485. _Pietà_.
+    1486. Challenge of the Pierides.
+Siena.
+    Portrait of Young Man.
+Turin.
+    ARMERIA REALE, F. 3. Designs for Buckler with Wars of Jugurtha and
+        Marius.
+Venice.
+    ACADEMY, 46. Profile bust of Man in red Cloak and Hat.
+Vienna.
+    COUNT LANCKORONSKI. Madonna. E. Two naked _Putti_.
+Volterra.
+    MUNICIPIO. Deposition. 1521.
+
+
+SARTO _see_ ANDREA.
+
+
+JACOPO DEL SELLAJO.
+
+1441 or 2-1493. Pupil of Fra Filippo; influenced slightly by Castagno's
+    works; imitated most of his Florentine contemporaries, especially
+    Botticelli, Ghirlandajo, and Amico di Sandro.
+
+Altenburg.
+    LINDENAU MUSEUM, 99. Adoration of Magi.
+    105. Madonna with Tobias and John.
+    150. St. Jerome.
+Arezzo.
+    SALA II, 9. Madonna against Rose-hedge.
+Bergamo.
+    CARRARA, 167. Bust of Christ holding head of Lance.
+Berlin.
+    94. Meeting of young Christ and Baptist.
+    1055. _Pietà_. 1483.
+    1132, 1133. Death of Julius Cæsar.
+    HERR EUGEN SCHWEIZER. Nativity with infant John.
+Bonn.
+    UNIVERSITY GALLERY, 1139. St. Jerome.
+Bordeaux.
+    MUSÉE, 48. Ecce Homo.
+Brandenburg a./H.
+    WREDOWSCHE ZEICHNENSCHULE, 65. Adoration.
+Breslau.
+    SCHLESISCHES MUSEUM, 189. St. Jerome.
+Budapest.
+    56. Esther before Ahasuerus.
+    (MAGAZINE) 1221. St. Jerome.
+      1369. St. Jerome.
+Caen.
+    MUSÉE, 58. Madonna with infant John and Angel.
+Castiglione Fiorentino.
+    PINACOTECA, 14. Pool of Bethesda.
+Chantilly.
+    MUSÉE CONDÉ, 14. Madonna in Landscape.
+Dijon.
+    MUSÉE, Donation Maciet. Small Adoration of Magi, with SS. Andrew
+        and Catherine (?).
+Eastnor Castle (Ledbury).
+    LADY HENRY SOMERSET. Madonna and Saints.
+Empoli.
+    OPERA DEL DUOMO, 29. Madonna and infant John.
+    33. Madonna in Glory with SS. Peter Martyr and Nicholas.
+Englewood (New Jersey, U. S. A.).
+    MR. D. F. PLATT. St. Jerome.
+Fiesole.
+    S. ANSANO (to be transferred to Museo). Four Triumphs of Petrarch.
+Florence.
+    ACADEMY, 150. _Pietà_.
+    PITTI, 364. Madonna and infant John adoring Child.
+    UFFIZI, 66-68. Story of Esther.
+    1573. _Pietà_.
+    BIGALLO. _Tondo_: Madonna, Saints, and Angels.
+    CENACOLO DI S. APPOLONIA. Entombment. Adoration of Magi.
+    MUSEO DI SAN MARCO, OSPIZIO, 21. Annunciation.
+    MR. HERBERT P. HORNE. St. Jerome.
+    S. FREDIANO, SACRISTY. Christ on Cross and Saints.
+    S. JACOPO SOPRA ARNO, SACRISTY. _Pietà_.
+    S. LUCIA DE' MAGNOLI ("TRA LE ROVINATE"), FIRST ALTAR L.
+        Annunciation.
+    LA QUIETE. Adoration of Magi, with Trinity and Angels above.
+    S. SPIRITO. Antependium: St. Lawrence.
+    GANGALANDI (between Florence and Signa), S. MARTINO, R. WALL.
+        Madonna, with Eternal in lunette.
+Gloucester.
+    HIGHNAM COURT, SIR HUBERT PARRY. 23. Madonna and St. Peter Martyr
+        adoring Child.
+    32. Head of Angel.
+Göttingen.
+    UNIVERSITY GALLERY, 237. Meeting of Young Christ and John.
+Hanover.
+    PROVINZIALMUSEUM. _Pietà_ and other Scenes.
+Ince Blundell Hall (Blundellsands, Lancashire).
+    MR. CHARLES WELD BLUNDELL. Nativity.
+Lille.
+    MUSÉE, 995. Madonna.
+Liverpool.
+    WALKER ART GALLERY, 21. Adventures of Ulysses.
+London.
+    916. Venus and Cupids.
+    MR. BRINSLEY MARLAY. _Cassone_-front: Cupid and Psyche.
+    MR. CHARLES BUTLER. _Cassone_-front: Cupid and Psyche.
+    EARL CRAWFORD. Brutus and Portia. St. Mary of Egypt. St. Jerome.
+        Baptist.
+    EARL OF ILCHESTER. Ecce Homo. Madonna.
+    MR. CHARLES RICKETTS. Madonna and infant John.
+    MR. GEORGE SALTING. _Tondo_: Madonna and Angels adoring Child.
+    MR. VERNON WATNEY. Marriage Feast of Nastagio degli Onesti. 1483.
+Lyons.
+    MUSÉE, 62. Deposition.
+    M. EDOUARD AYNARD. Epiphany. _Pietà_.
+Marseilles.
+    MUSÉE. Madonna and Angels (copy of lost Amico di Sandro).
+Milan.
+    CONTI BAGATI VALSECCHI. _Cassone_-front: Story of Griselda.
+    PRINCE TRIVULZIO. Young Baptist. Madonna in Niche (?).
+Munich.
+    1002. St. Sebastian.
+    1004. Adoration of Magi.
+    1007. Annunciation. E.
+Münster i./W.
+    KUNSTVEREIN, 1377. Tobias and the Angel.
+Nantes.
+    MUSÉE DES BEAUX ARTS, 220. Madonna (?).
+    273. Madonna.
+    MUSÉE DOBRET, 384. Crucifixion.
+New Haven (U. S. A.).
+    JARVES COLLECTION, 41. Madonna adoring Child.
+    52. St. Jerome.
+    72. Madonna in Clouds with Cherubim (version of picture by Rosselli
+        in Uffizi).
+    80. St. Sebastian. 1479.
+    82. Diana and Actæon.
+    85. Creation of Adam and Eve.
+New York.
+    JAMES COLLECTION. _Cassone_-front: Story of Actæon.
+    MR. STANLEY MORTIMER. Madonna adoring Child.
+Oxford.
+    CHRIST CHURCH LIBRARY, 1. Madonna adoring Child.
+    MR. T. W. JACKSON. Madonna and infant John.
+Palermo.
+    BARON CHIARAMONTE BORDONARO, 62. _Tondo_: Nativity.
+Paris.
+    1299. Venus and Cupids.
+    1300A. Madonna and two Angels (copy of lost Amico di Sandro; Cf.
+        Marseilles).
+    1658. St. Jerome. Story of Esther.
+    M. LÉON BONNAT. Madonna and infant John.
+    M. GUSTAVE DREYFUS. Madonna and infant John (?).
+    BARON MICHELE LAZZARONI. _Pietà_. Panel for Story of Esther.
+    M. EUGÈNE RICHTEMBERGER. Nativity.
+Peace Dale (Rhode Island, U. S. A.).
+    MRS. BACON, THE ACORNS. Madonna adoring Child.
+Philadelphia.
+    MR. JOHN G. JOHNSON. Battle Piece. Madonna and Angels against hedge
+        of Pinks. Story of Nastagio degli Onesti. Madonna adoring Child.
+        David.
+Poitiers.
+    HÔTEL DE VILLE, 102. Madonna.
+Rome.
+    COUNT GREGORI STROGANOFF. Head of Virgin.
+San Giovanni Valdarno.
+    ORATORIO DI S. MARIA DELLE GRAZIE. Annunciation. 1472.
+Scotland.
+    NEWBATTLE ABBEY. (DALKEITH), MARQUESS OF LOTHIAN. Entombment.
+Vienna.
+    COUNT LANCKORONSKI. Orpheus. St. Sigismund and kneeling Youth. E.
+    PRINCE LIECHTENSTEIN. _Tondo_: Madonna and Angels.
+Wiesbaden.
+    NASSAUISCHES KUNSTVEREIN, 6. Adoration of Magi.
+
+
+PAOLO UCCELLO.
+
+1397-1475. Influenced by Donatello.
+
+Florence.
+    UFFIZI, 52. Battle of S. Romano.
+    DUOMO, WALL ABOVE ENTRANCE. Fresco; Four Heads of Prophets.
+      WALL L. OF ENTRANCE. Fresco: Equestrian portrait of Sir John
+          Hawkwood. 1437.
+      WINDOWS IN DRUM OF CUPOLA (from his designs). Resurrection;
+          Nativity; Ascension; Annunciation. 1443.
+    S. MARIA NOVELLA, CLOISTER. Frescoes: Creation of Adam; Creation of
+        Animals; Creation and Temptation of Eve. E.
+    The Flood; Sacrifice of Noah.
+London.
+    583. Battle of S. Romano.
+    758. Profile of Lady (?).
+New York.
+    METROPOLITAN MUSEUM, MARQUAND COLLECTION. Profiles of Woman and Man
+        of Portinari Family.
+Oxford.
+    UNIVERSITY MUSEUM, 28. A Hunt.
+Paris.
+    1272. Portraits of Giotto, Uccello, Donatello, Brunelleschi, and
+        Antonio Manetti. L.
+    1273. Battle of S. Romano.
+    MME. EDOUARD ANDRÉ. St. George and the Dragon.
+Urbino.
+    DUCAL PALACE, 89. Story of the Jew and the Host. 1468.
+Vienna.
+    COUNT LANCKORONSKI. St. George and the Dragon.
+
+
+DOMENICO VENEZIANO.
+
+About 1400-1461. Probably acquired his rudiments at Venice; formed under
+    the influence of Donatello, Masaccio, and Fra Angelico.
+
+Berlin.
+    64. Martyrdom of St. Lucy.
+Florence.
+    UFFIZI, 1305. Madonna and four Saints.
+    S. CROCE, R. WALL. Fresco: The Baptist and St. Francis. L.
+London.
+    766, 767. Frescoes: Heads of Monks.
+    1215. Fresco transferred to canvas: Madonna enthroned.
+
+
+ANDREA VERROCCHIO.
+
+1435-1488. Pupil of Donatello and Alesso Baldovinetti, influenced by
+    Pesellino.
+
+Berlin.
+    104A. Madonna and Angel. E.
+Florence.
+    ACADEMY, 71. Baptism (in great part).
+    UFFIZI, 1204. Profile of Lady (?).
+    3450. Annunciation (possibly with assistance of Credi).
+London.
+    296. Madonna and two Angels (designed and superintended by
+        Verrocchio). E.
+Milan.
+    POLDI-PEZZOLI, 157. Profile of Young Woman (?). E.
+Paris.
+    BARON ARTHUR SCHICKLER. Madonna (designed and superintended by
+        Verrocchio).
+Sheffield.
+    RUSKIN MUSEUM. Madonna adoring Child (designed by Verrocchio).
+Vienna.
+    PRINCE LIECHTENSTEIN, 32. Portrait of Lady.
+
+SCULPTURES.
+
+Berlin.
+    93. Sleeping Youth (terra-cotta).
+    97A. Entombment (terra-cotta).
+Florence.
+    BARGELLO. David (bronze). Bust of Woman (marble).
+    OPERA DEL DUOMO. Decapitation of Baptist (silver relief). 1480.
+    UFFIZI. Madonna and Child (terra-cotta).
+    PALAZZO VECCHIO, COURTYARD. Boy with Dolphin (bronze).
+    S. LORENZO, SACRISTY. Tomb of Cosimo de' Medici (bronze). 1472.
+      INNER SACRISTY. Lavabo (marble) (in part).
+    OR SAN MICHELE, OUTSIDE: Christ and St. Thomas (bronze). Finished
+        1483.
+Paris.
+    M. GUSTAVE DREYFUS. Bust of Lady (marble).
+Venice.
+    PIAZZA SS. GIOVANNI E PAOLO. Equestrian Monument of Bartolommeo
+        Colleoni (bronze). Left unfinished at death.
+
+
+VINCI see LEONARDO
+
+
+
+
+INDEX OF PLACES.
+
+Agram (Croatia).
+    STROSSMAYER COLLECTION: Albertinelli, Fra Angelico, Bugiardini,
+        Cosimo Rosselli.
+Aix-en-Provence.
+    MUSÉE: Alunno di Domenico.
+Altenburg.
+    LINDENAU MUSEUM: Amico di Sandro, Fra Angelico, Lorenzo Monaco,
+        Mainardi, Pesellino, Pier Francesco Fiorentino, Sellajo.
+Amsterdam.
+    DR. OTTO LANZ: Cosimo Rosselli.
+Arezzo.
+    Alunno di Domenico, Rosso, Sellajo.
+Ashridge Park (Berkhampstead).
+    EARL BROWNLOW: Fra Bartolommeo, Fra Filippo.
+Asolo.
+    CANONICA DELLA PARROCCHIA: Bacchiacca.
+Assisi.
+    S. FRANCESCO: Cimabue, Giotto and Assistants, Pollajuolo.
+Barnard Castle.
+    BOWES MUSEUM: Franciabigio.
+Bergamo.
+    CARRARA: Sellajo.
+    LOCHIS: Albertinelli.
+    MORELLI: Albertinelli, Amico di Sandro, Bacchiacca, Baldovinetti,
+        Botticelli, Botticini, Bronzino, Ridolfo Ghirlandajo, Lorenzo
+        Monaco, Pesellino, Pier Francesco Fiorentino, Pontormo.
+Berlin.
+    Amico di Sandro, Andrea del Sarto, Fra Angelico, Bacchiacca,
+        Baldovinetti, Fra Bartolommeo, Benozzo, Botticelli, Botticini,
+        Bronzino, Bugiardini, Carli, Credi, Franciabigio, Garbo, Ridolfo
+        Ghirlandajo, Assistant of Giotto, Granacci, Filippino Lippi, Fra
+        Filippo Lippi, Lorenzo Monaco, Mainardi, Masaccio, Michelangelo,
+        Pesellino, Pier di Cosimo, Pier Francesco Fiorentino, The
+        Pollajuoli, Pontormo, Cosimo Rosselli, Sellajo, Domenico
+        Veneziano, Verrocchio.
+      SIMON COLLECTION: Amico di Sandro, Bronzino, Garbo.
+    MUSEUM OF INDUSTRIAL ART: Bugiardini.
+    PALACE OF EMPEROR WILLIAM I: Bugiardini.
+    HERR VON DIRKSEN: Pontormo.
+    VON KAUFMANN COLLECTION: Botticelli, Carli, Lorenzo Monaco,
+        Orcagna, Pier di Cosimo.
+    HERR EUGEN SCHWEIZER: Bacchiacca, Franciabigio, Sellajo.
+    HERR EDWARD SIMON: Amico di Sandro.
+Besançon.
+    MUSÉE: Bronzino.
+    CATHEDRAL: Fra Bartolommeo.
+Béziers.
+    MUSÉE: Benozzo.
+Bologna.
+    Bugiardini, Franciabigio, Assistant of Giotto.
+    S. DOMENICO: Filippino Lippi, Michelangelo.
+Bonn.
+    UNIVERSITY GALLERY: Bugiardini, Sellajo.
+Bordeaux.
+    MUSÉE: Sellajo.
+Borgo San Lorenzo (Mugello).
+    CHIESA DEL CROCIFISSO: Pier di Cosimo.
+Borgo San Sepolcro.
+    MUNICIPIO: Pontormo.
+    ORFANELLE: Rosso.
+Boston (U. S. A.).
+    MRS. J. L. GARDNER: Fra Angelico, Bacchiacca, Botticelli,
+        Botticini, Bronzino, Giotto, Masaccio, Pesellino, Antonio
+        Pollajuolo.
+    MRS. QUINCY A. SHAW: Mainardi.
+Bowood Park (Calne).
+    MARQUESS OF LANSDOWNE: Bugiardini.
+Brandenburg a./H.
+    WREDOWSCHE ZEICHNENSCHULE: Sellajo.
+Brant Broughton (Lincolnshire).
+    REV. ARTHUR F. SUTTON: Fra Angelico, Lorenzo Monaco, Masaccio.
+Bremen.
+    KUNSTHALLE: Masolino.
+Breslau.
+    SCHLESISCHES MUSEUM: Cosimo Rosselli, Sellajo.
+Brocklesby (Lincolnshire).
+    EARL OF YARBOROUGH: Bacchiacca.
+Bruges.
+    NOTRE DAME. Michelangelo.
+Brunswick.
+    Lorenzo Monaco.
+Brussels.
+    Franciabigio, Pier Francesco Fiorentino.
+    MUSÉE DE LA VILLE: Franciabigio.
+Budapest.
+    Amico di Sandro, Bacchiacca, Bronzino, Bugiardini, Ridolfo
+        Ghirlandajo, Granacci, Orcagna, Pier Francesco Fiorentino.
+Caen.
+    MUSÉE: Sellajo.
+Cambridge.
+    FITZWILLIAM MUSEUM: Albertinelli, Credi, Lorenzo Monaco, Cosimo
+        Rosselli.
+Cambridge (U. S. A.).
+    FOGG MUSEUM: Fra Bartolommeo, Benozzo, Pier Francesco Fiorentino.
+Carlsruhe.
+    Credi.
+Carmignano (near Florence).
+    PARISH CHURCH. Pontormo.
+Cassel.
+    Bacchiacca, Bronzino, Granacci, Lorenzo Monaco.
+Castel Fiorentino.
+    CAPPELLA DI S. CHIARA: Benozzo.
+    MADONNA DELLA TOSSE: Benozzo.
+Castelnuovo di Val d'Elsa.
+    S. BARBARA: Pier Francesco Fiorentino.
+Castiglione d'Olona (Varesotto).
+    PALAZZO CASTIGLIONE: Masolino.
+    CHURCH: Masolino.
+    BAPTISTERY: Masolino.
+Castiglione Fiorentino.
+    PINACOTECA: Sellajo.
+    COLLEGIATA: Credi.
+Certaldo.
+    PALAZZO DEI PRIORI: Pier Francesco Fiorentino.
+    CAPPELLA DEL PONTE D'AGLIENA: Benozzo, Pier Francesco Fiorentino.
+Chantilly.
+    MUSÉE CONDÉ: Amico di Sandro, Franciabigio, Granacci, Pesellino,
+        Pier di Cosimo, Sellajo.
+Chartres.
+    MUSÉE: Albertinelli.
+Chatsworth.
+    DUKE OF DEVONSHIRE: Ridolfo Ghirlandajo.
+Chicago.
+    MR. MARTIN RYERSON: Botticini.
+Città di Castello.
+    Granacci.
+    DUOMO: Rosso.
+Cleveland (U. S. A.).
+    HOLDEN COLLECTION: Botticini, Credi, Pier Francesco Fiorentino.
+Colle di Val d'Elsa.
+    PALAZZO ANTICO DEL COMUNE: Pier Francesco Fiorentino.
+    VIA GOZZINO: Pier Francesco Fiorentino.
+    VIA S. LUCIA: Pier Francesco Fiorentino.
+    S. AGOSTINO: Ridolfo Ghirlandajo.
+Cologne.
+    Benozzo, Mainardi, Cosimo Rosselli.
+Copenhagen.
+    THORWALDSEN MUSEUM: Filippino Lippi, Lorenzo Monaco.
+Cortona.
+    SIGNOR COLONNESI: Cosimo Rosselli.
+    S. DOMENICO: Fra Angelico.
+    GESÙ: Fra Angelico.
+Cracow.
+    POTOCKI COLLECTION: Franciabigio.
+Darmstadt.
+    Granacci.
+Detroit (U. S. A.).
+    Pier Francesco Fiorentino.
+Dijon.
+    MUSÉE: Bacchiacca, Bugiardini, Franciabigio, Pier Francesco
+        Fiorentino, Rosso, Sellajo.
+Dresden.
+    Alunno di Domenico, Andrea del Sarto, Bacchiacca, Botticelli,
+        Carli, Credi, Franciabigio, Garbo, Mainardi, Pier di Cosimo.
+Dublin.
+    NATIONAL GALLERY: Granacci.
+Dulwich (near London).
+    Pier di Cosimo.
+Düsseldorf.
+    ACADEMY: Fra Angelico, Carli, Cosimo Rosselli.
+Dzikow (Poland).
+    M. ZANISLAS TARNOWSKI: Pontormo.
+Eastnor Castle (Ledbury).
+    LADY HENRY SOMERSET: Carli, Pier Francesco Fiorentino, Cosimo
+        Rosselli, Sellajo.
+Empoli.
+    OPERA DEL DUOMO: Botticini, Lorenzo Monaco, Pesellino, Pier
+        Francesco Fiorentino, Cosimo Rosselli, Sellajo.
+    BAPTISTERY: Masolino.
+    S. STEFANO: Masolino.
+Englewood (New Jersey, U. S. A.).
+    MR. DANIEL FELLOWS PLATT: Pier Francesco Fiorentino, Sellajo.
+Esher.
+    MR. HERBERT F. COOK: Carli.
+Fiesole.
+    S. ANSANO (to be transferred to Museo): Lorenzo Monaco, Sellajo.
+    DUOMO: Cosimo Rosselli.
+    S. FRANCESCO: Pier di Cosimo.
+Figline (Val d'Arno Superiore).
+    S. PIERO AL TERRENO: Bugiardini.
+Florence.
+    ACADEMY: Albertinelli, Alunno di Domenico, Andrea del Sarto, Fra
+        Angelico, Baldovinetti, Fra Bartolommeo, Benozzo, Botticelli,
+        Botticini, Cimabue, Credi, Franciabigio, Garbo, Domenico and
+        Ridolfo Ghirlandajo, Giotto, Granacci, Filippino Lippi, Fra
+        Filippo Lippi, Lorenzo Monaco, Masaccio, Michelangelo, Orcagna,
+        Pesellino, Pontormo, Cosimo Rosselli, Sellajo, Verrocchio.
+    BARGELLO: Assistant of Giotto, Lorenzo Monaco, Mainardi,
+        Michelangelo, Orcagna, Pier Francesco Fiorentino, Antonio
+        Pollajuolo, Rosso, Verrocchio.
+    PITTI: Albertinelli, Amico di Sandro, Andrea del Sarto, Bacchiacca,
+        Fra Bartolommeo, Botticini, Bronzino, Bugiardini, Franciabigio,
+        Ridolfo Ghirlandajo, Granacci, Filippino Lippi, Fra Filippo
+        Lippi, Pier di Cosimo, Pontormo, Rosso, Sellajo.
+    UFFIZI: Albertinelli, Alunno di Domenico, Andrea del Sarto, Fra
+        Angelico, Baldovinetti, Fra Bartolommeo, Benozzo, Botticelli,
+        Botticini, Bronzino, Bugiardini, Carli, Castagno, Credi,
+        Franciabigio, Domenico and Ridolfo Ghirlandajo, Assistant of
+        Giotto, Granacci, Leonardo, Filippino Lippi, Fra Filippo Lippi,
+        Lorenzo Monaco, Mainardi, Michelangelo, Orcagna, Pier di Cosimo,
+        Pier Francesco Fiorentino, The Pollajuoli, Pontormo, Cosimo
+        Rosselli, Rosso, Sellajo, Paolo Uccello, Domenico Veneziano,
+        Verrocchio.
+    BIBLIOTECA LAURENZIANA: Lorenzo Monaco.
+    BIGALLO: Ridolfo Ghirlandajo, Sellajo.
+    BOBOLI GARDENS: Michelangelo.
+    CASA BUONARROTI: Michelangelo.
+    CENACOLO DI S. APPOLONIA: Botticini, Castagno, Pier Francesco
+        Fiorentino, Sellajo.
+    CENACOLO DI FOLIGNO: Amico di Sandro.
+    CHIOSTRO DELLO SCALZO: Andrea del Sarto, Franciabigio.
+    COLLEGIO MILITARE: Pontormo.
+    HOSPITAL: Castagno, Lorenzo Monaco.
+    INNOCENTI, GALLERY: Alunno di Domenico, Pier di Cosimo.
+    ISTITUTO DEI MINORENNI CORRIGENDI: Granacci.
+    SAN LORENZO, NEW SACRISTY: Michelangelo.
+    MUSEO DI SAN MARCO: Alunno di Domenico, Fra Angelico, Fra
+        Bartolommeo, Bugiardini, Domenico Ghirlandajo, Lorenzo Monaco,
+        Pontormo, Sellajo.
+    OPERA DEL DUOMO: Antonio Pollajuolo, Verrocchio.
+    PALAZZO RICCARDI: Benozzo, Fra Filippo Lippi.
+    PALAZZO VECCHIO: Bronzino, Domenico and Ridolfo Ghirlandajo,
+        Verrocchio.
+    (PITTI, see above).
+    SAN SALVI: Andrea del Sarto.
+    SCUOLE ELEMENTARE (Via della Colonna): Carli.
+    (UFFIZI, see above).
+    VIA CONSERVATORIO CAPPONI, No. ii.: Carli.
+    VIA RICASOLI: Cosimo Rosselli.
+    PALAZZO ALESSANDRI: Benozzo, Fra Filippo Lippi.
+    MR. B. BERENSON: Baldovinetti, Bronzino, Carli, Orcagna, Cosimo
+        Rosselli.
+    DUCA DI BRINDISI: Botticini, Carli.
+    MR. HENRY WHITE CANNON, Villa Doccia: Carli.
+    PALAZZO CAPPONI, Marchese Farinola: Botticelli, Pontormo.
+    PALAZZO CORSINI: Albertinelli, Amico di Sandro, Andrea del Sarto,
+        Bacchiacca, Carli, Ridolfo Ghirlandajo, Filippino Lippi,
+        Pontormo, Cosimo Rosselli.
+    MME. FINALI, Villa Landau: Cosimo Rosselli.
+    MR. HERBERT P. HORNE: Benozzo, Filippino Lippi, Pier di Cosimo,
+        Sellajo.
+    MR. EDMUND HOUGHTON: Pier Francesco Fiorentino.
+    CONTESSA LARDAREL: Botticini.
+    MR. CHARLES LOESER: Lorenzo Monaco.
+    CONTE NICCOLINI: Bacchiacca.
+    CONTE FERNANDO DEI NOBILI: Pier Francesco Fiorentino, Sellajo.
+    SIGNOR ANGELO ORVIETO: Cosimo Rosselli.
+    PALAZZO PITTI: Botticelli.
+    PALAZZO PUCCI: Credi.
+    MARCHESE MANELLI RICCARDI: Alunno di Domenico.
+    MRS. ROSS, POGGIO GHERARDO: Carli.
+    CONTE SERRISTORI: Bacchiacca, Pier Francesco Fiorentino.
+    MARCHESE PIO STROZZI: Botticini.
+    PALAZZO TORRIGIANI: Ridolfo Ghirlandajo, Filippino Lippi, Mainardi.
+    TORRE DEL GALLO (VILLINO): Antonio Pollajuolo.
+    S. AMBROGIO: Baldovinetti, Carli, Filippino Lippi, Cosimo Rosselli.
+    SS. ANNUNZIATA: Andrea del Sarto, Baldovinetti, Castagno,
+        Franciabigio, Pontormo, Cosimo Rosselli, Rosso.
+    BADIA: Filippino Lippi, Orcagna.
+    LA CALZA (PORTA ROMANA): Franciabigio.
+    CARMINE: Filippino Lippi, Masaccio, Masolino.
+    S. CROCE: Bugiardini, Giotto and Assistants, Lorenzo Monaco,
+        Mainardi, Orcagna, Cosimo Rosselli, Domenico Veneziano.
+    S. DOMENICO DI FIESOLE: Fra Angelico, Credi.
+    DUOMO: Baldovinetti, Castagno, Credi, Domenico Ghirlandajo,
+        Michelangelo, Paolo Uccello.
+    S. FELICE: Assistant of Giotto.
+    S. FELICITA: Pontormo.
+    S. FRANCESCO DELLE STIMMATE: Pier Francesco Fiorentino.
+    S. FREDIANO: Sellajo.
+    S. GIOVANNINO DEI CAVALIERI: Lorenzo Monaco, Pier Francesco
+        Fiorentino, Sellajo.
+    S. GIUSEPPE: Lorenzo Monaco.
+    INNOCENTI (CHURCH): Alunno di Domenico, Domenico Ghirlandajo,
+    S. JACOPO SOPRA ARNO: Sellajo.
+    S. LORENZO: Bronzino, Fra Filippo Lippi, Pier di Cosimo, Rosso,
+        Verrocchio.
+    S. LUCIA DE' MAGNOLI (TRA LE ROVINATE): Sellajo.
+    S. MARCO: Baldovinetti, Fra Bartolommeo.
+    S. M. MADDALENA DEI PAZZI: Carli, Cosimo Rosselli.
+    S. M. NOVELLA: Bugiardini, Domenico Ghirlandajo, Filippino Lippi,
+        Masaccio, Orcagna, Paolo Uccello.
+    S. MARGHERITA A MONTICI: Assistant of Giotto.
+    S. MICHELE VISDOMINI: Pontormo.
+    S. MINIATO: Baldovinetti, Assistant of Giotto, Antonio Pollajuolo.
+    S. NICCOLÒ: Piero Pollajuolo.
+    CHIOSTRO DEGLI OBLATI (25 VIA S. EGIDIO): Lorenzo Monaco.
+    OGNISSANTI: Botticelli, Domenico Ghirlandajo.
+    CHIESA DI ORBETELLO: Mainardi.
+    OR SAN MICHELE: Credi, Orcagna, Verrocchio.
+    S. PANCRAZIO: Baldovinetti.
+    PAZZI CHAPEL: Baldovinetti.
+    S. PROCOLO: Carli.
+    LA QUIETE: Ridolfo Ghirlandajo, Sellajo.
+    S. SPIRITO: Botticini, Carli, Credi, Filippino Lippi, Sellajo.
+    S. TRINITA: Baldovinetti, Domenico Ghirlandajo, Lorenzo Monaco.
+Places near Florence:
+    BROZZI, FATTORIA ORSINI: Mainardi.
+      S. ANDREA: Botticini, Carli.
+    CERTOSA: Albertinelli, Orcagna, Pontormo.
+    CORBIGNANO (NEAR SETTIGNANO), CAPPELLA VANELLA: Botticelli.
+    GANGALANDI (BETWEEN FLORENCE AND SIGNA), S. MARTINO: Sellajo.
+    BADIA DI PASSIGNANO (TAVERNELLE), REFECTORY: Domenico Ghirlandajo.
+    PIAN DI MUGNONE, S. M. MADDALENA: Fra Bartolommeo.
+    POGGIO A CAJANO (ROYAL VILLA): Andrea del Sarto, Franciabigio,
+        Filippino Lippi, Pontormo.
+    QUINTOLE, S. PIETRO: Granacci.
+    SCANDICCI, COMTESSE DE TURENNE: Credi.
+    VILLAMAGNA, S. DONNINO: Granacci.
+Forlì.
+    Credi.
+Frankfort a./M.
+    STÄDELINSTITUT: Pier Francesco Fiorentino, Pontormo, Rosso.
+Frome (Somerset).
+    LADY HORNER, MELLS PARK: Pier Francesco Fiorentino.
+Geneva.
+    MUSÉE: Albertinelli.
+Genoa.
+    PALAZZO ADORNO: Cosimo Rosselli.
+    PALAZZO BIANCO: Filippino Lippi, Pontormo.
+    PALAZZO BRIGNOLE-SALE: Pontormo.
+Glasgow.
+    CORPORATION GALLERY: Garbo.
+    MR. WILLIAM BEATTIE: Credi, Ridolfo Ghirlandajo, Pier di Cosimo.
+    MR. JAMES MANN: Granacci.
+Gloucester.
+     HIGHNAM COURT, SIR HUBERT PARRY: Albertinelli, Credi, Lorenzo
+        Monaco, Pesellino, Pier Francesco Fiorentino, Sellajo.
+Göttingen.
+    UNIVERSITY GALLERY: Botticini, Credi, Pier Francesco Fiorentino,
+        Sellajo.
+Grenoble.
+    MUSÉE: Fra Bartolommeo.
+Gubbio.
+    Pier Francesco Fiorentino.
+The Hague.
+    Albertinelli, Bronzino, Pier di Cosimo.
+Hamburg.
+    WEBER COLLECTION: Credi, Franciabigio, Mainardi, Pier Francesco
+        Fiorentino.
+Hanover.
+    KESTNER MUSEUM: Credi.
+    PROVINZIALMUSEUM: Sellajo.
+Harrow-on-the-Hill.
+    REV. J. STOGDON: Pier di Cosimo, Pier Francesco Fiorentino.
+Hatfield.
+    MR. CHARLES BUTLER, WARREN WOOD: Pier Francesco Fiorentino,
+        Pontormo.
+Hildesheim.
+    Mainardi.
+Horsmonden (Kent).
+    MRS. AUSTEN, CAPEL MANOR: Alunno di Domenico, Amico di Sandro.
+Ince Blundell Hall (Lancashire).
+    MR. CHARLES WELD BLUNDELL: Sellajo.
+Kiel.
+    PROF. MARTIUS: Filippino Lippi.
+Le Mans.
+    MUSÉE: Carli, Pier Francesco Fiorentino.
+Lewes.
+    MR. E. P. WARREN, LEWES HOUSE: Filippino Lippi.
+Lille.
+    MUSÉE: Pier Francesco Fiorentino, Sellajo.
+Liverpool.
+    WALKER ART GALLERY: Alunno di Domenico, Pier Francesco Fiorentino,
+        Cosimo Rosselli, Sellajo.
+Locko Park (near Derby).
+    MR. CHARLES DRURY-LOWE: Bacchiacca, Benozzo, Carli, Castagno,
+        Mainardi.
+London.
+    Amico di Sandro, Andrea del Sarto, Fra Angelico, Bacchiacca, Fra
+        Bartolommeo, Benozzo, Botticelli, Botticini, Bronzino,
+        Bugiardini, Castagno, Credi, Franciabigio, Domenico and Ridolfo
+        Ghirlandajo, Filippino and Fra Filippo Lippi, Lorenzo Monaco,
+        Mainardi, Michelangelo, Orcagna, Pier di Cosimo, Pier Francesco
+        Fiorentino, Antonio Pollajuolo, Pontormo, Cosimo Rosselli,
+        Sellajo, Paolo Uccello, Domenico Veneziano, Verrocchio.
+    H. M. THE KING, BUCKINGHAM PALACE: Benozzo.
+    BURLINGTON HOUSE, DIPLOMA GALLERY: Leonardo, Michelangelo.
+    HERTFORD HOUSE: Andrea del Sarto, Pier di Cosimo.
+    VICTORIA AND ALBERT MUSEUM: Amico di Sandro, Benozzo, Granacci,
+        Michelangelo, Pier Francesco Fiorentino, Antonio Pollajuolo.
+    BEIT COLLECTION: Michelangelo.
+    MR. ROBERT BENSON: Amico di Sandro, Andrea del Sarto, Botticini,
+        Carli, Franciabigio, Garbo, Domenico Ghirlandajo, Granacci,
+        Filippino Lippi, Pier di Cosimo.
+    MR. CHARLES BRINSLEY MARLAY: Alunno di Domenico, Botticini,
+        Sellajo.
+    DUKE OF BUCCLEUGH: Granacci.
+    MR. CHARLES BUTLER: Bacchiacca, Botticini, Credi, Pier Francesco
+        Fiorentino, Cosimo Rosselli, Sellajo.
+    EARL CRAWFORD: Sellajo.
+    MR. WILLIAM E. GREY: Pier Francesco Fiorentino.
+    MRS. LOUISA HERBERT: Pier Francesco Fiorentino.
+    MR. J. P. HESELTINE: Botticelli.
+    COL. G. L. HOLFORD, DORCHESTER HOUSE: Fra Bartolommeo, Garbo,
+        Pesellino.
+    LADY HORNER: Pier Francesco Fiorentino.
+    SIR H. HOWORTH: Mainardi.
+    EARL OF ILCHESTER, HOLLAND HOUSE: Sellajo.
+    SIR KENNETH MUIR MACKENZIE: Alunno di Domenico.
+    MR. LUDWIG MOND: Fra Bartolommeo, Botticelli, Domenico Ghirlandajo,
+        Pontormo.
+    MR. J. PIERPONT MORGAN: Castagno, Domenico Ghirlandajo.
+    EARL OF NORTHBROOK: Fra Bartolommeo, Bugiardini, Franciabigio.
+    EARL OF PLYMOUTH: Pier di Cosimo, Pontormo.
+    MR. CHARLES RICKETTS: Garbo, Pier di Cosimo, Sellajo.
+    MR. C. N. ROBINSON: Benozzo.
+    EARL OF ROSEBERY: Credi.
+    MR. LEOPOLD DE ROTHSCHILD: Andrea del Sarto.
+    MR. GEORGE SALTING: Domenico and Ridolfo Ghirlandajo, Mainardi,
+        Sellajo.
+    SIR HENRY SAMUELSON: Garbo, Filippino Lippi.
+    MR. A. E. STREET: Pier di Cosimo.
+    MRS. J. E. TAYLOR: Fra Angelico.
+    MR. T. VASEL: Franciabigio.
+    MR. HENRY WAGNER: Lorenzo Monaco, Pier Francesco Fiorentino.
+    MR. VERNON WATNEY: Sellajo.
+    SIR JULIUS WERNHER: Filippino Lippi.
+    MR. FREDERICK A. WHITE: Bacchiacca.
+    EARL OF YARBOROUGH: Franciabigio.
+Longleat (Warminster).
+    MARQUESS OF BATH: Alunno di Domenico, Credi, Mainardi.
+Lovere.
+    GALLERIA TADINI: Alunno di Domenico.
+Lucardo (near Certaldo).
+    PARISH CHURCH: Ridolfo Ghirlandajo.
+Lucca.
+    Fra Bartolommeo, Bronzino, Carli, Pontormo.
+    MARCHESE MANSI (S. M. FORISPORTAM): Granacci.
+    DUOMO: Fra Bartolommeo, Domenico Ghirlandajo, Cosimo Rosselli.
+    S. FRANCESCO: Cosimo Rosselli.
+    S. MICHELE: Filippino Lippi.
+Lyons.
+    MUSÉE: Sellajo.
+    M. EDOUARD AYNARD: Fra Angelico, Garbo, Fra Filippo Lippi,
+        Mainardi, Pier di Cosimo, Sellajo.
+Madrid.
+    MUSÉE DEL PRADO: Andrea del Sarto, Fra Angelico.
+    DUKE OF ALBA: Albertinelli, Fra Angelico.
+Marseilles.
+    MUSÉE: Sellajo.
+Mayence.
+    Credi.
+Meiningen.
+    GRAND DUCAL PALACE: Amico di Sandro, Benozzo.
+Milan.
+    AMBROSIANA: Botticelli.
+    BORROMEO: Alunno di Domenico, Pier di Cosimo.
+    BRERA: Benozzo, Bronzino.
+    POLDI-PEZZOLI: Albertinelli, Alunno di Domenico, Botticelli, Carli,
+        Pesellino, Sellajo, Verrocchio.
+    CONTI BAGATI VALSECCHI: Sellajo.
+    CONTE CASATTI: Credi, Cosimo Rosselli.
+    COMM. BENIGNO CRESPI: Bacchiacca, Ridolfo Ghirlandajo, Granacci,
+        Lorenzo Monaco, Mainardi.
+    DR. GUSTAVO FRIZZONI: Bacchiacca.
+    CAV. ALDO NOSEDA: Lorenzo Monaco.
+    PRINCE TRIVULZIO: Amico di Sandro, Michelangelo, Pier di Cosimo,
+        Pontormo, Sellajo.
+    S. MARIA DELLE GRAZIE: Bugiardini, Leonardo.
+Modena.
+    Botticini, Bugiardini, Franciabigio.
+Mombello (near Milan).
+    PRINCE PIO DI SAVOIA: Bugiardini.
+Montefalco.
+    PINACOTECA (S. FRANCESCO): Benozzo.
+    S. FORTUNATO: Benozzo.
+Montefortino (near Amandola, Marches).
+    MUNICIPIO: Botticini, Pier Francesco Fiorentino.
+Montemarciano (Val d'Arno Superiore).
+    Masaccio.
+Montepulciano.
+    Carli.
+Munich.
+    ALTE PINAKOTEK: Albertinelli, Fra Angelico, Bacchiacca, Credi,
+        Garbo, Giotto and Assistant, Granacci, Fra Filippo Lippi,
+        Mainardi, Masolino, Sellajo.
+    LOTZBECK COLLECTION: Lorenzo Monaco.
+Münster i./W.
+    KUNSTVEREIN: Mainardi, Cosimo Rosselli, Sellajo.
+Nantes.
+    MUSÉE DES BEAUX ARTS: Sellajo.
+    MUSÉE DOBRET: Sellajo.
+Naples.
+    Amico di Sandro, Andrea del Sarto, Fra Bartolommeo, Garbo,
+        Filippino Lippi, Masaccio, Masolino.
+    MUSEO FILANGIERI: Amico di Sandro.
+Narbonne.
+    MUSÉE: Pier Francesco Fiorentino.
+Narni.
+    MUNICIPIO: Alunno di Domenico, Benozzo, Domenico Ghirlandajo.
+New Haven (Conn., U. S. A.).
+    JARVES COLLECTION: Alunno di Domenico, Domenico and Ridolfo
+        Ghirlandajo, Granacci, Filippino Lippi, Lorenzo Monaco, Orcagna,
+        Pier di Cosimo, Pier Francesco Fiorentino, Antonio Pollajuolo,
+        Pontormo, Sellajo.
+Newlands Manor (Hampshire).
+    COL. CORNWALLIS WEST: Pier di Cosimo.
+Newport. (U. S. A.).
+    MR. THEODORE M. DAVIS, THE REEF: Bugiardini.
+New York.
+    METROPOLITAN MUSEUM: Bugiardini, Pier di Cosimo, Piero Pollajuolo,
+        Paolo Uccello.
+    MRS. GOULD: Bronzino.
+    HAVEMEYER COLLECTION: Bronzino.
+    JAMES COLLECTION: Sellajo.
+    MR. STANLEY MORTIMER: Sellajo.
+    MR. RUTHERFORD STUYVESANT: Franciabigio.
+    MR. SAMUEL UNTERMEYER: Albertinelli.
+Nîmes.
+    GOWER COLLECTION: Franciabigio.
+Olantigh Towers (Wye).
+    MR. ERLE-DRAX: Bugiardini, Carli.
+Oldenburg.
+    Bugiardini, Pontormo.
+Orvieto.
+    DUOMO: Fra Angelico.
+Oxford.
+    CHRIST CHURCH LIBRARY: Alunno di Domenico, Amico di Sandro,
+        Bacchiacca, Carli, Granacci, Filippino Lippi, Pier di Cosimo,
+        Sellajo.
+    UNIVERSITY GALLERIES: Bronzino, Credi, Granacci, Fra Filippo Lippi,
+        Mainardi, Paolo Uccello.
+    MR. T. W. JACKSON: Franciabigio, Sellajo.
+Padua.
+    ARENA CHAPEL: Giotto.
+Palermo.
+    BARON CHIARAMONTE BORDONARO: Alunno di Domenico, Botticini,
+        Mainardi, Orcagna, Pier Francesco Fiorentino, Pontormo, Sellajo.
+Panshanger (Hertford).
+    Fra Bartolommeo, Granacci, Pontormo.
+Panzano (between Florence and Siena).
+    S. MARIA: Botticini.
+Parcieux (near Trévoux).
+    LA GRANGE BLANCHE, M. HENRI CHALANDON: Botticini, Lorenzo Monaco,
+        Pier Francesco Fiorentino.
+Paris.
+    LOUVRE: Albertinelli, Alunno di Domenico, Amico di Sandro, Andrea
+        del Sarto, Fra Angelico, Baldovinetti, Fra Bartolommeo, Benozzo,
+        Botticelli, Botticini, Bronzino, Bugiardini, Carli, Cimabue,
+        Credi, Franciabigio, Domenico and Ridolfo Ghirlandajo, Assistant
+        of Giotto, Leonardo, Fra Filippo Lippi, Lorenzo Monaco,
+        Mainardi, Michelangelo, Pesellino, Pier di Cosimo, Piero
+        Pollajuolo, Pontormo, Cosimo Rosselli, Rosso, Sellajo, Paolo
+        Uccello.
+    MUSÉE DES ARTS DECORATIFS: Bugiardini, Cosimo Rosselli.
+    BARONNE D'ADELSWARD: Benozzo.
+    MME. EDOUARD ANDRÉ: Baldovinetti, Botticini, Bugiardini, Pier
+        Francesco Fiorentino, Cosimo Rosselli, Paolo Uccello.
+    COMTESSE ARCONATI-VISCONTI: Botticini, Mainardi.
+    M. LÉON BONNAT: Pier Francesco Fiorentino, Sellajo.
+    M. GEORGES CHALANDON: Fra Angelico.
+    M. JEAN DOLLFUS: Alunno di Domenico, Granacci.
+    M. GUSTAVE DREYFUS: Credi, Mainardi, Sellajo, Verrocchio.
+    M. HENRI HEUGEL: Botticini, Garbo, Pier Francesco Fiorentino.
+    BARON MICHELE LAZZARONI: Carli, Sellajo.
+    COMTE PASTRE: Amico di Sandro.
+    M. EMILE RICHTEMBERGER: Carli, Granacci, Sellajo.
+    BARON EDOUARD DE ROTHSCHILD: Garbo.
+    BARON ARTHUR SCHICKLER: Verrocchio.
+    BARON SCHLICHTING: Amico di Sandro.
+    M. JOSEPH SPIRIDON: Alunno di Domenico, Granacci, Cosimo Rosselli.
+    M. NOEL VALOIS: Fra Angelico.
+Parma.
+    Fra Angelico, Garbo.
+Pavia.
+    GALLERIA MALASPINA: Pier Francesco Fiorentino.
+Peace Dale (Rhode Island, U. S. A.).
+    MRS. BACON, THE ACORNS: Sellajo.
+Périgueux.
+    MUSÉE: Amico di Sandro.
+Perugia.
+    Fra Angelico, Benozzo.
+    MARCHESE MENICONI BRACCESCHI: Pier Francesco Fiorentino.
+Petworth House (Sussex).
+    LORD LECONFIELD: Andrea del Sarto.
+Philadelphia.
+    MR. JOHN G. JOHNSON: Amico di Sandro, Fra Bartolommeo,
+        Franciabigio, Granacci, Mainardi, Pier di Cosimo, Pier Francesco
+        Fiorentino, Cosimo Rosselli, Sellajo.
+    MR. PETER WIDENER: Benozzo, Bugiardini, Ridolfo Ghirlandajo, Pier
+        Francesco Fiorentino.
+Pinerolo (Piedmont).
+    VILLA LAMBA DORIA: Franciabigio.
+Pisa.
+    MUSEO CIVICO: Fra Angelico, Benozzo, Carli, Domenico Ghirlandajo,
+        Masaccio.
+    CAMPO SANTO: Benozzo.
+    RICOVERO: Benozzo.
+    UNIVERSITÀ DEI CAPPELLANI: Benozzo.
+    S. CATERINA: Albertinelli.
+    DUOMO: Andrea del Sarto.
+    S. MATTEO: Carli.
+    S. STEFANO: Bronzino.
+Pistoia.
+    DUOMO: Credi, Verrocchio.
+    MADONNA DEL LETTO: Credi.
+    S. PIETRO MAGGIORE: Ridolfo Ghirlandajo.
+Poggibonsi.
+    S. LUCCHESE: Carli.
+Poitiers.
+    HÔTEL DE VILLE: Sellajo.
+Pontormo (near Empoli).
+    PARISH CHURCH: Pontormo.
+Posen.
+    RACZYNSKI COLLECTION: Lorenzo Monaco.
+Prato.
+    Botticini, Carli, Filippino Lippi, Lorenzo Monaco.
+    TABERNACLE IN STREET: Filippino Lippi.
+    DUOMO: Ridolfo Ghirlandajo, Fra Filippo Lippi.
+Reigate.
+    THE PRIORY, MR. SOMERS SOMERSET: Ridolfo Ghirlandajo, Cosimo
+        Rosselli.
+Richmond (Surrey).
+    SIR FREDERICK COOK: Bacchiacca, Fra Bartolommeo, Botticini, Fra
+        Filippo Lippi, Lorenzo Monaco, Pier Francesco Fiorentino.
+Rome.
+    BARBERINI GALLERY: Franciabigio, Pontormo.
+    BORGHESE GALLERY: Albertinelli, Andrea del Sarto, Bacchiacca,
+        Bronzino, Bugiardini, Credi, Franciabigio, Granacci, Pier di
+        Cosimo, Pontormo.
+    COLONNA GALLERY: Alunno di Domenico, Bronzino, Bugiardini.
+    CORSINI GALLERY: Fra Angelico, Fra Bartolommeo, Bronzino,
+        Bugiardini, Franciabigio, Granacci, Pier di Cosimo, Pontormo.
+    DORIA GALLERY: Bronzino.
+    LATERAN (presently to be united with the Vatican): Fra Bartolommeo,
+        Benozzo, Fra Filippo Lippi.
+    VATICAN, PINACOTECA: Fra Angelico, Leonardo.
+      MUSEO CRISTIANO (presently to be united with the Pinacoteca): Fra
+          Angelico, Benozzo, Lorenzo Monaco, Mainardi, Masolino.
+      CHAPEL OF NICHOLAS V: Fra Angelico.
+      CAPPELLA PAOLINA: Michelangelo.
+      SIXTINE CHAPEL: Botticelli, Domenico Ghirlandajo, Michelangelo,
+          Pier di Cosimo, Cosimo Rosselli.
+    PRINCE COLONNA: Bugiardini.
+    PRINCE DORIA: Bronzino, Fra Filippo Lippi, Pesellino.
+    MISS HERTZ: Bacchiacca.
+    MR. LUDWIG MOND: Fra Filippo Lippi, Cosimo Rosselli.
+    PALAZZO RONDANINI: Michelangelo.
+    PRINCE ROSPIGLIOSI: Bronzino.
+    CONTESSA SPALETTI: Bugiardini.
+    COUNT GREGORI STROGANOFF: Amico di Sandro, Fra Angelico, Mainardi,
+        Sellajo.
+    MARCHESE VISCONTI VENOSTA: Fra Bartolommeo.
+    ARACOELI: Benozzo.
+    S. CLEMENTE: Masolino.
+    S. GIOVANNI LATERANO: Giotto.
+    S. MARIA SOPRA MINERVA: Filippino Lippi, Michelangelo.
+    ST. PETER'S: Assistant of Giotto, Michelangelo, Antonio Pollajuolo.
+    S. PIETRO IN VINCOLI: Michelangelo.
+San Gemignano.
+    MUNICIPIO: Benozzo, Mainardi, Pier Francesco Fiorentino.
+    OSPEDALE DI S. FINA: Mainardi.
+    S. GIOVANNI: Mainardi.
+    S. AGOSTINO: Benozzo, Mainardi, Pier Francesco Fiorentino.
+    S. ANDREA: Benozzo.
+    CAPPELLA DI MONTE: Pier Francesco Fiorentino.
+    COLLEGIATA: Benozzo, Domenico Ghirlandajo, Mainardi, Pier Francesco
+        Fiorentino, Piero Pollajuolo.
+    S. JACOPO: Pier Francesco Fiorentino.
+    S. LUCIA: Pier Francesco Fiorentino.
+    MONTE OLIVETO: Benozzo, Mainardi.
+    PANCOLE (near San Gemignano), S. MARIA ASSUNTA: Pier Francesco
+        Fiorentino.
+    PIEVE DI ULIGNANO (near San Gemignano), S. BARTOLOMMEO: Pier
+        Francesco Fiorentino.
+San Giovanni Valdarno.
+    ORATORIO DI S. M. DELLE GRAZIE: Sellajo.
+San Miniato al Tedesco (Val d'Arno).
+    S. DOMENICO: Carli.
+Scotland.
+    CAWDER HOUSE, (BISHOPBRIGGS) CAPT. ARCHIBALD STIRLING: Pier di
+        Cosimo.
+    (GLASGOW, Cf. under G.)
+    GOSFORD HOUSE EARL OF WEMYSS: Albertinelli, Botticini, Masolino,
+        Pier di Cosimo.
+    KIER (DUNBLANE), CAPT. ARCHIBALD STIRLING: Pontormo.
+    LANGTON (DUNS), HON. MRS. BAILLIE-HAMILTON: Alunno di Domenico,
+        Bugiardini.
+    NEWBATTLE ABBEY (DALKEITH), MARQUESS OF LOTHIAN: Amico di Sandro,
+        Pier di Cosimo, Pontormo, Sellajo.
+    ROSSIE PRIORY (INCHTURE, PERTHSHIRE), LORD KINNAIRD: Granacci.
+Sermoneta.
+    PARISH CHURCH: Benozzo.
+Sheffield.
+    RUSKIN MUSEUM: Verrocchio.
+Siena.
+    Albertinelli, Lorenzo Monaco, Pier Francesco Fiorentino, Rosso.
+    PALAZZO SARACINI: Bugiardini, Mainardi.
+    S. MARIA DEGLI ANGELI: Carli.
+    MONASTERO DEL SANTUCCIO: Pier di Cosimo.
+Sinalunga (Val di Chiana).
+    S. MARTINO: Pier Francesco Fiorentino.
+Spoleto.
+    DUOMO: Fra Filippo Lippi.
+Staggia (near Siena).
+    S. MARIA ASSUNTA: The Pollajuoli.
+Stockholm.
+    ROYAL PALACE: Botticini, Pier di Cosimo.
+St. Petersburg.
+    HERMITAGE: Andrea del Sarto, Fra Angelico, Fra Bartolommeo,
+        Botticelli, Bugiardini, Ridolfo Ghirlandajo, Granacci,
+        Michelangelo.
+    PALAIS STROGANOFF: Amico di Sandro, Filippino Lippi.
+Strasburg.
+    UNIVERSITY GALLERY: Bugiardini, Credi, Assistant of Giotto,
+        Masaccio, Pier di Cosimo, Piero Pollajuolo.
+Stuttgart.
+    Albertinelli, Bugiardini.
+Terni.
+    BIBLIOTECA: Benozzo.
+Todi.
+    MUNICIPIO: Pier Francesco Fiorentino.
+    S. FORTUNATO: Masolino.
+Troyes.
+    MUSÉE: Bacchiacca.
+Turin.
+    Amico di Sandro, Fra Angelico, Botticini, Bronzino, Bugiardini,
+        Credi, Franciabigio, Pier Francesco Fiorentino, The Pollajuoli,
+        Pontormo, Cosimo Roselli.
+    ACCADEMIA ALBERTINA: Fra Filippo Lippi.
+    ARMERIA REALE: Rosso.
+    MUSEO CIVICO: Bugiardini, Lorenzo Monaco.
+Urbino.
+    DUCAL PALACE: Paolo Uccello.
+Vallombrosa.
+    PIEVE CARLI.
+Venice.
+    ACADEMY: Carli, Rosso.
+    QUERINI STAMPALIA GALLERY: Credi.
+    SEMINARIO: Albertinelli, Bacchiacca, Bronzino, Carli, Filippino
+        Lippi.
+    BARON GIORGIO FRANCHETTI: Bugiardini.
+    PRINCE GIOVANELLI: Bacchiacca.
+    LADY LAYARD: Garbo.
+    PIAZZA SS. GIOVANNI E PAOLO: Verrocchio.
+Vercelli.
+    MUSEO BORGOGNA: Domenico Ghirlandajo.
+Vienna.
+    Andrea del Sarto, Fra Bartolommeo Benozzo, Bronzino, Bugiardini,
+        Franciabigio, Pontormo.
+    ACADEMY: Bugiardini.
+    HERR EUGEN VON MILLER AICHOLZ: Filippino Lippi.
+    DR. A. FIGDOR: Alunno di Domenico.
+    HARRACH COLLECTION: Mainardi, Pier di Cosimo.
+    COUNT LANCKORONSKI: Alunno di Domenico, Franciabigio, Granacci,
+        Masaccio, Pier Francesco Fiorentino, Rosso, Sellajo, Paolo
+        Uccello.
+    PRINCE LIECHTENSTEIN: Amico di Sandro, Credi, Franciabigio,
+        Mainardi, Pier di Cosimo, Sellajo, Verrocchio.
+    BARON TUCHER: Fra Angelico Benozzo.
+    HERR CARL WITTGENSTEIN: Granacci.
+Volterra.
+    MUNICIPIO: Carli, Domenico Ghirlandajo, Pier Francesco Fiorentino,
+        Rosso.
+    ORATORIO DI S. ANTONIO: Pier Francesco Fiorentino.
+    DUOMO: Albertinelli, Benozzo.
+Wantage.
+    LOCKINGE HOUSE, LADY WANTAGE: Ridolfo Ghirlandajo, Pesellino.
+Warwick Castle.
+    EARL OF WARWICK: Alunno di Domenico, Granacci.
+Washington.
+    MR. VICTOR FISCHER: Carli, Lorenzo Monaco, Mainardi.
+Weston Birt (Tetbury).
+    COL. G. L. HOLFORD: Carli.
+Wiesbaden.
+    NASSAUISCHES KUNSTVEREIN: Bacchiacca, Franciabigio, Sellajo.
+Wigan.
+    HAIGH HALL, EARL CRAWFORD: Botticini.
+Windsor Castle.
+    Andrea del Sarto, Franciabigio.
+Worksop (Nottinghamshire).
+    CLUMBER PARK, DUKE OF NEWCASTLE: Pier di Cosimo.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Florentine Painters of the
+Renaissance, by Bernhard Berenson
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE FLORENTINE PAINTERS ***
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+      The Project Gutenberg eBook of The Florentine Painters of the Renaissance, by Bernhard Berenson.
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+<pre>
+
+The Project Gutenberg EBook of The Florentine Painters of the Renaissance, by 
+Bernhard Berenson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Florentine Painters of the Renaissance
+       With An Index To Their Works
+
+Author: Bernhard Berenson
+
+Release Date: December 28, 2005 [EBook #17408]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE FLORENTINE PAINTERS ***
+
+
+
+
+Produced by Juliet Sutherland, Louise Pryor and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+
+
+<div class="figcenter gap" style="width: 409px;">
+<img src="images/frontis.jpg" width="409" height="589" alt="Portrait of a Lady. From the Painting, possibly by Verrocchio, in the Poldi Museum at Milan." title="" />
+<span class="caption">Portrait of a Lady. <br />From the Painting, possibly by Verrocchio, in the Poldi Museum at Milan.</span>
+</div>
+
+<h1>THE
+FLORENTINE PAINTERS
+OF THE RENAISSANCE</h1>
+
+<p class="center big gap">WITH AN INDEX TO THEIR WORKS</p>
+
+<p class="center little gap">BY</p>
+<p class="center big">BERNHARD BERENSON</p>
+
+<p class="center littlest narrow">AUTHOR OF &ldquo;VENETIAN PAINTERS OF THE RENAISSANCE,&rdquo;
+&ldquo;LORENZO LOTTO,&rdquo; &ldquo;CENTRAL ITALIAN PAINTERS OF THE RENAISSANCE&rdquo;</p>
+
+
+<p class="center gap">THIRD EDITION, REVISED AND ENLARGED</p>
+
+
+<p class="center gaplet"><span class="big">G. P. PUTNAM&rsquo;S SONS</span><br />
+NEW YORK AND LONDON<br />
+<b>The Knickerbocker Press</b>
+</p>
+
+
+
+<p class="center biggap"><span class="littlest">COPYRIGHT, 1896<br />
+BY</span><br />
+<span class="little">G. P. PUTNAM&rsquo;S SONS</span><br />
+<span class="littlest"><i>Entered at Stationers&rsquo; Hall, London</i></span></p>
+
+<hr style="width: 20%; margin-top: 0; margin-bottom: 0;" />
+
+<p class="center"><span class="littlest">COPYRIGHT, 1909<br />
+BY</span><br />
+<span class="little">G. P. PUTNAM&rsquo;S SONS</span><br />
+<span class="littlest">(For revised edition)</span></p>
+
+
+<p class="center biggap little">Made in the United States of America</p>
+
+
+
+<h2><a name="pgiii" id="pgiii"></a><span class="pagenum">iii</span>PREFACE TO THIRD EDITION</h2>
+
+
+<p>Years have passed since the second edition
+of this book. But as most of this time has
+been taken up with the writing of my &ldquo;Drawings
+of the Florentine Painters,&rdquo; it has, in a
+sense, been spent in preparing me to make this
+new edition. Indeed, it is to that bigger work
+that I must refer the student who may wish to
+have the reasons for some of my attributions.
+There, for instance, he will find the intricate
+Carli question treated quite as fully as it deserves.
+Jacopo del Sellajo is inserted here for
+the first time. Ample accounts of this frequently
+entertaining tenth-rate painter may be
+found in articles by Hans Makowsky, Mary
+Logan, and Herbert Horne.</p>
+
+<p>The most important event of the last ten
+years, in the study of Italian art, has been the
+rediscovery of an all but forgotten great master,<a name="pgiv" id="pgiv"></a><span class="pagenum">iv</span>
+Pietro Cavallini. The study of his fresco at
+S. Cecilia in Rome, and of the other works that
+readily group themselves with it, has illuminated
+with an unhoped-for light the problem
+of Giotto&rsquo;s origin and development. I felt
+stimulated to a fresh consideration of the subject.
+The results will be noted here in the
+inclusion, for the first time, of Cimabue, and in
+the lists of paintings ascribed to Giotto and
+his immediate assistants.</p>
+
+<p class="toright">
+B. B.</p>
+
+<p>
+<i>Boston, November, 1908.</i>
+</p>
+
+
+
+
+<h2><a name="PREFACE_TO_THE_SECOND_EDITION" id="PREFACE_TO_THE_SECOND_EDITION"></a><a name="pgv" id="pgv"></a><span class="pagenum">v</span>PREFACE TO THE SECOND EDITION</h2>
+
+
+<p>The lists have been thoroughly revised, and
+some of them considerably increased. Botticini,
+Pier Francesco Fiorentino, and Amico di
+Sandro have been added, partly for the intrinsic
+value of their work, and partly because so
+many of their pictures are exposed to public
+admiration under greater names. Botticini
+sounds too much like Botticelli not to have
+been confounded with him, and Pier Francesco
+has similarly been confused with Piero della
+Francesca. Thus, Botticini&rsquo;s famous &ldquo;Assumption,&rdquo;
+painted for Matteo Palmieri, and now in
+the National Gallery, already passed in Vasari&rsquo;s
+time for a Botticelli, and the attribution at
+Karlsruhe of the quaint and winning &ldquo;Nativity&rdquo;
+to the sublime, unyielding Piero della Francesca
+is surely nothing more than the echo of the
+real author&rsquo;s name.</p>
+
+<p><a name="pgvi" id="pgvi"></a><span class="pagenum">vi</span>Most inadequate accounts, yet more than can
+be given here, of Pier Francesco, as well as of
+Botticini, will be found in the Italian edition of
+Cavalcaselle&rsquo;s <i>Storia della Pittura in Italia</i>,
+Vol. VII. The latter painter will doubtless be
+dealt with fully and ably in Mr. Herbert P.
+Horne&rsquo;s forthcoming book on Botticelli, and in
+this connection I am happy to acknowledge
+my indebtedness to Mr. Horne for having persuaded
+me to study Botticini. Of Amico di
+Sandro I have written at length in the <i>Gazette
+des Beaux Arts</i>, June and July, 1899.</p>
+
+<p><span class="smcap">Fiesole</span>, November, 1899.</p>
+
+
+
+
+<h2><a name="CONTENTS" id="CONTENTS"></a><a name="pgvii" id="pgvii"></a><span class="pagenum">vii</span>CONTENTS.</h2>
+
+<ul class="TOC">
+  <li>&nbsp;<span class="tocright little">PAGE</span></li>
+  <li>THE FLORENTINE PAINTERS OF THE RENAISSANCE <span class="tocright"><a href="#pg1" >1</a></span></li>
+  <li>INDEX TO THE WORKS OF THE PRINCIPAL FLORENTINE PAINTERS <span class="tocright"><a href="#pg95" >95</a></span></li>
+  <li>INDEX OF PLACES  <span class="tocright"><a href="#pg189" >189</a></span></li>
+</ul>
+
+
+<h2><a name="THE_FLORENTINE_PAINTERS_OF" id="THE_FLORENTINE_PAINTERS_OF"></a><a name="pg1" id="pg1"></a><span class="pagenum">1</span>THE FLORENTINE PAINTERS OF
+THE RENAISSANCE</h2>
+
+<h3>I.</h3>
+
+
+<p>Florentine painting between Giotto and
+Michelangelo contains the names of such artists
+as Orcagna, Masaccio, Fra Filippo, Pollaiuolo,
+Verrocchio, Leonardo, and Botticelli. Put beside
+these the greatest names in Venetian art,
+the Vivarini, the Bellini, Giorgione, Titian, and
+Tintoret. The difference is striking. The significance
+of the Venetian names is exhausted
+with their significance as painters. Not so with
+the Florentines. Forget that they were painters,
+they remain great sculptors; forget that
+they were sculptors, and still they remain architects,
+poets, and even men of science. They
+left no form of expression untried, and to none
+could they say, &ldquo;This will perfectly convey my <a name="pg2" id="pg2"></a><span class="pagenum">2</span>
+meaning.&rdquo; Painting, therefore, offers but a
+partial and not always the most adequate manifestation
+of their personality, and we feel the
+artist as greater than his work, and the man as
+soaring above the artist.</p>
+
+<p>
+<span class="pageheading">MANYSIDEDNESS OF THE PAINTERS</span>
+The immense superiority of the artist even to
+his greatest achievement in any one art form,
+means that his personality was but slightly determined
+by the particular art in question, that he
+tended to mould it rather than let it shape him.
+It would be absurd, therefore, to treat the
+Florentine painter as a mere link between two
+points in a necessary evolution. The history of
+the art of Florence never can be, as that of
+Venice, the study of a placid development.
+Each man of genius brought to bear upon his
+art a great intellect, which, never condescending
+merely to please, was tirelessly striving to
+reincarnate what it comprehended of life in
+forms that would fitly convey it to others; and
+in this endeavour each man of genius was necessarily
+compelled to create forms essentially his
+own. But because Florentine painting was pre-eminently
+an art formed by great personalities,
+it grappled with problems of the highest interest,
+<a name="pg3" id="pg3"></a><span class="pagenum">3</span>
+and offered solutions that can never lose
+their value. What they aimed at, and what
+they attained, is the subject of the following
+essay.</p>
+
+
+<h3>II.</h3>
+
+<p>The first of the great personalities in Florentine
+painting was Giotto. Although he
+affords no exception to the rule that the great
+Florentines exploited all the arts in the endeavour
+to express themselves, he, Giotto, renowned
+as architect and sculptor, reputed as
+wit and versifier, differed from most of his
+Tuscan successors in having peculiar aptitude
+for the essential in painting <i>as an art</i>.</p>
+
+<p>But before we can appreciate his real value,
+we must come to an agreement as to what in
+the art of figure-painting&mdash;the craft has its own
+altogether diverse laws&mdash;<i>is</i> the essential; for
+figure-painting, we may say at once, was not
+only the one pre-occupation of Giotto, but
+the dominant interest of the entire Florentine
+school.</p>
+
+<p>
+<span class="pageheading">IMAGINATION OF TOUCH</span>
+Psychology has ascertained that sight alone
+gives us no accurate sense of the third dimension.
+<a name="pg4" id="pg4"></a><span class="pagenum">4</span>
+In our infancy, long before we are conscious of
+the process, the sense of touch, helped on by
+muscular sensations of movement, teaches us
+to appreciate depth, the third dimension, both
+in objects and in space.</p>
+
+<p>In the same unconscious years we learn to
+make of touch, of the third dimension, the test
+of reality. The child is still dimly aware of the
+intimate connection between touch and the
+third dimension. He cannot persuade himself
+of the unreality of Looking-Glass Land until he
+has touched the back of the mirror. Later, we
+entirely forget the connection, although it
+remains true, that every time our eyes recognise
+reality, we are, as a matter of fact, giving
+tactile values to retinal impressions.</p>
+
+<p>Now, painting is an art which aims at giving
+an abiding impression of artistic reality with
+only two dimensions. The painter must, therefore,
+do consciously what we all do unconsciously,&mdash;construct
+his third dimension. And
+he can accomplish his task only as we accomplish
+ours, by giving tactile values to retinal
+impressions. His first business, therefore, is to
+rouse the tactile sense, for I must have the
+<a name="pg5" id="pg5"></a><span class="pagenum">5</span>
+illusion of being able to touch a figure, I must
+have the illusion of varying muscular sensations
+inside my palm and fingers corresponding to
+the various projections of this figure, before I
+shall take it for granted as real, and let it affect
+me lastingly.</p>
+
+<p>It follows that the essential in the art of
+painting&mdash;as distinguished from the art of colouring,
+I beg the reader to observe&mdash;is somehow
+to stimulate our consciousness of tactile values,
+so that the picture shall have at least as much
+power as the object represented, to appeal to
+our tactile imagination.</p>
+
+<p>
+<span class="pageheading">GIOTTO</span>
+Well, it was of the power to stimulate the
+tactile consciousness&mdash;of the essential, as I have
+ventured to call it, in the art of painting&mdash;that
+Giotto was supreme master. This is his everlasting
+claim to greatness, and it is this which
+will make him a source of highest &aelig;sthetic delight
+for a period at least as long as decipherable
+traces of his handiwork remain on mouldering
+panel or crumbling wall. For great though he
+was as a poet, enthralling as a story-teller, splendid
+and majestic as a composer, he was in these
+qualities superior in degree only, to many of
+<a name="pg6" id="pg6"></a><span class="pagenum">6</span>
+the masters who painted in various parts of Europe
+during the thousand years that intervened
+between the decline of antique, and the birth,
+in his own person, of modern painting. But
+none of these masters had the power to stimulate
+the tactile imagination, and, consequently,
+they never painted a figure which has artistic
+existence. Their works have value, if at all, as
+highly elaborate, very intelligible symbols, capable,
+indeed, of communicating something, but
+losing all higher value the moment the message
+is delivered.</p>
+
+<p>Giotto&rsquo;s paintings, on the contrary, have not
+only as much power of appealing to the tactile
+imagination as is possessed by the objects
+represented&mdash;human figures in particular&mdash;but
+actually more, with the necessary result that
+to his contemporaries they conveyed a <i>keener</i>
+sense of reality, of life-likeness than the objects
+themselves! We whose current knowledge of
+anatomy is greater, who expect more articulation
+and suppleness in the human figure, who,
+in short, see much less na&iuml;vely now than
+Giotto&rsquo;s contemporaries, no longer find his
+paintings more than life-like; but we still feel
+<a name="pg7" id="pg7"></a><span class="pagenum">7</span>
+them to be intensely real in the sense that
+they still powerfully appeal to our tactile
+imagination, thereby compelling us, as do all
+things that stimulate our sense of touch while
+they present themselves to our eyes, to take
+their existence for granted. And it is only
+when we can take for granted the existence of
+the object painted that it can begin to give us
+pleasure that is genuinely artistic, as separated
+from the interest we feel in symbols.</p>
+
+<p>
+<span class="pageheading">ANALYSIS OF ENJOYMENT OF PAINTING</span>
+At the risk of seeming to wander off into the
+boundless domain of &aelig;sthetics, we must stop
+at this point for a moment to make sure that we
+are of one mind regarding the meaning of the
+phrase &ldquo;artistic pleasure,&rdquo; in so far at least as
+it is used in connection with painting.</p>
+
+<p>What is the point at which ordinary pleasures
+pass over into the specific pleasures derived
+from each one of the arts? Our judgment
+about the merits of any given work of art
+depends to a large extent upon our answer to
+this question. Those who have not yet differentiated
+the specific pleasures of the art of
+painting from the pleasures they derive from
+the art of literature, will be likely to fall into
+<a name="pg8" id="pg8"></a><span class="pagenum">8</span>
+the error of judging the picture by its dramatic
+presentation of a situation or its rendering of
+character; will, in short, demand of the painting
+that it shall be in the first place a good <i>illustration</i>.
+Those others who seek in painting what
+is usually sought in music, the communication
+of a pleasurable state of emotion, will prefer
+pictures which suggest pleasant associations,
+nice people, refined amusements, agreeable
+landscapes. In many cases this lack of clearness
+is of comparatively slight importance, the given
+picture containing all these pleasure-giving
+elements in addition to the qualities peculiar
+to the art of painting. But in the case of the
+Florentines, the distinction is of vital consequence,
+for they have been the artists in Europe
+who have most resolutely set themselves to
+work upon the specific problems of the art of
+figure-painting, and have neglected, more than
+any other school, to call to their aid the secondary
+pleasures of association. With them the
+issue is clear. If we wish to appreciate their
+merit, we are forced to disregard the desire for
+pretty or agreeable types, dramatically interpreted
+situations, and, in fact, &ldquo;suggestiveness&rdquo;
+<a name="pg9" id="pg9"></a><span class="pagenum">9</span>
+of any kind. Worse still, we must even
+forego our pleasure in colour, often a genuinely
+artistic pleasure, for they never systematically
+exploited this element, and in some of their best
+works the colour is actually harsh and unpleasant.
+It was in fact upon form, and form alone,
+that the great Florentine masters concentrated
+their efforts, and we are consequently forced to
+the belief that, in their pictures at least, form is
+the principal source of our &aelig;sthetic enjoyment.</p>
+
+<p>Now in what way, we ask, can form in painting
+give me a sensation of pleasure which differs
+from the ordinary sensations I receive from
+form? How is it that an object whose recognition
+in nature may have given me no pleasure,
+becomes, when recognised in a picture, a source
+of &aelig;sthetic enjoyment, or that recognition
+pleasurable in nature becomes an enhanced
+pleasure the moment it is transferred to art?
+The answer, I believe, depends upon the fact
+that art stimulates to an unwonted activity
+psychical processes which are in themselves the
+source of most (if not all) of our pleasures,
+and which here, free from disturbing physical
+sensations, never tend to pass over into pain.
+<a name="pg10" id="pg10"></a><span class="pagenum">10</span>
+For instance: I am in the habit of realising a
+given object with an intensity that we shall
+value as 2. If I suddenly realise this familiar
+object with an intensity of 4, I receive the
+immediate pleasure which accompanies a doubling
+of my mental activity. But the pleasure
+rarely stops here. Those who are capable of
+receiving direct pleasure from a work of art,
+are generally led on to the further pleasures of
+self-consciousness. The fact that the psychical
+process of recognition goes forward with the
+unusual intensity of 4 to 2, overwhelms them
+with the sense of having twice the capacity
+they had credited themselves with: their whole
+personality is enhanced, and, being aware that
+this enhancement is connected with the object
+in question, they for some time after take not
+only an increased interest in it, but continue to
+realise it with the new intensity. Precisely
+this is what form does in painting: it lends
+a higher coefficient of reality to the object
+represented, with the consequent enjoyment
+of accelerated psychical processes, and the
+exhilarating sense of increased capacity in
+the observer. (Hence, by the way, the greater
+<a name="pg11" id="pg11"></a><span class="pagenum">11</span>
+pleasure we take in the object painted than in
+itself.)</p>
+
+<p>And it happens thus. We remember that to
+realise form we must give tactile values to retinal
+sensations. Ordinarily we have considerable
+difficulty in skimming off these tactile
+values, and by the time they have reached
+our consciousness, they have lost much of their
+strength. Obviously, the artist who gives us
+these values more rapidly than the object itself
+gives them, gives us the pleasures consequent
+upon a more vivid realisation of the object,
+and the further pleasures that come from the
+sense of greater psychical capacity.</p>
+
+<p>Furthermore, the stimulation of our tactile
+imagination awakens our consciousness of the
+importance of the tactile sense in our physical
+and mental functioning, and thus, again, by
+making us feel better provided for life than
+we were aware of being, gives us a heightened
+sense of capacity. And this brings us back
+once more to the statement that the chief business
+of the figure painter, as an artist, is to
+stimulate the tactile imagination.</p>
+
+<p>The proportions of this small book forbid me
+<a name="pg12" id="pg12"></a><span class="pagenum">12</span>
+to develop further a theme, the adequate treatment
+of which would require more than the
+entire space at my command. I must be satisfied
+with the crude and unillumined exposition
+given already, allowing myself this further
+word only, that I do not mean to imply that
+we get no pleasure from a picture except the
+tactile satisfaction. On the contrary, we get
+much pleasure from composition, more from
+colour, and perhaps more still from movement,
+to say nothing of all the possible associative
+pleasures for which every work of art is the
+occasion. What I do wish to say is that <i>unless</i>
+it satisfies our tactile imagination, a picture
+will not exert the fascination of an ever-heightened
+reality; first we shall exhaust its ideas,
+and then its power of appealing to our emotions,
+and its &ldquo;beauty&rdquo; will not seem more
+significant at the thousandth look than at the
+first.</p>
+
+<p>My need of dwelling upon this subject at all,
+I must repeat, arises from the fact that although
+this principle is important indeed in other
+schools, it is all-important in the Florentine
+school. Without its due appreciation it would
+<a name="pg13" id="pg13"></a><span class="pagenum">13</span>
+be impossible to do justice to Florentine painting.
+We should lose ourselves in admiration
+of its &ldquo;teaching,&rdquo; or perchance of its historical
+importance&mdash;as if historical importance were
+synonymous with artistic significance!&mdash;but
+we should never realise what artistic idea
+haunted the minds of its great men, and never
+understand why at a date so early it became
+academic.</p>
+
+<p>
+<span class="pageheading">GIOTTO AND VALUES OF TOUCH</span>
+Let us now turn back to Giotto and see in
+what way he fulfils the first condition of painting
+as an art, which condition, as we agreed, is
+somehow to stimulate our tactile imagination.
+We shall understand this without difficulty if
+we cover with the same glance two pictures of
+nearly the same subject that hang side by side
+in the Florence Academy, one by &ldquo;Cimabue,&rdquo;
+and the other by Giotto. The difference is
+striking, but it does not consist so much in a
+difference of pattern and types, as of realisation.
+In the &ldquo;Cimabue&rdquo; we patiently decipher
+the lines and colours, and we conclude at last
+that they were intended to represent a woman
+seated, men and angels standing by or kneeling.
+To recognise these representations we have
+<a name="pg14" id="pg14"></a><span class="pagenum">14</span>
+had to make many times the effort that the
+actual objects would have required, and in consequence
+our feeling of capacity has not only
+not been confirmed, but actually put in question.
+With what sense of relief, of rapidly rising
+vitality, we turn to the Giotto! Our eyes
+scarcely have had time to light on it before we
+realise it completely&mdash;the throne occupying
+a real space, the Virgin satisfactorily seated
+upon it, the angels grouped in rows about it.
+Our tactile imagination is put to play immediately.
+Our palms and fingers accompany our
+eyes much more quickly than in presence of
+real objects, the sensations varying constantly
+with the various projections represented, as of
+face, torso, knees; confirming in every way our
+feeling of capacity for coping with things,&mdash;for
+life, in short. I care little that the picture
+endowed with the gift of evoking such feelings
+has faults, that the types represented do not
+correspond to my ideal of beauty, that the
+figures are too massive, and almost unarticulated;
+I forgive them all, because I have much
+better to do than to dwell upon faults.</p>
+
+<p>But how does Giotto accomplish this miracle?
+<a name="pg15" id="pg15"></a><span class="pagenum">15</span>
+With the simplest means, with almost
+rudimentary light and shade, and functional
+line, he contrives to render, out of all the possible
+outlines, out of all the possible variations
+of light and shade that a given figure may have,
+only those that we must isolate for special attention
+when we are actually realising it. This determines
+his types, his schemes of colour, even
+his compositions. He aims at types which both
+in face and figure are simple, large-boned, and
+massive,&mdash;types, that is to say, which in actual
+life would furnish the most powerful stimulus
+to the tactile imagination. Obliged to get the
+utmost out of his rudimentary light and shade,
+he makes his scheme of colour of the lightest
+that his contrasts may be of the strongest. In
+his compositions, he aims at clearness of grouping,
+so that each important figure may have its
+desired tactile value. Note in the &ldquo;Madonna&rdquo; we
+have been looking at, how the shadows compel
+us to realise every concavity, and the lights
+every convexity, and how, with the play of the
+two, under the guidance of line, we realise the
+significant parts of each figure, whether draped
+or undraped. Nothing here but has its architectonic
+<a name="pg16" id="pg16"></a><span class="pagenum">16</span>
+reason. Above all, every line is
+functional; that is to say, charged with purpose.
+Its existence, its direction, is absolutely
+determined by the need of rendering the tactile
+values. Follow any line here, say in the figure
+of the angel kneeling to the left, and see how
+it outlines and models, how it enables you to
+realise the head, the torso, the hips, the legs,
+the feet, and how its direction, its tension, is
+always determined by the action. There is not
+a genuine fragment of Giotto in existence but
+has these qualities, and to such a degree that
+the worst treatment has not been able to spoil
+them. Witness the resurrected frescoes in
+Santa Croce at Florence!</p>
+
+<p>
+<span class="pageheading">SYMBOLISM OF GIOTTO</span>
+The rendering of tactile values once recognised
+as the most important specifically artistic
+quality of Giotto&rsquo;s work, and as his personal
+contribution to the art of painting, we are all
+the better fitted to appreciate his more obvious
+though less peculiar merits&mdash;merits, I must
+add, which would seem far less extraordinary
+if it were not for the high plane of reality on
+which Giotto keeps us. Now what is back of
+this power of raising us to a higher plane of
+<a name="pg17" id="pg17"></a><span class="pagenum">17</span>
+reality but a genius for grasping and communicating
+real significance? What is it to render
+the tactile values of an object but to communicate
+its material significance? A painter who,
+after generations of mere manufacturers of
+symbols, illustrations, and allegories had the
+power to render the material significance of the
+objects he painted, must, as a man, have had a
+profound sense of the significant. No matter,
+then, what his theme, Giotto feels its real significance
+and communicates as much of it as the
+general limitations of his art, and of his own skill
+permit. When the theme is sacred story, it is
+scarcely necessary to point out with what processional
+gravity, with what hieratic dignity,
+with what sacramental intentness he endows it;
+the eloquence of the greatest critics has here
+found a darling subject. But let us look a moment
+at certain of his symbols in the Arena at
+Padua, at the &ldquo;Inconstancy,&rdquo; the &ldquo;Injustice,&rdquo; the
+&ldquo;Avarice,&rdquo; for instance. &ldquo;What are the significant
+traits,&rdquo; he seems to have asked himself,
+&ldquo;in the appearance and action of a person under
+the exclusive domination of one of these vices?
+Let me paint the person with these traits, and
+<a name="pg18" id="pg18"></a><span class="pagenum">18</span>
+I shall have a figure that perforce must call up
+the vice in question.&rdquo; So he paints &ldquo;Inconstancy&rdquo;
+as a woman with a blank face, her
+arms held out aimlessly, her torso falling backwards,
+her feet on the side of a wheel. It
+makes one giddy to look at her. &ldquo;Injustice,&rdquo;
+is a powerfully built man in the vigour of his
+years dressed in the costume of a judge, with
+his left hand clenching the hilt of his sword,
+and his clawed right hand grasping a double
+hooked lance. His cruel eye is sternly on the
+watch, and his attitude is one of alert readiness
+to spring in all his giant force upon his prey.
+He sits enthroned on a rock, overtowering the
+tall waving trees, and below him his underlings
+are stripping and murdering a wayfarer.
+&ldquo;Avarice&rdquo; is a horned hag with ears like
+trumpets. A snake issuing from her mouth
+curls back and bites her forehead. Her left
+hand clutches her money-bag, as she moves
+forward stealthily, her right hand ready to shut
+down on whatever it can grasp. No need to
+label them: as long as these vices exist, for so
+long has Giotto extracted and presented their
+visible significance.</p>
+
+<p><a name="pg19" id="pg19"></a><span class="pagenum">19</span>
+<span class="pageheading">GIOTTO</span>
+Still another exemplification of his sense for
+the significant is furnished by his treatment of
+action and movement. The grouping, the gestures
+never fail to be just such as will most rapidly
+convey the meaning. So with the significant
+line, the significant light and shade, the significant
+look up or down, and the significant
+gesture, with means technically of the simplest,
+and, be it remembered, with no knowledge of
+anatomy, Giotto conveys a complete sense of
+motion such as we get in his Paduan frescoes
+of the &ldquo;Resurrection of the Blessed,&rdquo; of the
+&ldquo;Ascension of our Lord,&rdquo; of the God the Father
+in the &ldquo;Baptism,&rdquo; or the angel in &ldquo;Zacharias&rsquo;
+Dream.&rdquo;</p>
+
+<p>This, then, is Giotto&rsquo;s claim to everlasting
+appreciation as an artist: that his thorough-going
+sense for the significant in the visible
+world enabled him so to represent things that
+we realise his representations more quickly
+and more completely than we should realise
+the things themselves, thus giving us that confirmation
+of our sense of capacity which is so
+great a source of pleasure.</p>
+
+<h3><a name="pg20" id="pg20"></a><span class="pagenum">20</span> III.</h3>
+
+<p><span class="pageheading">FOLLOWERS OF GIOTTO</span>For a hundred years after Giotto there
+appeared in Florence no painter equally endowed
+with dominion over the significant. His
+immediate followers so little understood the
+essence of his power that some thought it resided
+in his massive types, others in the swiftness
+of his line, and still others in his light
+colour, and it never occurred to any of them
+that the massive form without its material significance,
+its tactile values, is a shapeless sack,
+that the line which is not functional is mere
+calligraphy, and that light colour by itself can at
+the best spot a surface prettily. The better of
+them felt their inferiority, but knew no remedy,
+and all worked busily, copying and distorting
+Giotto, until they and the public were heartily
+tired. A change at all costs became necessary,
+and it was very simple when it came. &ldquo;Why
+grope about for the significant, when the obvious
+is at hand? Let me paint the obvious;
+the obvious always pleases,&rdquo; said some clever
+innovator. So he painted the obvious,&mdash;pretty
+clothes, pretty faces, and trivial action, with the
+<a name="pg21" id="pg21"></a><span class="pagenum">21</span>
+results foreseen: he pleased then, and he pleases
+still. Crowds still flock to the Spanish chapel
+in S. Maria Novella to celebrate the triumph of
+the obvious, and non-significant. Pretty faces,
+pretty colour, pretty clothes, and trivial action!
+Is there a single figure in the fresco representing
+the &ldquo;Triumph of St. Thomas&rdquo; which incarnates
+the idea it symbolises, which, without its labelling
+instrument, would convey any meaning
+whatever? One pretty woman holds a globe
+and sword, and I am required to feel the majesty
+of empire; another has painted over her
+pretty clothes a bow and arrow, which are supposed
+to rouse me to a sense of the terrors of
+war; a third has an organ on what was intended
+to be her knee, and the sight of this instrument
+must suffice to put me into the ecstasies of
+heavenly music; still another pretty lady has
+her arm akimbo, and if you want to know what
+edification she can bring, you must read her
+scroll. Below these pretty women sit a number
+of men looking as worthy as clothes and beards
+can make them; one highly dignified old gentleman
+gazes with all his heart and all his soul
+at&mdash;the point of his quill. The same lack of
+<a name="pg22" id="pg22"></a><span class="pagenum">22</span>
+significance, the same obviousness characterise
+the fresco representing the &ldquo;Church Militant
+and Triumphant.&rdquo; What more obvious symbol
+for <i>the</i> Church than <i>a</i> church? what more significant
+of St. Dominic than the refuted Paynim
+philosopher who (with a movement, by the way,
+as obvious as it is clever) tears out a leaf from
+his own book? And I have touched only on
+the value of these frescoes as allegories. Not
+to speak of the emptiness of the one and the
+confusion of the other, as compositions, there is
+not a figure in either which has tactile values,&mdash;that
+is to say, artistic existence.</p>
+
+<p>While I do not mean to imply that painting
+between Giotto and Masaccio existed in vain&mdash;on
+the contrary, considerable progress was made
+in the direction of landscape, perspective, and
+facial expression,&mdash;it is true that, excepting the
+works of two men, no masterpieces of art were
+produced. These two, one coming in the
+middle of the period we have been dwelling
+upon, and the other just at its close, were
+Andrea Orcagna and Fra Angelico.</p>
+
+<p>
+<span class="pageheading">ORCAGNA</span>
+Of Orcagna it is difficult to speak, as only a
+single fairly intact painting of his remains, the
+<a name="pg23" id="pg23"></a><span class="pagenum">23</span>
+altar-piece in S. Maria Novella. Here he reveals
+himself as a man of considerable endowment:
+as in Giotto, we have tactile values,
+material significance; the figures artistically
+exist. But while this painting betrays no peculiar
+feeling for beauty of face and expression,
+the frescoes in the same chapel, the one in
+particular representing Paradise, have faces full
+of charm and grace. I am tempted to believe
+that we have here a happy improvement made
+by the recent restorer. But what these mural
+paintings must always have had is real artistic
+existence, great dignity of slow but rhythmic
+movement, and splendid grouping. They still
+convince us of their high purpose. On the
+other hand, we are disappointed in Orcagna&rsquo;s
+sculptured tabernacle at Or Sammichele, where
+the feeling for both material and spiritual significance
+is much lower.</p>
+
+<p>
+<span class="pageheading">FRA ANGELICO</span>
+We are happily far better situated toward
+Fra Angelico, enough of whose works have
+come down to us to reveal not only his quality
+as an artist, but his character as a man. Perfect
+certainty of purpose, utter devotion to his
+task, a sacramental earnestness in performing
+<a name="pg24" id="pg24"></a><span class="pagenum">24</span>
+it, are what the quantity and quality of his
+work together proclaim. It is true that Giotto&rsquo;s
+profound feeling for either the materially
+or the spiritually significant was denied him&mdash;and
+there is no possible compensation for the
+difference; but although his sense for the real
+was weaker, it yet extended to fields which
+Giotto had not touched. Like all the supreme
+artists, Giotto had no inclination to concern
+himself with his attitude toward the significant,
+with his feelings about it; the grasping
+and presentation of it sufficed him. In the
+weaker personality, the significant, vaguely perceived,
+is converted into emotion, is merely
+felt, and not realised. Over this realm of feeling
+Fra Angelico was the first great master.
+&ldquo;God&rsquo;s in his heaven&mdash;all&rsquo;s right with the
+world&rdquo; he felt with an intensity which prevented
+him from perceiving evil anywhere.
+When he was obliged to portray it, his imagination
+failed him and he became a mere child;
+his hells are bogy-land; his martyrdoms are
+enacted by children solemnly playing at martyr
+and executioner; and he nearly spoils one of
+the most impressive scenes ever painted&mdash;the
+<a name="pg25" id="pg25"></a><span class="pagenum">25</span>
+great &ldquo;Crucifixion&rdquo; at San Marco&mdash;with the
+childish violence of St. Jerome&rsquo;s tears. But
+upon the picturing of blitheness, of ecstatic confidence
+in God&rsquo;s loving care, he lavished all the
+resources of his art. Nor were they small. To
+a power of rendering tactile values, to a sense
+for the significant in composition, inferior, it is
+true, to Giotto&rsquo;s, but superior to the qualifications
+of any intervening painter, Fra Angelico
+added the charm of great facial beauty, the
+interest of vivid expression, the attraction of
+delicate colour. What in the whole world of art
+more rejuvenating than Angelico&rsquo;s &ldquo;Coronation&rdquo;
+(in the Uffizi)&mdash;the happiness on all the
+faces, the flower-like grace of line and colour, the
+childlike simplicity yet unqualifiable beauty of
+the composition? And all this in tactile values
+which compel us to grant the reality of the
+scene, although in a world where real people
+are standing, sitting, and kneeling we know
+not, and care not, on what. It is true, the significance
+of the event represented is scarcely
+touched upon, but then how well Angelico communicates
+the feeling with which it inspired
+him! Yet simple though he was as a person,
+<a name="pg26" id="pg26"></a><span class="pagenum">26</span>
+simple and one-sided as was his message, as a
+product he was singularly complex. He was
+the typical painter of the transition from
+Medi&aelig;val to Renaissance. The sources of his
+feeling are in the Middle Ages, but he <i>enjoys</i>
+his feelings in a way which is almost modern;
+and almost modern also are his means of expression.
+We are too apt to forget this transitional
+character of his, and, ranking him with
+the moderns, we count against him every awkwardness
+of action, and every lack of articulation
+in his figures. Yet both in action and in
+articulation he made great progress upon his
+precursors&mdash;so great that, but for Masaccio, who
+completely surpassed him, we should value him
+as an innovator. Moreover, he was not only
+the first Italian to paint a landscape that can
+be identified (a view of Lake Trasimene from
+Cortona), but the first to communicate a sense
+of the pleasantness of nature. How readily
+we feel the freshness and spring-time gaiety
+of his gardens in the frescoes of the &ldquo;Annunciation&rdquo;
+and the &ldquo;Noli me tangere&rdquo; at San
+Marco!</p>
+
+<h3><a name="pg27" id="pg27"></a><span class="pagenum">27</span> IV.</h3>
+
+<p><span class="pageheading">MASACCIO</span>
+Giotto born again, starting where death had
+cut short his advance, instantly making his own
+all that had been gained during his absence,
+and profiting by the new conditions, the new
+demands&mdash;imagine such an avatar, and you will
+understand Masaccio.</p>
+
+<p>Giotto we know already, but what were the
+new conditions, the new demands? The medi&aelig;val
+skies had been torn asunder and a new
+heaven and a new earth had appeared, which
+the abler spirits were already inhabiting and
+enjoying. Here new interests and new values
+prevailed. The thing of sovereign price was
+the power to subdue and to create; of sovereign
+interest all that helped man to know
+the world he was living in and his power over
+it. To the artist the change offered a field of
+the freest activity. It is always his business to
+reveal to an age its ideals. But what room was
+there for sculpture and painting,&mdash;arts whose
+first purpose it is to make us realise the material
+significance of things&mdash;in a period like the
+Middle Ages, when the human body was denied
+<a name="pg28" id="pg28"></a><span class="pagenum">28</span>
+all intrinsic significance? In such an age
+the figure artist can thrive, as Giotto did, only
+in spite of it, and as an isolated phenomenon.
+In the Renaissance, on the contrary, the figure
+artist had a demand made on him such as had
+not been made since the great Greek days, to
+reveal to a generation believing in man&rsquo;s power
+to subdue and to possess the world, the physical
+types best fitted for the task. And as this
+demand was imperative and constant, not one,
+but a hundred Italian artists arose, able each
+in his own way to meet it,&mdash;in their combined
+achievement, rivalling the art of the Greeks.</p>
+
+<p>In sculpture Donatello had already given
+body to the new ideals when Masaccio began
+his brief career, and in the education, the
+awakening, of the younger artist the example
+of the elder must have been of incalculable
+force. But a type gains vastly in significance
+by being presented in some action along with
+other individuals of the same type; and here
+Donatello was apt, rather than to draw his
+meed of profit, to incur loss by descending to
+the obvious&mdash;witness his <i>bas-reliefs</i> at Siena,
+Florence, and Padua. Masaccio was untouched
+<a name="pg29" id="pg29"></a><span class="pagenum">29</span>
+by this taint. Types, in themselves of the
+manliest, he presents with a sense for the materially
+significant which makes us realise to
+the utmost their power and dignity; and the
+spiritual significance thus gained he uses to
+give the highest import to the event he is portraying;
+this import, in turn, gives a higher
+value to the types, and thus, whether we devote
+our attention to his types or to his action,
+Masaccio keeps us on a high plane of reality
+and significance. In later painting we shall
+easily find greater science, greater craft, and
+greater perfection of detail, but greater reality,
+greater significance, I venture to say, never.
+Dust-bitten and ruined though his Brancacci
+Chapel frescoes now are, I never see them without
+the strongest stimulation of my tactile
+consciousness. I feel that I could touch every
+figure, that it would yield a definite resistance
+to my touch, that I should have to expend
+thus much effort to displace it, that I could
+walk around it. In short, I scarcely could
+realise it more, and in real life I should
+scarcely realise it so well, the attention of each
+of us being too apt to concentrate itself upon
+<a name="pg30" id="pg30"></a><span class="pagenum">30</span>
+some dynamic quality, before we have at all
+begun to realise the full material significance of
+the person before us. Then what strength to
+his young men, and what gravity and power to
+his old! How quickly a race like this would
+possess itself of the earth, and brook no rivals
+but the forces of nature! Whatever they do&mdash;simply
+because it is they&mdash;is impressive and
+important, and every movement, every gesture,
+is world-changing. Compared with his figures,
+those in the same chapel by his precursor,
+Masolino, are childish, and those by his follower,
+Filippino, unconvincing and without significance,
+because without tactile values. Even
+Michelangelo, where he comes in rivalry, has,
+for both reality and significance, to take a second
+place. Compare his &ldquo;Expulsion from
+Paradise&rdquo; (in the Sixtine Chapel) with the one
+here by Masaccio. Michelangelo&rsquo;s figures are
+more correct, but far less tangible and less
+powerful; and while he represents nothing but
+a man warding off a blow dealt from a sword,
+and a woman cringing with ignoble fear, Masaccio&rsquo;s
+Adam and Eve stride away from Eden
+heart-broken with shame and grief, hearing,
+<a name="pg31" id="pg31"></a><span class="pagenum">31</span>
+perhaps, but not seeing, the angel hovering
+high overhead who directs their exiled footsteps.</p>
+
+<p>Masaccio, then, like Giotto a century earlier,&mdash;himself
+the Giotto of an artistically more
+propitious world&mdash;was, as an artist, a great
+master of the significant, and, as a painter, endowed
+to the highest degree with a sense of
+tactile values, and with a skill in rendering
+them. In a career of but few years he gave to
+Florentine painting the direction it pursued to
+the end. In many ways he reminds us of the
+young Bellini. Who knows? Had he but
+lived as long, he might have laid the foundation
+for a painting not less delightful and far
+more profound than that of Venice. As it was,
+his frescoes at once became, and for as long as
+there were real artists among them remained,
+the training-school of Florentine painters.</p>
+
+
+<h3>V.</h3>
+
+<p>Masaccio&rsquo;s death left Florentine painting in
+the hands of three men older, and two somewhat
+younger than himself, all men of great talent, if
+not of genius, each of whom&mdash;the former to the
+<a name="pg32" id="pg32"></a><span class="pagenum">32</span>
+extent habits already formed would permit, the
+latter overwhelmingly, felt his influence. The
+older, who, but for Masaccio, would themselves
+have been the sole determining personalities in
+their art, were Fra Angelico, Paolo Uccello, and
+Andrea del Castagno; the younger, Domenico
+Veneziano and Fra Filippo. As these were
+the men who for a whole generation after
+Masaccio&rsquo;s death remained at the head of their
+craft, forming the taste of the public, and communicating
+their habits and aspirations to their
+pupils, we at this point can scarcely do better
+than try to get some notion of each of them and
+of the general art tendencies they represented.</p>
+
+<p>
+<span class="pageheading">PAOLO UCCELLO</span>
+Fra Angelico we know already as the painter
+who devoted his life to picturing the departing
+medi&aelig;val vision of a heaven upon earth. Nothing
+could have been farther from the purpose of
+Uccello and Castagno. Different as these two
+were from each other, they have this much in
+common, that in their works which remain to
+us, dating, it is true, from their years of maturity,
+there is no touch of medi&aelig;val sentiment, no
+note of transition. As artists they belonged entirely
+to the new era, and they stand at the beginning
+<a name="pg33" id="pg33"></a><span class="pagenum">33</span>
+of the Renaissance as types of two
+tendencies which were to prevail in Florence
+throughout the whole of the fifteenth century,
+partly supplementing and partly undoing the
+teaching of Masaccio.</p>
+
+<p>Uccello had a sense of tactile values and a
+feeling for colour, but in so far as he used these
+gifts at all, it was to illustrate scientific problems.
+His real passion was perspective, and
+painting was to him a mere occasion for solving
+some problem in this science, and displaying his
+mastery over its difficulties. Accordingly he
+composed pictures in which he contrived to get
+as many lines as possible leading the eye inward.
+Prostrate horses, dead or dying cavaliers,
+broken lances, ploughed fields, Noah&rsquo;s arks, are
+used by him with scarcely an attempt at disguise,
+to serve his scheme of mathematically
+converging lines. In his zeal he forgot local
+colour&mdash;he loved to paint his horses green or
+pink&mdash;forgot action, forgot composition, and, it
+need scarcely be added, significance. Thus in
+his battle-pieces, instead of adequate action of
+any sort, we get the feeling of witnessing a show
+of stuffed figures whose mechanical movements
+<a name="pg34" id="pg34"></a><span class="pagenum">34</span>
+have been suddenly arrested by some clog in
+their wires; in his fresco of the &ldquo;Deluge,&rdquo; he
+has so covered his space with demonstrations
+of his cleverness in perspective and foreshortening
+that, far from bringing home to us the terrors
+of a cataclysm, he at the utmost suggests
+the bursting of a mill-dam; and in the neighbouring
+fresco of the &ldquo;Sacrifice of Noah,&rdquo; just
+as some capitally constructed figures are about
+to enable us to realise the scene, all possibility
+of artistic pleasure is destroyed by our seeing
+an object in the air which, after some difficulty,
+we decipher as a human being plunging downward
+from the clouds. Instead of making this
+figure, which, by the way, is meant to represent
+God the Father, plunge toward us, Uccello deliberately
+preferred to make it dash inward,
+away from us, thereby displaying his great skill
+in both perspective and foreshortening, but at
+the same time writing himself down as the
+founder of two families of painters which have
+flourished ever since, the artists for dexterity&rsquo;s
+sake&mdash;mental or manual, it scarcely matters&mdash;and
+the naturalists. As these two clans increased
+rapidly in Florence, and, for both good
+<a name="pg35" id="pg35"></a><span class="pagenum">35</span>
+and evil, greatly affected the whole subsequent
+course of Florentine painting, we must, before
+going farther, briefly define to ourselves
+dexterity and naturalism, and their relation to
+art.</p>
+
+<p>
+<span class="pageheading">ART FOR DEXTERITY&rsquo;S SAKE</span>
+The essential in painting, especially in figure-painting,
+is, we agreed, the rendering of the
+tactile values of the forms represented, because
+by this means, and this alone, can the art make
+us realise forms better than we do in life. The
+great painter, then, is, above all, an artist with
+a great sense of tactile values and great skill in
+rendering them. Now this sense, though it
+will increase as the man is revealed to himself,
+is something which the great painter possesses
+at the start, so that he is scarcely, if at all, aware
+of possessing it. His conscious effort is given
+to the means of rendering. It is of means of
+rendering, therefore, that he talks to others;
+and, because his triumphs here are hard-earned
+and conscious, it is on his skill in rendering that
+he prides himself. The greater the painter, the
+less likely he is to be aware of aught else in his
+art than problems of rendering&mdash;but all the
+while he is communicating what the force of
+<a name="pg36" id="pg36"></a><span class="pagenum">36</span>
+his genius makes him feel without his striving
+for it, almost without his being aware of it, the
+material and spiritual significance of forms.
+However&mdash;his intimates hear him talk of nothing
+but skill; he seems to think of nothing
+but skill; and naturally they, and the entire
+public, conclude that his skill is his genius, and
+that skill <i>is</i> art. This, alas, has at all times
+been the too prevalent notion of what art is,
+divergence of opinion existing not on the principle,
+but on the kind of dexterity to be prized,
+each generation, each critic, having an individual
+standard, based always on the several
+peculiar problems and difficulties that interest
+them. At Florence these inverted notions
+about art were especially prevalent because it
+was a school of art with a score of men of genius
+and a thousand mediocrities all egging each
+other on to exhibitions of dexterity, and in
+their hot rivalry it was all the great geniuses
+could do to be faithful to their sense of significance.
+Even Masaccio was driven to exhibit
+his mere skill, the much admired and by itself
+wonderfully realised figure of a naked man
+trembling with cold being not only without
+<a name="pg37" id="pg37"></a><span class="pagenum">37</span>
+real significance, but positively distracting, in
+the representation of a baptism. A weaker
+man like Paolo Uccello almost entirely sacrificed
+what sense of artistic significance he may have
+started with, in his eagerness to display his
+skill and knowledge. As for the rabble, their
+work has now the interest of prize exhibitions
+at local art schools, and their number merely
+helped to accelerate the momentum with which
+Florentine art rushed to its end. But out of
+even mere dexterity a certain benefit to art
+may come. Men without feeling for the significant
+may yet perfect a thousand matters
+which make rendering easier and quicker for
+the man who comes with something to render,
+and when Botticelli and Leonardo and Michelangelo
+appeared, they found their artistic patrimony
+increased in spite of the fact that since
+Masaccio there had been no man at all approaching
+their genius. This increase, however,
+was due not at all so much to the sons of
+dexterity, as to the intellectually much nobler,
+but artistically even inferior race of whom also
+Uccello was the ancestor&mdash;the Naturalists.</p>
+
+<p>
+<span class="pageheading">NATURALISM IN ART</span>
+What is a Naturalist? I venture upon the
+<a name="pg38" id="pg38"></a><span class="pagenum">38</span>
+following definition:&mdash;A man with a native gift
+for science who has taken to art. His purpose
+is not to extract the material and spiritual significance
+of objects, thus communicating them
+to us more rapidly and intensely than we
+should perceive them ourselves, and thereby
+giving us a sense of heightened vitality; his
+purpose is research, and his communication
+consists of nothing but facts. From this perhaps
+too abstract statement let us take refuge
+in an example already touched upon&mdash;the figure
+of the Almighty in Uccello&rsquo;s &ldquo;Sacrifice of
+Noah.&rdquo; Instead of presenting this figure as
+coming toward us in an attitude and with an
+expression that will appeal to our sense of
+solemnity, as a man whose chief interest was
+artistic would have done&mdash;as Giotto, in fact, did
+in his &ldquo;Baptism&rdquo;&mdash;Uccello seems to have been
+possessed with nothing but the scientific intention
+to find out how a man swooping down
+head-foremost would have looked if at a given
+instant of his fall he had been suddenly congealed
+and suspended in space. A figure like
+this may have a mathematical but certainly has
+no psychological significance. Uccello, it is
+<a name="pg39" id="pg39"></a><span class="pagenum">39</span>
+true, has studied every detail of this phenomenon
+and noted down his observations, but
+because his notes happen to be in form and
+colour, they do not therefore constitute a work
+of art. Wherein does his achievement differ in
+quality from a coloured map of a country? We
+can easily conceive of a relief map of Cadore or
+Giverny on so large a scale, and so elaborately
+coloured, that it will be an exact reproduction
+of the physical aspects of those regions,
+but never for a moment should we place it beside
+a landscape by Titian or Monet, and think
+of it as a work of art. Yet its relation to the
+Titian or Monet painting is exactly that of
+Uccello&rsquo;s achievement to Giotto&rsquo;s. What the
+scientist who paints&mdash;the naturalist, that is to
+say,&mdash;attempts to do is not to give us what art
+alone can give us, the life-enhancing qualities
+of objects, but a reproduction of them as they
+are. If he succeeded, he would give us the exact
+visual impression of the objects themselves,
+but art, as we have already agreed, must give
+us not the mere reproductions of things but a
+quickened sense of capacity for realising them.
+Artistically, then, the naturalists, Uccello and
+<a name="pg40" id="pg40"></a><span class="pagenum">40</span>
+his numerous successors, accomplished nothing.
+Yet their efforts to reproduce objects as they
+are, their studies in anatomy and perspective,
+made it inevitable that when another great
+genius did arise, he should be a Leonardo or a
+Michelangelo, and not a Giotto.</p>
+
+<p>
+<span class="pageheading">ANDREA DEL CASTAGNO</span>
+Uccello, as I have said, was the first representative
+of two strong tendencies in Florentine
+painting&mdash;of art for dexterity&rsquo;s sake, and art
+for scientific purposes. Andrea del Castagno,
+while also unable to resist the fascination of
+mere science and dexterity, had too much
+artistic genius to succumb to either. He was
+endowed with great sense for the significant,
+although, it is true, not enough to save him
+completely from the pitfalls which beset all
+Florentines, and even less from one more
+peculiar to himself&mdash;the tendency to communicate
+at any cost a feeling of power. To make
+us feel power as Masaccio and Michelangelo do
+at their best is indeed an achievement, but it
+requires the highest genius and the profoundest
+sense for the significant. The moment this
+sense is at all lacking, the artist will not succeed
+in conveying power, but such obvious manifestations
+<a name="pg41" id="pg41"></a><span class="pagenum">41</span>
+of it as mere strength, or, worse still, the
+insolence not infrequently accompanying high
+spirits. Now Castagno, who succeeds well
+enough in one or two such single figures as
+his Cum&aelig;an Sibyl or his Farinata degli
+Uberti, which have great, if not the greatest,
+power, dignity, and even beauty, elsewhere condescends
+to mere swagger,&mdash;as in his Pipo
+Spano or Niccolo di Tolentino&mdash;or to mere
+strength, as in his &ldquo;Last Supper,&rdquo; or, worse
+still, to actual brutality, as in his Santa Maria
+Nuova &ldquo;Crucifixion.&rdquo; Nevertheless, his few
+remaining works lead us to suspect in him the
+greatest artist, and the most influential personality
+among the painters of the first generation
+after Masaccio.</p>
+
+
+<h3>VI.</h3>
+
+<p><span class="pageheading">DOMENICO VENEZIANO</span>
+To distinguish clearly, after the lapse of
+nearly five centuries, between Uccello and
+Castagno, and to determine the precise share
+each had in the formation of the Florentine
+school, is already a task fraught with difficulties.
+The scantiness of his remaining works
+makes it more than difficult, makes it almost impossible,
+<a name="pg42" id="pg42"></a><span class="pagenum">42</span>
+to come to accurate conclusions regarding
+the character and influence of their
+somewhat younger contemporary, Domenico
+Veneziano. That he was an innovator in
+technique, in affairs of vehicle and medium, we
+know from Vasari; but as such innovations, indispensable
+though they may become to painting
+as a craft, are in themselves questions of
+theoretic and applied chemistry, and not of art,
+they do not here concern us. His artistic
+achievements seem to have consisted in giving
+to the figure movement and expression, and to
+the face individuality. In his existing works we
+find no trace of sacrifice made to dexterity and
+naturalism, although it is clear that he must
+have been master of whatever science and whatever
+craft were prevalent in his day. Otherwise
+he would not have been able to render a figure
+like the St. Francis in his Uffizi altar-piece,
+where tactile values and movement expressive
+of character&mdash;what we usually call individual
+<i>gait</i>&mdash;were perhaps for the first time combined;
+or to attain to such triumphs as his St. John
+and St. Francis, at Santa Croce, whose entire
+figures express as much fervour as their eloquent
+<a name="pg43" id="pg43"></a><span class="pagenum">43</span>
+faces. As to his sense for the significant
+in the individual, in other words, his power as
+a portrait-painter, we have in the Pitti one or
+two heads to witness, perhaps, the first great
+achievements in this kind of the Renaissance.</p>
+
+<p>
+<span class="pageheading">FRA FILIPPO LIPPI</span>
+No such difficulties as we have encountered
+in the study of Uccello, Castagno, and Veneziano
+meet us as we turn to Fra Filippo. His
+works are still copious, and many of them are
+admirably preserved; we therefore have every
+facility for judging him as an artist, yet nothing
+is harder than to appreciate him at his due. If
+attractiveness, and attractiveness of the best
+kind, sufficed to make a great artist, then
+Filippo would be one of the greatest, greater
+perhaps than any other Florentine before
+Leonardo. Where shall we find faces more
+winsome, more appealing, than in certain of his
+Madonnas&mdash;the one in the Uffizi, for instance&mdash;more
+momentarily evocative of noble feeling
+than in his Louvre altar-piece? Where in
+Florentine painting is there anything more fascinating
+than the playfulness of his children,
+more poetic than one or two of his landscapes,
+more charming than is at times his colour?
+<a name="pg44" id="pg44"></a><span class="pagenum">44</span>
+And with all this, health, even robustness, and
+almost unfailing good-humour! Yet by themselves
+all these qualities constitute only a high-class
+illustrator, and such by native endowment
+I believe Fra Filippo to have been. That he
+became more&mdash;very much more&mdash;is due rather
+to Masaccio&rsquo;s potent influence than to his own
+genius; for he had no profound sense of either
+material or spiritual significance&mdash;the essential
+qualifications of the real artist. Working under
+the inspiration of Masaccio, he at times renders
+tactile values admirably, as in the Uffizi
+Madonna&mdash;but most frequently he betrays no
+genuine feeling for them, failing in his attempt
+to render them by the introduction of bunchy,
+billowy, calligraphic draperies. These, acquired
+from the late Giottesque painter (probably
+Lorenzo Monaco) who had been his first master,
+he seems to have prized as artistic elements no
+less than the tactile values which he attempted
+to adopt later, serenely unconscious, apparently,
+of their incompatibility. Filippo&rsquo;s strongest
+impulse was not toward the pre-eminently artistic
+one of re-creation, but rather toward expression,
+and within that field, toward the expression
+<a name="pg45" id="pg45"></a><span class="pagenum">45</span>
+of the pleasant, genial, spiritually comfortable
+feelings of ordinary life. His real place is with
+the <i>genre</i> painters; only his <i>genre</i> was of the
+soul, as that of others&mdash;of Benozzo Gozzoli, for
+example&mdash;was of the body. Hence a sin of his
+own, scarcely less pernicious than that of the
+naturalists, and cloying to boot&mdash;expression at
+any cost.</p>
+
+<h3>VII.</h3>
+
+<p><span class="pageheading">NATURALISM IN FLORENTINE ART</span>
+From the brief account just given of the four
+dominant personalities in Florentine painting
+from about 1430 to about 1460, it results that
+the leanings of the school during this interval
+were not artistic and artistic alone, but that
+there were other tendencies as well, tendencies
+on the one side, toward the expression of
+emotion (scarcely less literary because in form
+and colour than if in words), and, on the other,
+toward the naturalistic reproduction of objects.
+We have also noted that while the former tendency
+was represented by Filippo alone, the
+latter had Paolo Uccello, and all of Castagno
+and Veneziano that the genius of these two
+men would permit them to sacrifice to naturalism
+<a name="pg46" id="pg46"></a><span class="pagenum">46</span>
+and science. To the extent, however, that
+they took sides and were conscious of a distinct
+purpose, these also sided with Uccello
+and not with Filippo. It may be agreed,
+therefore, that the main current of Florentine
+painting for a generation after Masaccio was
+naturalistic, and that consequently the impact
+given to the younger painters who during this
+period were starting, was mainly toward naturalism.
+Later, in studying Botticelli, we shall see
+how difficult it was for any one young at
+the time to escape this tide, even if by temperament
+farthest removed from scientific
+interests.</p>
+
+<p>Meanwhile we must continue our study of
+the naturalists, but now of the second generation.
+Their number and importance from 1460
+to 1490 is not alone due to the fact that art
+education toward the beginning of this epoch
+was mainly naturalistic, but also to the real
+needs of a rapidly advancing craft, and even
+more to the character of the Florentine mind,
+the dominant turn of which was to science and
+not to art. But as there were then no professions
+scientific in the stricter sense of the word,
+<a name="pg47" id="pg47"></a><span class="pagenum">47</span>
+and as art of some form was the pursuit of
+a considerable proportion of the male inhabitants
+of Florence, it happened inevitably that
+many a lad with the natural capacities of a
+Galileo was in early boyhood apprenticed as an
+artist. And as he never acquired ordinary
+methods of scientific expression, and never had
+time for occupations not bread-winning, he was
+obliged his life long to make of his art both
+the subject of his strong instinctive interest in
+science, and the vehicle of conveying his
+knowledge to others.</p>
+
+<p>
+<span class="pageheading">ALESSIO BALDOVINETTI</span>
+This was literally the case with the oldest
+among the leaders of the new generation,
+Alessio Baldovinetti, in whose scanty remaining
+works no trace of purely artistic feeling or
+interest can be discerned; and it is only less
+true of Alessio&rsquo;s somewhat younger, but far
+more gifted contemporaries, Antonio Pollaiuolo
+and Andrea Verrocchio. These also we should
+scarcely suspect of being more than men of
+science, if Pollaiuolo once or twice, and Verrocchio
+more frequently, did not dazzle us with
+works of almost supreme art, which, but for our
+readiness to believe in the manifold possibilities
+<a name="pg48" id="pg48"></a><span class="pagenum">48</span>
+of Florentine genius, we should with exceeding
+difficulty accept as their creation&mdash;so little do
+they seem to result from their conscious striving.
+Alessio&rsquo;s attention being largely devoted
+to problems of vehicle&mdash;to the side of painting
+which is scarcely superior to cookery&mdash;he had
+time for little else, although that spare time he
+gave to the study of landscape, in the rendering
+of which he was among the innovators.
+Andrea and Antonio set themselves the much
+worthier task of increasing on every side the
+effectiveness of the figure arts, of which, sculpture
+no less than painting, they aimed to be
+masters.</p>
+
+<p>
+<span class="pageheading">POLLAIUOLO AND VERROCCHIO</span>
+To confine ourselves, however, as closely as
+we may to painting, and leaving aside for the
+present the question of colour, which, as I have
+already said, is, in Florentine art, of entirely
+subordinate importance, there were three directions
+in which painting as Pollaiuolo and Verrocchio
+found it had greatly to advance before
+it could attain its maximum of effectiveness:
+landscape, movement, and the nude. Giotto
+had attempted none of these. The nude, of
+course, he scarcely touched; movement he suggested
+<a name="pg49" id="pg49"></a><span class="pagenum">49</span>
+admirably, but never rendered; and in
+landscape he was satisfied with indications
+hardly more than symbolical, although quite
+adequate to his purpose, which was to confine
+himself to the human figure. In all directions
+Masaccio made immense progress, guided by
+his never failing sense for material significance,
+which, as it led him to render the tactile values
+of each figure separately, compelled him also
+to render the tactile values of groups as wholes,
+and of their landscape surroundings&mdash;by preference,
+hills so shaped as readily to stimulate
+the tactile imagination. For what he accomplished
+in the nude and in movement, we have
+his &ldquo;Expulsion&rdquo; and his &ldquo;Man Trembling
+with Cold&rdquo; to witness. But in his works neither
+landscape nor movement, nor the nude, are as
+yet distinct sources of artistic pleasure&mdash;that is
+to say, in themselves life-enhancing. Although
+we can well leave the nude until we come to
+Michelangelo, who was the first to completely
+realise its distinctly artistic possibilities, we cannot
+so well dispense with an enquiry into the
+sources of our &aelig;sthetic pleasure in the representation
+of movement and of landscape, as it
+<a name="pg50" id="pg50"></a><span class="pagenum">50</span>
+was in these two directions&mdash;in movement by
+Pollaiuolo especially, and in landscape by Baldovinetti,
+Pollaiuolo, and Verrocchio&mdash;that the
+great advances of this generation of Florentine
+painters were made.</p>
+
+<h3>VIII.</h3>
+
+<p><span class="pageheading">REPRESENTATION OF MOVEMENT</span>
+Turning our attention first to movement&mdash;which,
+by the way, is not the same as motion,
+mere change of place&mdash;we find that we realise
+it just as we realise objects, by the stimulation
+of our tactile imagination, only that here touch
+retires to a second place before the muscular
+feelings of varying pressure and strain. I see
+(to take an example) two men wrestling, but
+unless my retinal impressions are immediately
+translated into images of strain and pressure
+in my muscles, of resistance to my weight, of
+touch all over my body, it means nothing to
+me in terms of vivid experience&mdash;not more,
+perhaps, than if I heard some one say &ldquo;Two
+men are wrestling.&rdquo; Although a wrestling
+match may, in fact, contain many genuinely
+artistic elements, our enjoyment of it can never
+be quite artistic; we are prevented from completely
+<a name="pg51" id="pg51"></a><span class="pagenum">51</span>
+realising it not only by our dramatic
+interest in the game, but also, granting the
+possibility of being devoid of dramatic interest,
+by the succession of movements being too
+rapid for us to realise each completely, and too
+fatiguing, even if realisable. Now if a way
+could be found of conveying to us the realisation
+of movement without the confusion and
+the fatigue of the actuality, we should be
+getting out of the wrestlers more than they
+themselves can give us&mdash;the heightening of
+vitality which comes to us whenever we keenly
+realise life, such as the actuality itself would
+give us, <i>plus</i> the greater effectiveness of the
+heightening brought about by the clearer, intenser,
+and less fatiguing realisation. This is
+precisely what the artist who succeeds in representing
+movement achieves: making us realise
+it as we never can actually, he gives us a
+heightened sense of capacity, and whatever is
+in the actuality enjoyable, he allows us to
+enjoy at our leisure. In words already familiar
+to us, he <i>extracts the significance of movements</i>,
+just as, in rendering tactile values, the artist
+extracts the corporeal significance of objects.
+<a name="pg52" id="pg52"></a><span class="pagenum">52</span>
+His task is, however, far more difficult, although
+less indispensable:&mdash;it is not enough that he
+should extract the values of what at any given
+moment is an actuality, as is an object, but
+what at no moment really is&mdash;namely movement.
+He can accomplish his task in only one
+way, and that is by so rendering the one particular
+movement that we shall be able to realise
+all other movements that the same figure may
+make. &ldquo;He is grappling with his enemy now,&rdquo;
+I say of my wrestler. &ldquo;What a pleasure to be
+able to realise in my own muscles, on my own
+chest, with my own arms and legs, the life that
+is in him as he is making his supreme effort!
+What a pleasure, as I look away from the representation,
+to realise in the same manner, how
+after the contest his muscles will relax, and
+rest trickle like a refreshing stream through
+his nerves!&rdquo; All this I shall be made to enjoy
+by the artist who, in representing any one
+movement, can give me the logical sequence
+of visible strain and pressure in the parts and
+muscles.</p>
+
+<p>It is just here that the scientific spirit of the
+Florentine naturalists was of immense service
+<a name="pg53" id="pg53"></a><span class="pagenum">53</span>
+to art. This logic of sequence is to be attained
+only by great, although not necessarily more
+than empiric, knowledge of anatomy, such perhaps
+as the artist pure would never be inclined
+to work out for himself, but just such as would
+be of absorbing interest to those scientists by
+temperament and artists by profession whom
+we have in Pollaiuolo and, to a less extent, in
+Verrocchio. We remember how Giotto contrived
+to render tactile values. Of all the possible
+outlines, of all the possible variations of
+light and shade that a figure may have, he
+selected those that we must isolate for special
+attention when we are actually realising it. If
+instead of figure, we say figure in movement,
+the same statement applies to the way Pollaiuolo
+rendered movement&mdash;with this difference,
+however, that he had to render what in
+actuality we never can perfectly isolate, the
+line and light and shade most significant of any
+given action. This the artist must construct
+himself out of his dramatic feeling for pressure
+and strain and his ability to articulate the figure
+in all its logical sequences, for, if he would convey
+a sense of movement, he must give the line
+<a name="pg54" id="pg54"></a><span class="pagenum">54</span>
+and the light and shade which will best render
+not tactile values alone, but the sequences of
+articulations.</p>
+
+<p>
+<span class="pageheading">&ldquo;BATTLE OF THE NUDES&rdquo;</span>
+It would be difficult to find more effective
+illustration of all that has just been said about
+movement than one or two of Pollaiuolo&rsquo;s own
+works, which, in contrast to most of his achievements,
+where little more than effort and research
+are visible, are really masterpieces of
+life-communicating art. Let us look first at
+his engraving known as the &ldquo;Battle of the
+Nudes.&rdquo; What is it that makes us return
+to this sheet with ever renewed, ever increased
+pleasure? Surely it is not the hideous
+faces of most of the figures and their scarcely
+less hideous bodies. Nor is it the pattern as
+decorative design, which is of great beauty indeed,
+but not at all in proportion to the spell
+exerted upon us. Least of all is it&mdash;for most
+of us&mdash;an interest in the technique or history
+of engraving. No, the pleasure we take in
+these savagely battling forms arises from their
+power to directly communicate life, to immensely
+heighten our sense of vitality. Look
+at the combatant prostrate on the ground and
+<a name="pg55" id="pg55"></a><span class="pagenum">55</span>
+his assailant bending over, each intent on stabbing
+the other. See how the prostrate man
+plants his foot on the thigh of his enemy, and
+note the tremendous energy he exerts to keep
+off the foe, who, turning as upon a pivot, with
+his grip on the other&rsquo;s head, exerts no less force
+to keep the advantage gained. The significance
+of all these muscular strains and pressures is so
+rendered that we cannot help realising them;
+we imagine ourselves imitating all the movements,
+and exerting the force required for them&mdash;and
+all without the least effort on our side.
+If all this without moving a muscle, what
+should we feel if we too had exerted ourselves!
+And thus while under the spell of this illusion&mdash;this
+hyper&aelig;sthesia not bought with drugs,
+and not paid for with cheques drawn on our
+vitality&mdash;we feel as if the elixir of life, not our
+own sluggish blood, were coursing through our
+veins.</p>
+
+<p>
+<span class="pageheading">&ldquo;HERCULES STRANGLING DAVID&rdquo;</span>
+Let us look now at an even greater triumph
+of movement than the Nudes, Pollaiuolo&rsquo;s &ldquo;Hercules
+Strangling Ant&aelig;us.&rdquo; As you realise the
+suction of Hercules&rsquo; grip on the earth, the
+swelling of his calves with the pressure that
+<a name="pg56" id="pg56"></a><span class="pagenum">56</span>
+falls on them, the violent throwing back of his
+chest, the stifling force of his embrace; as you
+realise the supreme effort of Ant&aelig;us, with one
+hand crushing down upon the head and the
+other tearing at the arm of Hercules, you feel
+as if a fountain of energy had sprung up under
+your feet and were playing through your
+veins. I cannot refrain from mentioning still
+another masterpiece, this time not only of
+movement, but of tactile values and personal
+beauty as well&mdash;Pollaiuolo&rsquo;s &ldquo;David&rdquo; at Berlin.
+The young warrior has sped his stone, cut off
+the giant&rsquo;s head, and now he strides over it, his
+graceful, slender figure still vibrating with the
+rapidity of his triumph, expectant, as if fearing
+the ease of it. What lightness, what buoyancy
+we feel as we realise the movement of this wonderful
+youth!</p>
+
+<h3>IX.</h3>
+
+<p>
+<span class="pageheading">VERROCCHIO AND LANDSCAPE</span>
+In all that concerns movement, Verrocchio
+was a learner from Pollaiuolo, rather than an initiator,
+and he probably never attained his master&rsquo;s
+proficiency. We have unfortunately but few
+terms for comparison, as the only paintings
+<a name="pg57" id="pg57"></a><span class="pagenum">57</span>
+which can be with certainty ascribed to Verrocchio
+are not pictures of action. A drawing
+however like that of his angel, in the British
+Museum, which attempts as much movement
+as the Hercules by Pollaiuolo, in the same collection,
+is of obviously inferior quality. Yet in
+sculpture, along with works which are valuable
+as harbingers of Leonardo rather than for any
+intrinsic perfection, he created two such masterpieces
+of movement as the &ldquo;Child with the
+Dolphin&rdquo; in the courtyard of the Palazzo Vecchio,
+and the Colleoni monument at Venice&mdash;the
+latter sinning, if at all, by an over-exuberance
+of movement, by a step and swing too
+suggestive of drums and trumpets. But in
+landscape Verrocchio was a decided innovator.
+To understand what new elements he introduced,
+we must at this point carry out our
+determination to enquire into the source of our
+pleasure in landscape painting; or rather&mdash;to
+avoid a subject of vast extent for which this is
+not the place&mdash;of landscape painting as practised
+by the Florentines.</p>
+
+<p>
+<span class="pageheading">LANDSCAPE PAINTING</span>
+Before Verrocchio, his precursors, first Alessio
+Baldovinetti and then Pollaiuolo, had attempted
+<a name="pg58" id="pg58"></a><span class="pagenum">58</span>
+to treat landscape as naturalistically as painting
+would permit. Their ideal was to note it down
+with absolute correctness from a given point of
+view; their subject almost invariably the Valdarno;
+their achievement, a bird&rsquo;s-eye view of
+this Tuscan paradise. Nor can it be denied
+that this gives pleasure, but the pleasure is only
+such as is conveyed by tactile values. Instead
+of having the difficulty we should have in
+nature to distinguish clearly points near the
+horizon&rsquo;s edge, we here see them perfectly and
+without an effort, and in consequence feel great
+confirmation of capacity for life. Now if landscape
+were, as most people vaguely believe, a
+pleasure coming through the eyes alone, then
+the Pollaiuolesque treatment could be equalled
+by none that has followed, and surpassed only
+by Rogier van der Weyden, or by the quaint
+German &ldquo;Master of the Lyversberg Passion,&rdquo;
+who makes us see objects miles away with as
+great a precision and with as much intensity of
+local colour as if we were standing off from them
+a few feet. Were landscape really this, then
+nothing more inartistic than gradation of tint,
+atmosphere, and <i>plein air</i>, all of which help to
+<a name="pg59" id="pg59"></a><span class="pagenum">59</span>
+make distant objects less clear, and therefore
+tend in no way to heighten our sense of
+capacity. But as a matter of fact the pleasure
+we take in actual landscape is only to a
+limited extent an affair of the eye, and to a
+great extent one of unusually intense well-being.
+The painter&rsquo;s problem, therefore, is not
+merely to render the tactile values of the visible
+objects, but to convey, more rapidly and
+unfailingly than nature would do, <i>the consciousness</i>
+of an unusually intense degree of well-being.
+This task&mdash;the communication by
+means purely visual of feelings occasioned
+chiefly by sensations non-visual&mdash;is of such
+difficulty that, until recently, successes in the
+rendering of what is peculiar to landscape as an
+art, and to landscape alone, were accidental
+and sporadic. Only now, in our own days, may
+painting be said to be grappling with this problem
+seriously; and perhaps we are already at
+the dawn of an art which will have to what
+has hitherto been called landscape, the relation
+of our music to the music of the Greeks or
+of the Middle Ages.</p>
+
+<p>
+<span class="pageheading">VERROCCHIO&rsquo;S LANDSCAPES</span>
+Verrocchio was, among Florentines at least,
+<a name="pg60" id="pg60"></a><span class="pagenum">60</span>
+the first to feel that a faithful reproduction of
+the contours is not landscape, that the painting
+of nature is an art distinct from the painting of
+the figure. He scarcely knew where the difference
+lay, but felt that light and atmosphere play
+an entirely different part in each, and that in
+landscape these have at least as much importance
+as tactile values. A vision of <i>plein air</i>,
+vague I must grant, seems to have hovered before
+him, and, feeling his powerlessness to cope
+with it in full effects of light such as he attempted
+in his earlier pictures, he deliberately
+chose the twilight hour, when, in Tuscany, on
+fine days, the trees stand out almost black
+against a sky of light opalescent grey. To render
+this subduing, soothing effect of the coolness
+and the dew after the glare and dust of the
+day&mdash;the effect so matchlessly given in Gray&rsquo;s
+&ldquo;Elegy&rdquo;&mdash;seemed to be his first desire as a painter,
+and in presence of his &ldquo;Annunciation&rdquo; (in
+the Uffizi), we feel that he succeeded as only one
+other Tuscan succeeded after him, that other
+being his own pupil Leonardo.</p>
+
+
+<h3><a name="pg61" id="pg61"></a><span class="pagenum">61</span> X.</h3>
+
+<p><span class="pageheading">GENRE ARTISTS</span>It is a temptation to hasten on from Pollaiuolo
+and Verrocchio to Botticelli and Leonardo,
+to men of genius as artists reappearing again
+after two generations, men who accomplished
+with scarcely an effort what their precursors had
+been toiling after. But from these it would be
+even more difficult than at present to turn back
+to painters of scarcely any rank among the
+world&rsquo;s great artists, and of scarcely any importance
+as links in a chain of evolution, but
+not to be passed by, partly because of certain
+qualities they do possess, and partly because
+their names would be missed in an account,
+even so brief as this, of Florentine painting.
+The men I chiefly refer to, one most active toward
+the middle and the other toward the end
+of the fifteenth century, are Benozzo Gozzoli
+and Domenico Ghirlandaio. Although they
+have been rarely coupled together, they have
+much in common. Both were, as artists, little
+more than mediocrities with almost no genuine
+feeling for what makes painting a great art.
+The real attractiveness of both lies entirely outside
+<a name="pg62" id="pg62"></a><span class="pagenum">62</span>
+the sphere of pure art, in the realms of
+<i>genre</i> illustration. And here the likeness
+between them ends; within their common
+ground they differed widely.</p>
+
+<p>
+<span class="pageheading">BENOZZO GOZZOLI</span>
+Benozzo was gifted with a rare facility not
+only of execution but of invention, with a
+spontaneity, a freshness, a liveliness in telling a
+story that wake the child in us, and the lover of
+the fairy tale. Later in life, his more precious
+gifts deserted him, but who wants to resist the
+fascination of his early works, painted, as they
+seem, by a Fra Angelico who had forgotten
+heaven and become enamoured of the earth and
+the spring-time? In his Riccardi Palace frescoes,
+he has sunk already to portraying the
+Florentine apprentice&rsquo;s dream of a holiday in
+the country on St. John&rsquo;s Day; but what a <i>na&iuml;f</i>
+ideal of luxury and splendour it is! With these,
+the glamour in which he saw the world began to
+fade away from him, and in his Pisan frescoes
+we have, it is true, many a quaint bit of <i>genre</i>
+(superior to Teniers only because of superior
+associations), but never again the fairy tale.
+And as the better recedes, it is replaced by the
+worse, by the bane of all <i>genre</i> painting, non-significant
+<a name="pg63" id="pg63"></a><span class="pagenum">63</span>
+detail, and positive bad taste. Have
+London or New York or Berlin worse to show
+us than the jumble of buildings in his ideal of
+a great city, his picture of Babylon? It may
+be said he here continues medi&aelig;val tradition,
+which is quite true, but this very fact indicates
+his real place, which, in spite of his adopting so
+many of the fifteenth-century improvements, is
+not with the artists of the Renaissance, but with
+the story-tellers and costumed fairy-tale painters
+of the transition, with Spinello Aretino and
+Gentile da Fabriano, for instance. And yet,
+once in a while, he renders a head with such
+character, or a movement with such ease that
+we wonder whether he had not in him, after
+all, the making of a real artist.</p>
+
+<p>
+<span class="pageheading">GHIRLANDAIO</span>
+Ghirlandaio was born to far more science and
+cunning in painting than was current in Benozzo&rsquo;s
+early years, and all that industry, all
+that love of his occupation, all that talent even,
+can do for a man, they did for him; but unfortunately
+he had not a spark of genius. He
+appreciated Masaccio&rsquo;s tactile values, Pollaiuolo&rsquo;s
+movement, Verrocchio&rsquo;s effects of light,
+and succeeded in so sugaring down what he
+<a name="pg64" id="pg64"></a><span class="pagenum">64</span>
+adopted from these great masters that the superior
+philistine of Florence could say: &ldquo;There
+now is a man who knows as much as any of
+the great men, but can give me something that
+I can really enjoy!&rdquo; Bright colour, pretty
+faces, good likenesses, and the obvious everywhere&mdash;attractive
+and delightful, it must be
+granted, but, except in certain single figures,
+never significant. Let us glance a moment at
+his famous frescoes in Santa Maria Novella.
+To begin with, they are so undecorative that, in
+spite of the tone and surface imparted to them
+by four centuries, they still suggest so many
+<i>tableaux vivants</i> pushed into the wall side by
+side, and in tiers. Then the compositions are
+as overfilled as the sheets of an illustrated newspaper&mdash;witness
+the &ldquo;Massacre of the Innocents,&rdquo;
+a scene of such magnificent artistic
+possibilities. Finally, irrelevant episodes and
+irrelevant groups of portraits do what they can
+to distract our attention from all higher significance.
+Look at the &ldquo;Birth of John&rdquo;; Ginevra
+dei Benci stands there, in the very foreground,
+staring out at you as stiff as if she had a photographer&rsquo;s
+iron behind her head. An even
+<a name="pg65" id="pg65"></a><span class="pagenum">65</span>
+larger group of Florentine housewives in all
+their finery disfigures the &ldquo;Birth of the Virgin,&rdquo;
+which is further spoiled by a <i>bas relief</i> to show
+off the painter&rsquo;s acquaintance with the antique,
+and by the figure of the serving maid who
+pours out water, with the rush of a whirlwind
+in her skirts&mdash;this to show off skill in the rendering
+of movement. Yet elsewhere, as in his
+&ldquo;Epiphany&rdquo; in the Uffizi, Ghirlandaio has undeniable
+charm, and occasionally in portraits
+his talent, here at its highest, rises above mediocrity,
+in one instance, the fresco of Sassetti in
+Santa Trinit&agrave;, becoming almost genius.</p>
+
+
+<h3>XI.</h3>
+
+<p><span class="pageheading">LEONARDO</span>All that Giotto and Masaccio had attained
+in the rendering of tactile values, all that Fra
+Angelico or Filippo had achieved in expression,
+all that Pollaiuolo had accomplished in
+movement, or Verrocchio in light and shade,
+Leonardo, without the faintest trace of that
+tentativeness, that painfulness of effort which
+characterised his immediate precursors, equalled
+or surpassed. Outside Velasquez, and perhaps,
+when at their best, Rembrandt and Degas, we
+<a name="pg66" id="pg66"></a><span class="pagenum">66</span>
+shall seek in vain for tactile values so stimulating
+and so convincing as those of his &ldquo;Mona
+Lisa&rdquo;; outside Degas, we shall not find such
+supreme mastery over the art of movement as
+in the unfinished &ldquo;Epiphany&rdquo; in the Uffizi;
+and if Leonardo has been left far behind as a
+painter of light, no one has succeeded in conveying
+by means of light and shade a more
+penetrating feeling of mystery and awe than he
+in his &ldquo;Virgin of the Rocks.&rdquo; Add to all this,
+a feeling for beauty and significance that have
+scarcely ever been approached. Where again
+youth so poignantly attractive, manhood so potently
+virile, old age so dignified and possessed
+of the world&rsquo;s secrets! Who like Leonardo
+has depicted the mother&rsquo;s happiness in her
+child and the child&rsquo;s joy in being alive; who
+like Leonardo has portrayed the timidity, the
+newness to experience, the delicacy and refinement
+of maidenhood; or the enchantress intuitions,
+the inexhaustible fascination of the
+woman in her years of mastery? Look at
+his many sketches for Madonnas, look at his
+profile drawing of Isabella d&rsquo;Este, or at the
+<i>Belle Joconde</i>, and see whether elsewhere
+<a name="pg67" id="pg67"></a><span class="pagenum">67</span>
+you find their equals. Leonardo is the one artist
+of whom it may be said with perfect literalness:
+Nothing that he touched but turned into a
+thing of eternal beauty. Whether it be the
+cross-section of a skull, the structure of a weed,
+or a study of muscles, he, with his feeling for
+line and for light and shade, forever transmuted
+it into life-communicating values; and all without
+intention, for most of these magical sketches
+were dashed off to illustrate purely scientific
+matter, which alone absorbed his mind at the
+moment.</p>
+
+<p>And just as his art is life-communicating as
+is that of scarcely another, so the contemplation
+of his personality is life-enhancing as that
+of scarcely any other man. Think that great
+though he was as a painter, he was no less renowned
+as a sculptor and architect, musician
+and improviser, and that all artistic occupations
+whatsoever were in his career but moments
+snatched from the pursuit of theoretical and
+practical knowledge. It would seem as if there
+were scarcely a field of modern science but he
+either foresaw it in vision, or clearly anticipated
+it, scarcely a realm of fruitful speculation of
+<a name="pg68" id="pg68"></a><span class="pagenum">68</span>
+which he was not a freeman; and as if there
+were hardly a form of human energy which he
+did not manifest. And all that he demanded
+of life was the chance to be useful! Surely,
+such a man brings us the gladdest of all tidings&mdash;the
+wonderful possibilities of the human
+family, of whose chances we all partake.</p>
+
+<p>Painting, then, was to Leonardo so little of
+a preoccupation that we must regard it as
+merely a mode of expression used at moments
+by a man of universal genius, who recurred to
+it only when he had no more absorbing occupation,
+and only when it could express what
+nothing else could, the highest spiritual through
+the highest material significance. And great
+though his mastery over his craft, his feeling
+for significance was so much greater that it
+caused him to linger long over his pictures,
+labouring to render the significance he felt but
+which his hand could not reproduce, so that
+he rarely finished them. We thus have lost in
+quantity, but have we lost in quality? Could a
+mere painter, or even a mere artist, have seen
+and felt as Leonardo? We may well doubt.
+We are too apt to regard a universal genius as
+<a name="pg69" id="pg69"></a><span class="pagenum">69</span>
+a number of ordinary brains somehow conjoined
+in one skull, and not always on the most neighbourly
+terms. We forget that genius means
+mental energy, and that a Leonardo, for the
+self-same reason that prevents his being merely
+a painter&mdash;the fact that it does not exhaust a
+hundredth part of his energy&mdash;will, when he
+does turn to painting, bring to bear a power of
+seeing, feeling, and rendering, as utterly above
+that of the ordinary painter as the &ldquo;Mona
+Lisa&rdquo; is above, let us say, Andrea del Sarto&rsquo;s
+&ldquo;Portrait of his Wife.&rdquo; No, let us not join in
+the reproaches made to Leonardo for having
+painted so little; because he had much more
+to do than to paint, he has left all of us heirs to
+one or two of the supremest works of art ever
+created.</p>
+
+
+<h3>XII.</h3>
+
+<p>
+<span class="pageheading">BOTTICELLI</span>
+Never pretty, scarcely ever charming or even
+attractive; rarely correct in drawing, and seldom
+satisfactory in colour; in types, ill-favoured;
+in feeling acutely intense and even
+dolorous&mdash;what is it then that makes Sandro
+Botticelli so irresistible that nowadays we may
+<a name="pg70" id="pg70"></a><span class="pagenum">70</span>
+have no alternative but to worship or abhor
+him? The secret is this, that in European
+painting there has never again been an artist so
+indifferent to representation and so intent upon
+presentation. Educated in a period of triumphant
+naturalism, he plunged at first into mere
+representation with almost self-obliterating
+earnestness; the pupil of Fra Filippo, he was
+trained to a love of spiritual <i>genre</i>; himself
+gifted with strong instincts for the significant,
+he was able to create such a type of the thinker
+as in his fresco of St. Augustin; yet in his best
+years he left everything, even spiritual significance,
+behind him, and abandoned himself to the
+presentation of those qualities alone which in a
+picture are <i>directly</i> life-communicating, and
+life-enhancing. Those of us who care for nothing
+in the work of art but what it represents, are
+either powerfully attracted or repelled by his
+unhackneyed types and quivering feeling; but
+if we are such as have an imagination of touch
+and of movement that it is easy to stimulate,
+we feel a pleasure in Botticelli that few, if any,
+other artists can give us. Long after we have
+exhausted both the intensest sympathies and
+<a name="pg71" id="pg71"></a><span class="pagenum">71</span>
+the most violent antipathies with which the
+representative elements in his pictures may
+have inspired us, we are only on the verge of
+fully appreciating his real genius. This in its
+happiest moments is an unparalleled power of
+perfectly combining values of touch with
+values of movement.</p>
+
+<p>Look, for instance, at Botticelli&rsquo;s &ldquo;Venus
+Rising from the Sea.&rdquo; Throughout, the tactile
+imagination is roused to a keen activity, by
+itself almost as life heightening as music. But
+the power of music is even surpassed where, as
+in the goddess&rsquo; mane-like tresses of hair fluttering
+to the wind, not in disorderly rout but in
+masses yielding only after resistance, the movement
+is directly life-communicating. The entire
+picture presents us with the quintessence
+of all that is pleasurable to our imagination of
+touch and of movement. How we revel in the
+force and freshness of the wind, in the life of
+the wave! And such an appeal he always
+makes. His subject may be fanciful, as in the
+&ldquo;Realm of Venus&rdquo; (the &ldquo;Spring&rdquo;); religious,
+as in the Sixtine Chapel frescoes or in the
+&ldquo;Coronation of the Virgin&rdquo;; political, as in the
+<a name="pg72" id="pg72"></a><span class="pagenum">72</span>
+recently discovered &ldquo;Pallas Taming a Centaur&rdquo;;
+or even crudely allegorical, as in the Louvre
+frescoes,&mdash;no matter how unpropitious, how
+abstract the idea, the vivid appeal to our tactile
+sense, the life-communicating movement is always
+there. Indeed, at times it seems that the
+less artistic the theme, the more artistic the fulfilment,
+the painter being impelled to give the
+utmost values of touch and movement to just
+those figures which are liable to be read off as
+mere empty symbols. Thus, on the figure
+representing political disorder&mdash;the Centaur&mdash;in
+the &ldquo;Pallas,&rdquo; Botticelli has lavished his
+most intimate gifts. He constructs the torso
+and flanks in such a way that every line, every
+indentation, every boss appeals so vividly to the
+sense of touch that our fingers feel as if they
+had everywhere been in contact with his body,
+while his face gives to a still heightened degree
+this convincing sense of reality, every line functioning
+perfectly for the osseous structure of
+brow, nose, and cheeks. As to the hair&mdash;imagine
+shapes having the supreme life of line you
+may see in the contours of licking flames, and
+yet possessed of all the plasticity of something
+<a name="pg73" id="pg73"></a><span class="pagenum">73</span>
+which caresses the hand that models it to its
+own desire!</p>
+
+<p>
+<span class="pageheading">LINEAL DECORATION</span>
+In fact, the mere subject, and even representation
+in general, was so indifferent to
+Botticelli, that he appears almost as if haunted
+by the idea of communicating the <i>unembodied</i>
+values of touch and movement. Now there is
+a way of rendering even tactile values with
+almost no body, and that is by translating
+them as faithfully as may be into values of
+movement. For instance:&mdash;we want to render
+the roundness of a wrist without the slightest
+touch of either light or shade; we simply give
+the movement of the wrist&rsquo;s outline and the
+movement of the drapery as it falls over it, and
+the roundness is communicated to us almost
+entirely in terms of movement. But let us go
+one step further. Take this line that renders
+the roundness of the wrist, or a more obvious
+example, the lines that render the movements
+of the tossing hair, the fluttering draperies, and
+the dancing waves in the &ldquo;Birth of Venus&rdquo;&mdash;take
+these lines alone with all their power of
+stimulating our imagination of movement, and
+what do we have? Pure values of movement
+<a name="pg74" id="pg74"></a><span class="pagenum">74</span>
+abstracted, unconnected with any representation
+whatever. This kind of line, then, being
+the quintessence of movement, has, like the
+essential elements in all the arts, a power of
+stimulating our imagination and of directly
+communicating life. Well! imagine an art
+made up entirely of these quintessences of
+movement-values, and you will have something
+that holds the same relation to representation
+that music holds to speech&mdash;and this art exists,
+and is called lineal decoration. In this art of
+arts Sandro Botticelli may have had rivals in
+Japan and elsewhere in the East, but in
+Europe never. To its demands he was ready
+to sacrifice everything that habits acquired
+under Filippo and Pollaiuolo,&mdash;and his employers!&mdash;would
+permit. The representative
+element was for him a mere <i>libretto</i>: he
+was happiest when his subject lent itself to
+translation into what may be called a lineal
+symphony. And to this symphony everything
+was made to yield; tactile values were translated
+into values of movement, and, for the
+same reason&mdash;to prevent the drawing of the
+eye inward, to permit it to devote itself to the
+<a name="pg75" id="pg75"></a><span class="pagenum">75</span>
+rhythm of the line&mdash;the backgrounds were
+either entirely suppressed or kept as simple as
+possible. Colour also, with almost a contempt
+for its representative function, Botticelli entirely
+subordinated to his lineal scheme, compelling
+it to draw attention to the line, rather
+than, as is usual, away from it.</p>
+
+<p>This is the explanation of the value put upon
+Botticelli&rsquo;s masterpieces. In some of his later
+works, such as the Dresden <i>predelle</i>, we have,
+it is true, bacchanals rather than symphonies of
+line, and in many of his earlier paintings, in the
+&ldquo;<i>Fortezza</i>,&rdquo; for instance, the harness and trappings
+have so disguised Pegasus that we
+scarcely know him from a cart horse. But the
+painter of the &ldquo;Venus Rising from the Sea,&rdquo;
+of the &ldquo;Spring,&rdquo; or of the Villa Lemmi frescoes
+is the greatest artist of lineal design that
+Europe has ever had.</p>
+
+
+<h3>XIII.</h3>
+
+<p>
+<span class="pageheading">POPULARISERS OF ART</span>
+Leonardo and Botticelli, like Michelangelo
+after them, found imitators but not successors.
+To communicate more material and spiritual
+significance than Leonardo, would have taken
+<a name="pg76" id="pg76"></a><span class="pagenum">76</span>
+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&mdash;Leonardo&rsquo;s were all Milanese,
+and do not here concern us&mdash;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&rsquo;s art into
+average man&rsquo;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&mdash;not even on Filippino,
+with his touch of consumptive delicacy, nor
+<a name="pg77" id="pg77"></a><span class="pagenum">77</span>
+Raffaelino del Garbo, with his glints of
+never-to-be-fulfilled promise.</p>
+
+<p>
+<span class="pageheading">FRA BARTOLOMMEO</span>
+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.</p>
+
+<p>Fra Bartolommeo, who in temperament was
+delicate, refined, graceful, and as a painter had
+a miniaturist&rsquo;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
+<a name="pg78" id="pg78"></a><span class="pagenum">78</span>
+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 &ldquo;Madonna with
+the Baptist and St. Stephen&rdquo; in the Cathedral at
+Lucca, Bartolommeo, the dainty deviser of Mr.
+Mond&rsquo;s tiny &ldquo;Nativity,&rdquo; 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.</p>
+
+<p>
+<span class="pageheading">ANDREA DEL SARTO</span>
+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 &ldquo;Portrait of a
+Lady&rdquo;&mdash;probably his wife&mdash;with a Petrarch in
+<a name="pg79" id="pg79"></a><span class="pagenum">79</span>
+her hands? Where out of Venetia can we
+find portraits so simple, so frank, and yet so
+interpretive as his &ldquo;Sculptor,&rdquo; or as his various
+portraits of himself&mdash;these, by the way, an autobiography
+as complete as any in existence,
+and tragic as few? Almost Venetian again is
+his &ldquo;St. James&rdquo; caressing children, a work of
+the sweetest feeling. Even in colour effect, and
+technique, how singularly close to the best
+Venetian painting in his &ldquo;Dispute about the
+Trinity&rdquo;&mdash;what blacks and whites, what greys
+and purplish browns! And in addition, tactile
+values peculiar to Florence&mdash;what a back St.
+Sebastian&rsquo;s! But in a work of scarcely less
+technical merit, the &ldquo;Madonna of the Harpies,&rdquo;
+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 &ldquo;Madonna&rdquo;
+is too obviously statuesque, and, good
+saints, pray why all these draperies?</p>
+
+<p>The obviously statuesque and draperies were
+Andrea&rsquo;s devices for keeping his head above
+water in the rising tide of the Michelangelesque.
+<a name="pg80" id="pg80"></a><span class="pagenum">80</span>
+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.</p>
+
+<p>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 &ldquo;Assumption,&rdquo;
+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&rsquo;s &ldquo;Assunta,&rdquo; wrapt to heaven,
+you gaze at a number of tailor&rsquo;s men, each
+showing how a stuff you are thinking of trying
+looks on the back, or in a certain effect of light.
+<a name="pg81" id="pg81"></a><span class="pagenum">81</span>
+But let us not end on this note; let us bear in
+mind that, despite all his faults, Andrea painted
+the one &ldquo;Last Supper&rdquo; which can be looked at
+with pleasure after Leonardo&rsquo;s.</p>
+
+<p>
+<span class="pageheading">PONTORMO</span>
+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 <i>himself</i>, 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
+&ldquo;Lady with a Dog&rdquo; (at Frankfort), perhaps the
+first portrait ever painted in which the sitter&rsquo;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 &ldquo;Martyrdom
+of Forty Saints.&rdquo;</p>
+
+<p>
+<span class="pageheading">BRONZINO</span>
+Bronzino, Pontormo&rsquo;s close follower, had
+none of his master&rsquo;s talent as a decorator, but
+<a name="pg82" id="pg82"></a><span class="pagenum">82</span>
+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&rsquo;s ideal in composition, and the result
+is his &ldquo;Christ in Limbo.&rdquo; 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&rsquo;
+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.</p>
+
+
+<h3><a name="pg83" id="pg83"></a><span class="pagenum">83</span> XIV.</h3>
+
+<p>
+<span class="pageheading">MICHELANGELO</span>
+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.</p>
+
+<p>
+<span class="pageheading">ANTHROPOMORPHISM IN ART</span>
+Michelangelo had a sense for the materially
+significant as great as Giotto&rsquo;s or Masaccio&rsquo;s,
+<a name="pg84" id="pg84"></a><span class="pagenum">84</span>
+but he possessed means of rendering, inherited
+from Donatello, Pollaiuolo, Verrocchio and
+Leonardo,&mdash;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 <i>going</i> or <i>running</i>, instead of <i>rolling
+on its wheels</i>, 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&mdash;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
+<a name="pg85" id="pg85"></a><span class="pagenum">85</span>
+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&mdash;and
+that is man himself. His movements,
+his actions, are the only things we realise without
+any myth-making effort&mdash;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.</p>
+
+<p>
+<span class="pageheading">VALUE OF THE NUDE IN ART</span>
+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 <i>feel</i> it masking
+the really significant, which is <i>the form underneath</i>.
+<a name="pg86" id="pg86"></a><span class="pagenum">86</span>
+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&mdash;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.</p>
+
+<p>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
+<a name="pg87" id="pg87"></a><span class="pagenum">87</span>
+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.</p>
+
+<p>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
+<a name="pg88" id="pg88"></a><span class="pagenum">88</span>
+studied for scientific purposes&mdash;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.</p>
+
+<p>
+<span class="pageheading">MICHELANGELO</span>
+First, his successes. Nowhere outside of the
+best Greek art shall we find, as in Michelangelo&rsquo;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,&mdash;Masaccio, for instance;
+others still have had at least as much sense of
+movement and power of rendering it,&mdash;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&mdash;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 &ldquo;Creation,&rdquo; by his Eve in the &ldquo;Temptation,&rdquo;
+or by his many nudes in the same ceiling
+<a name="pg89" id="pg89"></a><span class="pagenum">89</span>
+of the Sixtine Chapel,&mdash;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
+&ldquo;God Creating Adam,&rdquo; the &ldquo;Boy Angel&rdquo; standing
+by Isaiah, or&mdash;to choose one or two instances
+from his drawings (in their own kind the greatest
+in existence)&mdash;the &ldquo;Gods Shooting at a
+Mark&rdquo; or the &ldquo;Hercules and the Lion.&rdquo;</p>
+
+<p>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.</p>
+
+<p>
+<span class="pageheading">LAST WORKS OF MICHELANGELO</span>
+But unfortunately, though born and nurtured
+<a name="pg90" id="pg90"></a><span class="pagenum">90</span>
+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 &ldquo;Last Judgment.&rdquo; 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
+&ldquo;Last Judgment,&rdquo; or the &ldquo;Crucifixion of
+<a name="pg91" id="pg91"></a><span class="pagenum">91</span>
+Peter&rdquo;&mdash;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&rsquo;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 &ldquo;Last Judgment&rdquo;
+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
+<i>announcing</i> rather than <i>willing</i> what the bystanders,
+his fellows, could not <i>unwill</i>. As the
+representation of the moment before the universe
+disappears in chaos&mdash;Gods huddling together
+for the <i>G&ouml;tterd&auml;mmerung</i>&mdash;the &ldquo;Last
+Judgment&rdquo; 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
+<a name="pg92" id="pg92"></a><span class="pagenum">92</span>
+else in the whole world of art shall we
+receive such blasts of energy as from
+this giant&rsquo;s dream, or, if you will, nightmare?
+For kindred reasons, the &ldquo;Crucifixion of Peter&rdquo;
+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
+&ldquo;Bathers,&rdquo; 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.</p>
+
+<p><a name="pg93" id="pg93"></a><span class="pagenum">93</span> 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&mdash;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&rsquo;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
+<a name="pg94" id="pg94"></a><span class="pagenum">94</span>
+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.</p>
+
+<hr  />
+
+<p>
+<span class="pageheading">CONSTANT AIMS OF FLORENTINE ART</span>
+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&rsquo;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.</p>
+
+
+
+
+<h2><a name="pg95" id="pg95"></a><span class="pagenum">95</span>
+<a name="INDEX_TO_THE_WORKS_OF_THE_PRINCIPAL" id="INDEX_TO_THE_WORKS_OF_THE_PRINCIPAL"></a>
+INDEX TO THE WORKS OF THE PRINCIPAL
+FLORENTINE PAINTERS.</h2>
+
+<hr style="width: 20%" />
+
+<div class="index">
+
+<p class="center">NOTE.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>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.</p>
+
+<p>It need scarcely be said that the attributions here given are
+not based on official catalogues, and are often at variance with
+them.</p>
+
+
+<h3><a name="pg96" id="pg96"></a><span class="pagenum">96</span>
+<a name="albertinelli" id="albertinelli"></a>
+MARIOTTO ALBERTINELLI.</h3>
+
+<div class="artistdesc"><p>
+1474-1515. Pupil of Cosimo Rosselli and Pier di Cosimo;
+influenced by Lorenzo di Credi; worked in partnership
+with Fra Bartolommeo.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Agram (Croatia).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Strossmayer Collection.</span>  Adam and Eve driven from Paradise. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bergamo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lochis</span>, 203. Crucifixion.
+  </li>
+  <li>
+  <span class="smcap">Morelli</span>, 32. St. John and the Magdalen. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cambridge.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Fitzwilliam Museum</span>, 162. Madonna and infant John. 1509.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Chartres.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>. Tabernacle: Madonna and Saints, Crucifixion, etc. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 63. Trinity.
+  </li>
+  <li>
+  167. Madonna and four Saints.
+  </li>
+  <li>
+  169. Annunciation. 1510.
+  </li>
+  <li>
+  <span class="smcap">Pitti</span>, 365. Holy Family.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 71. Last Judgment (begun in 1499 by Fra Bartolommeo).
+  </li>
+  <li>
+  1259. Visitation, with <i>Predella</i>. 1503.
+  </li>
+  <li>
+  <span class="smcap">Corsini</span>, 160. Holy Family (in part). 1511.
+  </li>
+  <li>
+  <span class="smcap">Certosa</span> (near Florence). Crucifixion. 1505.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Geneva.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>. Annunciation. 1511.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Gloucester.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Highnam Court, Sir Hubert Parry</span>, 7. Nativity.
+  </li>
+  <li>
+  24. Scenes from the Creation. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">The Hague.
+  <ul class="IX">
+  <li>
+  306. Holy Family with infant John (on Fra Bartolommeo&rsquo;s cartoon).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Madrid.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duke of Alba</span>. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Poldi-Pezzoli</span>, 477. Triptych. 1500.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Munich.
+  <ul class="IX">
+  <li>
+  1057. Annunciation and the two Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg97" id="pg97"></a><span class="pagenum">97</span>New York.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Samuel Untermeyer.</span> Female Saint.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  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.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pisa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Caterina.</span> Madonna and Saints (on Fra Bartolommeo&rsquo;s cartoon). 1511.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Borghese</span>, 310. Madonna and infant John (on Fra Bartolommeo&rsquo;s cartoon). 1511.
+  </li>
+  <li>
+  421. Head of Christ.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Scotland.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Gosford House, Earl Of Wemyss</span>. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Siena.
+  <ul class="IX">
+  <li>
+  564. St. Catherine. 1512.
+  </li>
+  <li>
+  565. The Magdalen. 1512.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Stuttgart.
+  <ul class="IX">
+  <li>
+  242, 243, 244. Coronation and two <i>putti</i> (top of Fra Bartolommeo&rsquo;s altar-piece at Besan&ccedil;on). 1512.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Venice.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Seminario</span>, 18. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Volterra.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duomo.</span> Annunciation. E.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="alunno" id="alunno"></a>
+ALUNNO DI DOMENICO.</h3>
+
+<div class="artistdesc"><p>
+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.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Aix-en-Provence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e.</span> Madonna and infant John adoring Child.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Arezzo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Museo, Sala II</span>, 4. Tabernacle: Magdalen and St. Antony at foot of Cross.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg98" id="pg98"></a><span class="pagenum">98</span>Dresden.
+  <ul class="IX">
+  <li>
+  17 and 18. <i>Tondi</i>: SS. Michael and Raphael.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 67. <i>Piet&agrave;</i> and Stories of Saints.
+  </li>
+  <li>
+  268. St. Thomas Aquinas, Gabriel, and a Prophet.
+  </li>
+  <li>
+  269. Madonna with St. Dominic and a Prophet.
+  </li>
+  <li>
+  278. St. Jerome.
+  </li>
+  <li>
+  279. St. Francis receiving the Stigmata.
+  </li>
+  <li>
+  280. Entombment.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 85. <i>Tondo</i>: Madonna and infant John. 1208. St. Benedict and two Monks.
+  </li>
+  <li>
+  <span class="smcap">Museo di San Marco, Small Refectory.</span> Crucifixion with SS. Peter, Andrew, the Magdalen, and two other Saints.
+  </li>
+  <li>
+  <span class="smcap">Marchese Manelli Riccardi</span>. <i>Piet&agrave;</i>.
+  </li>
+  <li>
+  <span class="smcap">Innocenti, Gallery</span>, 63-70. Seven <i>Predelle</i> to Ghirlandajo&rsquo;s altarpiece in church, in which he painted also the &ldquo;Massacre of the Innocents.&rdquo; 1488.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Horsmonden (Kent).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Capel Manor, Mrs. Austen</span>. Two <i>Cassone</i>-fronts: Centaurs and Lapith&aelig;.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Liverpool.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Walker Art Gallery</span>, 17. Martyrdom of St. Sebastian.
+  </li>
+  <li>
+  18. Bishop dining with a Woman.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Brinsley Marlay</span>. Four <i>Cassone</i>-fronts: Stories of Joseph and of The Taking of Troy.
+  </li>
+  <li>
+  <span class="smcap">Sir Kenneth Muir Mackenzie.</span> Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg99" id="pg99"></a><span class="pagenum">99</span>Longleat (Warminster).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Marquess of Bath.</span> Two <i>Cassone</i>-fronts: Feast and Flight.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lovere (Lago d&rsquo;Iseo).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Galleria Tadini</span>, 29. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Borromeo.</span> <i>Piet&agrave;</i>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Narni.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio.</span> Two compartments of the <i>Predelle</i> to Ghirlandajo&rsquo;s Coronation of Virgin: SS. Francis and Jerome. 1486.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New Haven (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Jarves Collection</span>, 47. St. Jerome.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oxford.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Christ Church Library</span>, 22. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Palermo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Baron Chiaramonte-Bordonaro</span>, 118. St. Jerome.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1416<span class="smcap">a.</span> Marriage of Peleus and Thetis.
+  </li>
+  <li>
+  1416<span class="smcap">b.</span> Triumph of Venus.
+  </li>
+  <li>
+  <span class="smcap">M. Jean Dollfus</span>, 1519. Frame to a Trecento Madonna.
+  </li>
+  <li>
+  <span class="smcap">M. Joseph Spiridon.</span> Scene from the Tale of Nastagio degli Onesti. 1483.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Colonna</span>, 11. Reconciliation between Romans and Sabines.
+  </li>
+  <li>
+  14. Rape of Sabines.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Scotland.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Langton (near Duns), Hon. Mrs. Baillie-Hamilton.</span> <i>Cassone</i>-front: Story of Io.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Dr. A. Figdor.</span> Large Cross with SS. Jerome and Francis.
+  </li>
+  <li>
+  <span class="smcap">Count Lanckoronski.</span> Several Martyrdoms, including the Decapitation of the Baptist beside a Well.
+  </li>
+  </ul>
+ </li>
+<li class="place">Warwick Castle.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Earl of Warwick.</span> Two small <i>Tondi</i>: St. Stephen; A Bishop.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="pg100" id="pg100"></a><span class="pagenum">100</span>
+<a name="amico" id="amico"></a>
+AMICO DI SANDRO.</h3>
+
+<div class="artistdesc"><p>
+An artistic personality between Botticelli and Filippino Lippi.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Altenburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lindenau Museum</span>, 100. Profile Portrait of Caterina Sforza.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bergamo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Morelli</span>, 21. Profile Portrait of Giuliano de&rsquo; Medici.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  82. Madonna.
+  </li>
+  <li>
+  <span class="smcap">Herr Edward Simon.</span> Bust of Young Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Budapest.
+  <ul class="IX">
+  <li>
+  52. Madonna in Landscape with St. Antony of Padua and kneeling Monk.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Chantilly.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e Cond&eacute;.</span> <i>Cassone</i>-front: Story of Esther.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pitti</span>, 336. &ldquo;<i>La Bella Simonetta.</i>&rdquo;
+  </li>
+  <li>
+  353. Death of Lucretia.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 23. Madonna and three Angels (from S. Maria Nuova). E.
+  </li>
+  <li>
+  1547. Madonna adoring Child.
+  </li>
+  <li>
+  <span class="smcap">Cenacolo di Foligno</span> (<span class="smcap">Via Faenza</span>), 100. Madonna and infant John adoring Child.
+  </li>
+  <li>
+  <span class="smcap">Corsini Gallery</span>, 340. The Five Virtues.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Horsmonden (Kent).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Capel Manor, Mrs. Austen.</span> Madonna and Angel (version of lost original by Botticelli). E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  1124. Adoration of Magi.
+  </li>
+  <li>
+  1412. Madonna and infant John.
+  </li>
+  <li>
+  <span class="smcap">Victoria and Albert Museum, Ionides Bequest.</span> Portrait of Esmeralda Bandinelli. E.
+  </li>
+  <li>
+  <span class="smcap">Mr. Robert Benson.</span> Tobias and the Angel.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg101" id="pg101"></a><span class="pagenum">101</span>Meiningen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Grand Ducal Palace.</span> Nativity.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Prince Trivulzio.</span> Profile of Lady.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Naples.
+  <ul class="IX">
+  <li>
+  Madonna and two Angels. E.
+  </li>
+  <li>
+  <span class="smcap">Museo Filangieri</span>, 1506 bis. Portrait of Young Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oxford.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Christ Church Library</span>, 4, 5. Two panels with Sibyls in Niches.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1662<span class="smcap">a.</span> <i>Cassone</i>-front: Death of Virginia.
+  </li>
+  <li>
+  1663. Portrait of Young Man.
+  </li>
+  <li>
+  <span class="smcap">Comte Pastre</span>: <i>Cassone</i>-front: Story of Esther.
+  </li>
+  <li>
+  <span class="smcap">Baron Schlichting.</span> Madonna (version of Filippo&rsquo;s Madonna at Munich).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Philadelphia.
+  <ul class="IX">
+  <li>
+  <span class="smcap"> Mr. John G. Johnson.</span> Portrait of Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Count Gregori Stroganoff.</span> Two Angels swinging Censers.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Scotland.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Newbattle Abbey (Dalkeith), Marquess of Lothian.</span> Coronation of Virgin (lunette).
+  </li>
+  </ul>
+ </li>
+ <li class="place">St. Petersburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Stroganoff Collection.</span> Nativity and Angels in Landscape.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Turin.
+  <ul class="IX">
+  <li>
+  113. Tobias and the three Archangels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Prince Liechtenstein.</span> Bust of Young Man. Two <i>Cassone</i> panels with Story of Esther.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="andrea" id="andrea"></a>
+ANDREA (Vanucci) DEL SARTO.</h3>
+
+<div class="artistdesc"><p>
+1486-1531. Pupil of Pier di Cosimo; influenced by
+Fra Bartolommeo and Michelangelo.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  240. Bust of his Wife.
+  </li>
+  <li>
+  246. Madonna and Saints. 1528.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dresden.
+  <ul class="IX">
+  <li>
+  76. Marriage of St. Catherine. E.
+  </li>
+  <li>
+  77. Sacrifice of Isaac.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg102" id="pg102"></a><span class="pagenum">102</span>Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 61. Two Angels. 1528.
+  </li>
+  <li>
+  75. Fresco: Dead Christ.
+  </li>
+  <li>
+  76. Four Saints. 1528.
+  </li>
+  <li>
+  77. <i>Predelle</i> to 76.
+  </li>
+  <li>
+  <span class="smcap">Pitti</span>, 58. Deposition. 1524.
+  </li>
+  <li>
+  66. Portrait of Young Man.
+  </li>
+  <li>
+  81. Holy Family.
+  </li>
+  <li>
+  87, 88. Life of Joseph. 1516.
+  </li>
+  <li>
+  124. Annunciation.
+  </li>
+  <li>
+  172. Dispute over the Trinity. 1517.
+  </li>
+  <li>
+  184. Portrait of Young Man.
+  </li>
+  <li>
+  191. Assumption. 1531.
+  </li>
+  <li>
+  225. Assumption. 1526.
+  </li>
+  <li>
+  272. The Baptist.
+  </li>
+  <li>
+  476. Madonna.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 93. &ldquo;Noli me Tangere.&rdquo; E.
+  </li>
+  <li>
+  188. Portrait of his Wife.
+  </li>
+  <li>
+  280. Fresco: Portrait of Himself.
+  </li>
+  <li>
+  1112. &ldquo;Madonna dell&rsquo; Arpie.&rdquo; 1517.
+  </li>
+  <li>
+  1176. Portrait of Himself.
+  </li>
+  <li>
+  1230. Portrait of Lady.
+  </li>
+  <li>
+  1254. St. James.
+  </li>
+  <li>
+  <span class="smcap">Corsini Gallery.</span> Apollo and Daphne. E.
+  </li>
+  <li>
+  <span class="smcap">Chiostro dello Scalzo.</span> 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.
+  </li>
+  <li><a name="pg103" id="pg103"></a><span class="pagenum">103</span>
+  <span class="smcap">SS. Annunziata, Entrance Court.</span> Frescoes: Five to L. with the Story of St. Filippo Benizzi, 1509-1510. R., Adoration of Magi, 1511. Birth of Virgin, 1514.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Chapel to L. of Entrance.</span> Head of Christ.
+   </li>
+   <li>
+    <span class="smcap">Inner Cloister, over Door.</span> Fresco: &ldquo;Madonna del Sacco.&rdquo; 1525.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">S. Salvi.</span> Fresco: Four Evangelists. 1515. Fresco: Last Supper, begun in 1519.
+  </li>
+  <li>
+  <span class="smcap">Poggio a Cajano</span> (Royal Villa near Florence). Fresco: C&aelig;sar receiving Tribute. 1521 (finished by A. Allori).
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  690. Portrait of a Sculptor.
+  </li>
+  <li>
+  <span class="smcap">Hertford House.</span> Madonna and Angels.
+  </li>
+  <li>
+  <span class="smcap">Mr. Robert Benson.</span> <i>Tondo</i>: Madonna with infant John. L.
+  </li>
+  <li>
+  <span class="smcap">Mr. Leopold de Rothschild.</span> Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Madrid.
+  <ul class="IX">
+  <li>
+  383. Portrait of his Wife.
+  </li>
+  <li>
+  385. Holy Family and Angel.
+  </li>
+  <li>
+  387. Sacrifice of Isaac. 1529.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Naples.
+  <ul class="IX">
+  <li>
+  Copy of Raphael&rsquo;s Leo X.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1514. Charity. 1518.
+  </li>
+  <li>
+  1515. Holy Family.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Petworth House (Sussex).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lord Leconfield</span>, 333. Madonna with infant John and three Angels (?). E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Borghese</span>, 336. Madonna and infant John. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">St. Petersburg.
+  <ul class="IX">
+  <li>
+  24. Madonna with SS. Elizabeth and Catherine. 1519.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg104" id="pg104"></a><span class="pagenum">104</span>Vienna.
+  <ul class="IX">
+  <li>
+  39. <i>Piet&agrave;</i>.
+  </li>
+  <li>
+  42. Tobias and Angel with St. Leonard and Donor. E.
+  </li>
+  <li>
+  52. Madonna and infant John (in part).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Windsor Castle.
+  <ul class="IX">
+  <li>
+  Bust of Woman.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="fraangelico" id="fraangelico"></a>
+FRA ANGELICO DA FIESOLE.</h3>
+
+<div class="artistdesc"><p>
+1387-1455. Influenced by Lorenzo Monaco and Masaccio.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Agram (Croatia).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Strossmayer Collection</span>, St. Francis receiving Stigmata; Death of St. Peter Martyr.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Altenburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lindenau Museum</span>, 91. St. Francis before the Sultan.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  60. Madonna and Saints.
+  </li>
+  <li>
+  60<span class="smcap">a</span>. Last Judgment. L.
+  </li>
+  <li>
+  61. SS. Dominic and Francis.
+  </li>
+  <li>
+  62. Glory of St. Francis.
+  </li>
+  <li>
+  (Magazine.) Head of Saint.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Boston (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mrs. J. L. Gardner.</span> Death and Assumption of Virgin.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Brant Broughton (Lincolnshire).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Rev. Arthur F. Sutton.</span> A Bishop.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cortona.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Domenico, Over Entrance.</span> Fresco: Madonna and Saints.
+  </li>
+  <li>
+  <span class="smcap">Ges&ugrave;.</span> Annunciation. E.
+   <ul class="IX">
+   <li>
+    Two <i>Predelle</i>. E.
+   </li>
+   <li>
+    Triptych: Madonna with four Saints, etc.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place">D&uuml;sseldorf.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Akademie</span>, 27. Head of Baptist.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 166. Deposition (three pinnacles by Lorenzo Monaco).
+  </li>
+  <li>
+  227. Madonna and six Saints.
+  </li>
+  <li>
+  234-237. Fourteen scenes from Life of Christ. 1448.
+  </li>
+  <li><a name="pg105" id="pg105"></a><span class="pagenum">105</span>
+  240. Madonna enthroned (but not the Trinity above).
+  </li>
+  <li>
+  243. Story of SS. Cosmas and Damian (in part).
+  </li>
+  <li>
+  246. Entombment.
+  </li>
+  <li>
+  250. Crucifixion.
+  </li>
+  <li>
+  251. Coronation of Virgin.
+  </li>
+  <li>
+  252-254, Sixteen scenes from Life of Christ and Virgin, except the &ldquo;Legge d&rsquo;Amore.&rdquo; 1448.
+  </li>
+  <li>
+  258. Martyrdom of SS. Cosmas and Damian.
+  </li>
+  <li>
+  265. Madonna with six Saints and two Angels.
+  </li>
+  <li>
+  266. Last Judgment (not the Damned nor the Inferno).
+  </li>
+  <li>
+  281. Madonna and eight Saints and eight Angels. 1438 (ruined).
+  </li>
+  <li>
+  283. <i>Predella</i>: <i>Piet&agrave;</i> and Saints. L. (ruined).
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 17. Triptych: Madonna with Saints and Angels; <i>Predella</i>. 1433.
+  </li>
+  <li>
+  1162. <i>Predella</i> to No. 1290: Birth of John.
+  </li>
+  <li>
+  1168. <i>Predella</i> to No. 1290: <i>Sposalizio</i>.
+  </li>
+  <li>
+  1184. <i>Predella</i> to No. 1290: Dormition.
+  </li>
+  <li>
+  1290. Coronation of Virgin.
+  </li>
+  <li>
+  1294. Tabernacle: Madonna, Saints, and Angels. 1443.
+  </li>
+  <li>
+  <span class="smcap">Museo di San Marco</span>. Frescoes, all painted from between about 1439 to no later than 1445.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Cloister</span>. St. Peter Martyr; St. Dominic at foot of Cross; St. Dominic (ruined); <i>Piet&agrave;</i>; Christ as Pilgrim <a name="pg106" id="pg106"></a><span class="pagenum">106</span>with two Dominicans; St. Thomas Aquinas.
+   </li>
+   <li>
+    <span class="smcap">Chapter House.</span> Large Crucifixion.
+   </li>
+   <li>
+    <span class="smcap">Upper Floor, Walls.</span> Annunciation; St. Dominic at foot of Cross; Madonna with eight Saints.
+   </li>
+   <li>
+    <span class="smcap">Rooms, No. 1.</span> &ldquo;Noli me Tangere.&rdquo;
+    <ul class="IX">
+    <li>
+      2. Entombment.
+    </li>
+    <li>
+      3. Annunciation.
+    </li>
+    <li>
+      4. Crucifixion.
+    </li>
+    <li>
+      5. Nativity.
+    </li>
+    <li>
+      6. Transfiguration.
+    </li>
+    <li>
+      7. Ecce Homo.
+    </li>
+    <li>
+      8. Resurrection.
+    </li>
+    <li>
+      9. Coronation of Virgin.
+    </li>
+    <li>
+      10. Presentation in Temple.
+    </li>
+    <li>
+      11. Madonna and Saints.
+    </li>
+    <li>
+      15-23. Crucifixions (some ruined).
+    </li>
+    <li>
+      24. Baptism.
+    </li>
+    <li>
+      25. Crucifixion.
+    </li>
+    <li>
+      26. <i>Piet&agrave;</i>.
+    </li>
+    <li>
+      28. Christ bearing Cross.
+    </li>
+    <li>
+      31. Descent to Limbo.
+    </li>
+    <li>
+      32. Sermon on the Mount.
+    </li>
+    <li>
+      33. Betrayal of Judas. Panels: Small Madonna and Angels; Small Coronation.
+    </li>
+    <li>
+      34. Agony in Garden. Panel: Small Annunciation.
+    </li>
+    <li>
+      35. Institution of the Eucharist.
+    </li>
+    <li>
+      36. Nailing to Cross.
+    </li>
+    <li>
+      37. Crucifixion.
+    </li>
+    <li>
+     38. Adoration of Magi, and <i>Piet&agrave;</i>.
+    </li>
+    <li>
+      42, 43. Crucifixions.
+    </li>
+    </ul>
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">S. Domenico di Fiesole</span> (near Florence) <a name="pg107" id="pg107"></a><span class="pagenum">107</span> Madonna and Saints (architecture and landscape by Lorenzo di Credi).
+   <ul class="IX">
+   <li>
+    <span class="smcap">Sacristy of adjoining Monastery.</span> Fresco: Crucifixion.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Frankfort a./M.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Herr Adolf Schaeffer.</span> Madonna enthroned and four Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  663. Paradise.
+  </li>
+  <li>
+  <span class="smcap">Mrs. J. E. Taylor.</span> Small panel.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lyons.
+  <ul class="IX">
+  <li>
+  <span class="smcap">M. Edouard Aynard.</span> Madonna with SS. Peter, Paul, and George, with Angels and kneeling Donor.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Madrid.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Prado,</span> 14. Annunciation.
+  </li>
+  <li>
+  <span class="smcap">Duke of Alba.</span> Madonna and Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Munich.
+  <ul class="IX">
+  <li>
+  989-991. Legends of Saints.
+  </li>
+  <li>
+  992. Entombment.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Orvieto.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duomo, Chapel of S. Brizio.</span> Ceiling Frescoes: Christ as Judge; Prophets (assisted by Benozzo Gozzoli). 1447.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1290. Coronation of Virgin.
+  </li>
+  <li>
+  1293. Martyrdom of SS. Cosmas and Damian.
+  </li>
+  <li>
+  1294. Fresco: Crucifixion.
+  </li>
+  <li>
+  <span class="smcap">M. Georges Chalandon.</span> Meeting of Francis and Dominic.
+  </li>
+  <li>
+  <span class="smcap">M. Noel Valois.</span> Crucifixion with Cardinal (probably) John Torquemada, as Donor. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Parma.
+  <ul class="IX">
+  <li>
+  429. Madonna and four Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Perugia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sala</span> V, 1-18. Altarpiece in many parts.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pisa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sala</span> VI, 7. Salvator Mundi.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Corsini, Sala</span> VII, 22. Pentecost.
+  </li>
+  <li>
+  23. Last Judgment.
+  </li>
+  <li>
+  24. Ascension.
+  </li>
+  <li>
+  <span class="smcap">Vatican, Pinacoteca.</span> Madonna; two <i>Predelle</i> with Legend of St. Nicholas.
+   <ul class="IX">
+   <li><a name="pg108" id="pg108"></a><span class="pagenum">108</span>
+    <span class="smcap">Museo Cristiano, Case Q. V.</span> St. Francis receiving Stigmata.
+   </li>
+   <li>
+    <span class="smcap">Chapel of Nicholas V.</span> Frescoes: Lives of SS. Stephen and Lawrence. 1447-1449.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Count Gregori Stroganoff.</span> Small Tabernacle.
+  </li>
+  </ul>
+ </li>
+ <li class="place">St. Petersburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Hermitage</span>, 1674. Fresco: Madonna with SS. Dominic and Thomas Aquinas.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Turin.
+  <ul class="IX">
+  <li>
+  103, 104. Adoring Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Baron Tucher.</span> Annunciation (in part).
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="bacchiacca" id="bacchiacca"></a>
+BACCHIACCA (Francesco Ubertini).</h3>
+
+<div class="artistdesc"><p>
+About 1494-1557. Pupil of Perugino and Franciabigio;
+influenced by Andrea del Sarto and Michelangelo.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Asolo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Canonica della Parrocchia.</span> Madonna with St. Elizabeth.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bergamo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Morelli,</span> 62. Death of Abel.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  267. Baptism.
+  </li>
+  <li>
+  267<span class="smcap">a.</span> Portrait of Young Woman.
+  </li>
+  <li>
+  (<span class="smcap">Magazine.</span>) Decapitation of Baptist.
+  </li>
+  <li>
+  <span class="smcap">Herr Eugen Schweizer.</span> Leda and the Swan.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Boston (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mrs. J. L. Gardner.</span> Head of Woman.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Brocklesby (Lincolnshire).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Earl of Yarborough.</span> Madonna and St. Anne.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Budapest.
+  <ul class="IX">
+  <li>
+  70. Preaching of Baptist.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cassel.
+  <ul class="IX">
+  <li>
+  484. Old Man Seated.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dijon.
+  <ul class="IX">
+  <li>
+  Mus&eacute;e, Donation Jules Maciet. Resurrection.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dresden.
+  <ul class="IX">
+  <li>
+  80. Legendary Subject. 1523.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg109" id="pg109"></a><span class="pagenum">109</span>Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pitti</span>, 102. The Magdalen.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 87. Descent from Cross.
+  </li>
+  <li>
+  1296. <i>Predelle</i>: Life of St. Ascanius.
+  </li>
+  <li>
+  1571. Tobias and Angel.
+  </li>
+  <li>
+  <span class="smcap">Corsini Gallery</span>, 164. Madonna, infant John, and sleeping Child.
+  </li>
+  <li>
+  206. Portrait of Man. 1540.
+  </li>
+  <li>
+  <span class="smcap">Conte Niccolini</span> (Via dei Servi). Madonna with St. Anne and infant John.
+  </li>
+  <li>
+  <span class="smcap">Conte Serristori</span>. Madonna with St. Anne and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Locko Park (near Derby).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Drury Lowe</span>, 44. Christ bearing Cross.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  1218, 1219. Story of Joseph.
+  </li>
+  <li>
+  1304. Marcus Curtius.
+  </li>
+  <li>
+  <span class="smcap">Mr. Charles Butler.</span> Portrait of Young Man.
+  </li>
+  <li>
+  <span class="smcap">Mr. Frederick A. White.</span> Birth Plate.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Comm. Benigno Crespi.</span> Adoration of Magi; Madonna.
+  </li>
+  <li>
+  <span class="smcap">Dr. Gustavo Frizzoni.</span> Adam and Eve.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Munich.
+  <ul class="IX">
+  <li>
+  1077. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oxford.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Christ Church Library</span>, 55. &ldquo;Noli me Tangere.&rdquo;
+  </li>
+  <li>
+  57. Resurrection of Lazarus.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Richmond (Surrey).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sir Frederick Cook.</span> Holy Family; Last Supper; Crucifixion.
+  </li>
+  <li>
+  Two <i>Grisailles</i>: Apollo and Cupid; Apollo and Daphne.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Borghese</span>, 338. Madonna.
+  </li>
+  <li>
+  425, 426, 440, 442, 463. Life of Joseph.
+  </li>
+  <li>
+  <span class="smcap">Miss Hertz.</span> Bust of Magdalen.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Troyes.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e.</span> Tobias and Angel.
+ </li>
+  </ul>
+ </li>
+ <li class="place">Venice.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Seminario</span>, 23. Madonna.
+  </li>
+  <li><a name="pg110" id="pg110"></a><span class="pagenum">110</span>
+  <span class="smcap">Prince Giovanelli.</span> Moses Striking Rock.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Wiesbaden.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Nassauisches Kunstverein,</span> 114. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="baldovinetti" id="baldovinetti"></a>
+ALESSO BALDOVINETTI.</h3>
+
+<div class="artistdesc"><p>
+1425-1499. Pupil of Domenico Veneziano; influenced by Paolo Uccello.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Bergamo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Morelli</span>, 23. Fresco: Portrait of Himself (fragment from S. Trinita, Florence).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  1614. Profile of Young Woman. (?)
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy,</span> 159. Trinity. 1471.
+  </li>
+  <li>
+  233. Marriage of Cana; Baptism; Transfiguration. 1448.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 56. Annunciation.
+  </li>
+  <li>
+  60. Madonna and Saints.
+  </li>
+  <li>
+  <span class="smcap">Mr. B. Berenson.</span> Madonna. E.
+  </li>
+  <li>
+  <span class="smcap">S. Ambrogio.</span> Baptist with SS. Catherine, Stephen, Ambrose, and Angels, 1470-1473.
+  </li>
+  <li>
+  <span class="smcap">SS. Annunziata, Entrance Court.</span> Fresco: Nativity. 1460-1462.
+  </li>
+  <li>
+  <span class="smcap">Duomo, Sacristy.</span> Intarsias (after his cartoons): Nativity, 1463. Circumcision.
+  </li>
+  <li>
+  <span class="smcap">S. Marco, Courtyard.</span> Crucifixion with S. Antonino.
+  </li>
+  <li>
+  <span class="smcap">S. Miniato, Portuguese Chapel.</span>  Annunciation. 1466.
+  <ul class="IX">
+   <li>
+    Frescoes in <span class="smcap">Cupola and Spandrils</span>: Prophets. Begun 1466.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">S. Pancrazio, Ruccellai Chapel.</span> Fresco: Resurrected Christ. 1467.
+  </li>
+  <li><a name="pg111" id="pg111"></a><span class="pagenum">111</span><span class="smcap">S. Miniato, Portuguese Chapel.</span>
+  <span class="smcap">Pazzi Chapel</span> (beside S. Croce). Window in <span class="smcap">Choir</span> (after his design): St. Andrew.
+  </li>
+  <li>
+  <span class="smcap">S. Trinita, Choir.</span> Frescoes: begun in 1471: <span class="smcap">Ceiling.</span> Noah; Moses; Abraham; David.
+   <ul class="IX">
+   <li>
+    Lunettes: Fragment of Sacrifice of Isaac; slight fragment of Moses receiving the Tables of the Law.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1300<span class="smcap">a.</span> Madonna in Landscape. E.
+  </li>
+  <li>
+  <span class="smcap">Mme. Edouard Andr&eacute;.</span> Madonna in Landscape.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="frabartolommeo" id="frabartolommeo"></a>
+FRA BARTOLOMMEO (Baccio delta Porta).</h3>
+
+<div class="artistdesc"><p>
+1475-1517. Pupil of Pier di Cosimo; influenced by
+Leonardo and Michelangelo.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Ashridge Park (Berkhampstead).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Earl Brownlow</span>, Madonna. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  249. Assumption (upper part by Albertinelli). Probably, 1508.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Besan&ccedil;on.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Cathedral.</span> Madonna in Glory, Saints, and Ferry Carondolet as Donor. 1512
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cambridge (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Fogg Museum.</span> Sacrifice of Abel.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 58. St. Vincent Ferrer.
+  </li>
+  <li>
+  97. Vision of St. Bernard. 1506.
+  </li>
+  <li>
+  168. Heads in Fresco.
+  </li>
+  <li>
+  171. Fresco: Madonna.
+  </li>
+  <li>
+  172. Portrait of Savonarola.
+  </li>
+  <li>
+  173. Fresco: Madonna.
+  </li>
+  <li>
+  <span class="smcap">Pitti</span>, 64. Deposition.
+  </li>
+  <li>
+  125. St. Mark. 1514.
+  </li>
+  <li><a name="pg112" id="pg112"></a><span class="pagenum">112</span>
+  159. Christ and the four Evangelists. 1516.
+  </li>
+  <li>
+  208. Madonna and Saints. 1512.
+  </li>
+  <li>
+  256. Holy Family.
+  </li>
+  <li>
+  377. Fresco: Ecce Homo.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 71. Fresco: Last Judgment. Begun 1499, finished by Albertinelli.
+  </li>
+  <li>
+  1126. Isaiah.
+  </li>
+  <li>
+  1130. Job.
+  </li>
+  <li>
+  1161. Small Diptych. E.
+  </li>
+  <li>
+  1265. Underpainting for Altarpiece (from his cartoons). 1510-13.
+  </li>
+  <li>
+  <span class="smcap">Museo di San Marco</span>, <span class="smcap">Savonarola&rsquo;s Cell</span>. Fresco: Madonna, 1514. Profile of Savonarola. E. Fresco: Christ at Emmaus.
+  </li>
+  <li>
+  <span class="smcap">S. Marco</span>, <span class="smcap">2d Altar R.</span> Madonna and Saints. 1509.
+  </li>
+  <li>
+  <span class="smcap">Pian di Mugnone</span> (near Florence). <span class="smcap">S. Maddalena.</span> Frescoes: Annunciation. 1515; &ldquo;Noli me Tangere.&rdquo; 1517.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Grenoble.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>, 374. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  1694. Madonna in Landscape.
+  </li>
+  <li>
+  <span class="smcap">Col. G. L. Holford</span>, <span class="smcap">Dorchester House</span>. Madonna (in part).
+  </li>
+  <li>
+  <span class="smcap">Mr. Ludwig Mond.</span> Holy Family; Small Nativity.
+  </li>
+  <li>
+  <span class="smcap">Earl of North Brook.</span> Holy Family (finished by Albertinelli).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lucca.
+  <ul class="IX">
+  <li>
+  &ldquo;Madonna della Misericordia.&rdquo; 1515.
+  </li>
+  <li>
+  God adored by Saints. 1509.
+  </li>
+  <li>
+  <span class="smcap">Duomo, Chapel L. of Choir.</span> Madonna and Saints. 1509.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Naples.
+  <ul class="IX">
+  <li>
+  Assumption of Virgin (in great part). 1516.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg113" id="pg113"></a><span class="pagenum">113</span>Panshanger (Hertford).
+  <ul class="IX">
+  <li>
+  Holy Family.
+  </li>
+  <li>
+  Burial and Ascension of S. Antonino.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1115. &ldquo;Noli me Tangere.&rdquo; 1506.
+  </li>
+  <li>
+  1153. Annunciation. 1515.
+  </li>
+  <li>
+  1154. Madonna and Saints. 1511.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Philadelphia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. John G. Johnson.</span> Adam and Eve (unfinished).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Richmond (Surrey).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sir Frederick Cook, Octagon Room, 40.</span> Madonna with St. Elizabeth and Children. 1516.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Corsini Gallery</span>, 579. Holy Family. 1516.
+  </li>
+  <li>
+  <span class="smcap">Lateran</span>, 73. St. Peter (finished by Raphael).
+  </li>
+  <li>
+  75. St. Paul.
+  </li>
+  <li>
+  <span class="smcap">Marchese Visconti Venosta.</span> <i>Tondo</i>: Holy Family.
+  </li>
+  </ul>
+ </li>
+ <li class="place">St. Petersburg.
+  <ul class="IX">
+  <li>
+  Madonna and three Angels. 1515.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  34. Madonna.
+  </li>
+  <li>
+  38. Madonna and Saints (assisted by Albertinelli). 1510.
+  </li>
+  <li>
+  41. Circumcision. 1516.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a id="benozzo" name="benozzo"></a>
+BENOZZO GOZZOLI.</h3>
+
+<div class="artistdesc"><p>
+1420-1497. Pupil possibly of Giuliano Pesello, and
+of the Bicci; assistant and follower of Fra Angelico.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  60<span class="smcap">b.</span> Madonna, Saints, and Angels.
+  </li>
+  <li>
+  Miracle of S. Zanobi. 1461.
+  </li>
+  </ul>
+ </li>
+ <li class="place">B&eacute;ziers.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>, 193. St. Rose and the Magdalen.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cambridge (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Fogg Museum.</span> Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Castelfiorentino (near Empoli).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Cappella di S. Chiara.</span> Tabernacle with Frescoes (in great part).
+  </li>
+  <li><a name="pg114" id="pg114"></a><span class="pagenum">114</span>
+  <span class="smcap">Madonna della Tosse</span> (on way to Castelnuovo). Frescoes (in great part). 1484.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Certaldo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Cappella del Ponte dell&rsquo; Agliena.</span> Tabernacle with Frescoes. 1465.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cologne.
+  <ul class="IX">
+  <li>
+  520. Madonna and Saints. 1473.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 37. Pilaster with SS. Bartholomew, James, and John the Baptist (execution probably by Giusto d&rsquo;Andrea).
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 1302. <i>Predella</i>: <i>Piet&agrave;</i> and Saints.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Riccardi.</span> Frescoes: Procession of Magi; Angels. 1459.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Alessandri.</span> Four <i>Predelle</i>: Miracle of St. Zanobi; Totila before St. Benedict; Fall of Simon Magus; Conversion of St. Paul. E.
+  </li>
+  <li>
+  <span class="smcap">Mr. Herbert P. Horne.</span> Large Crucifixion. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Locko Park (near Derby).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Drury Lowe.</span> Crucifixion. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  283. Madonna, Saints, and Angels. 1461.
+  </li>
+  <li>
+  <span class="smcap">H. M. the King, Buckingham Palace.</span> Death of Simon Magus. 1461.
+  </li>
+  <li>
+  <span class="smcap">Mr. C. N. Robinson.</span> Madonna and Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Meiningen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Grand Ducal Palace.</span> St. Ursula.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Brera</span>, 475. St. Dominic restoring Child to Life. 1461.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Montefalco.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pinacoteca</span> (S. Francesco). <span class="smcap">Bay To R. of Entrance.</span> Various Frescoes, 1452.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Choir</span>. Frescoes: Scenes from Life of St. Francis, etc. Finished, 1452.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">S. Fortunato, over Entrance.</span> Fresco: <a name="pg115" id="pg115"></a><span class="pagenum">115</span>Madonna, Saints, and Angels. 1450.
+   <ul class="IX">
+   <li>
+    <span class="smcap">R. Wall.</span> Fresco: Madonna and Angel, 1450.
+   </li>
+   <li>
+    <span class="smcap">Second Altar R.</span> Fresco: S. Fortunato enthroned. 1450.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Narni.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio.</span> Annunciation.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1319. Triumph of St. Thomas Aquinas.
+  </li>
+  <li>
+  <span class="smcap">Baronne d&rsquo;Adelsward.</span> Four Saints. 1471.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Perugia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sala VII</span>, 20. Madonna and Saints. 1456.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Philadelphia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Peter Widener.</span> Raising of Lazarus.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pisa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sala VI.</span> Madonna, Saints, and Angels. Madonna and St. Anna.
+  </li>
+  <li>
+  <span class="smcap">Campo Santo.</span> Series of Frescoes from Old Testament; also an Annunciation. 1468-1484.
+  </li>
+  <li>
+  <span class="smcap">Ricovero Per Mendicit&agrave;</span> (ancient Refectory of S. Domenico). Frescoes: Crucifixion and Saints; St. Dominic and two Angels (in part). L.
+  </li>
+  <li>
+  <span class="smcap">Universit&agrave; dei Cappellani</span> (Piazza del Duomo). Madonna, Saints, and Donors. 1470.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lateran</span>, 60. Polyptych. 1450.
+  </li>
+  <li>
+  <span class="smcap">Vatican, Museo Cristiano, Case S, XII.</span> Small <i>Piet&agrave;</i>.
+  </li>
+  <li>
+  <span class="smcap">Aracoeli, Third Chapel L.</span> Fresco: St. Antony, Donors, and Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">San Gemignano.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio.</span> Restoration of Lippo Memmi&rsquo;s Fresco, and two figures to R. added, 1467. Fresco: Crucifixion.
+  </li>
+  <li>
+  <span class="smcap">S. Agostino, Choir.</span> Frescoes: Life of St. Augustine (the children&rsquo;s heads in the purely ornamental parts are by assistants). 1465.
+   <ul class="IX">
+   <li><a name="pg116" id="pg116"></a><span class="pagenum">116</span>
+    <span class="smcap">Second Altar L.</span> Fresco; St. Sebastian. 1464.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">S. Andrea</span> (three miles out of town). Madonna. 1466.
+  </li>
+  <li>
+  <span class="smcap">Collegiata, Choir</span>. Madonna and Saints. 1466.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Entrance Wall</span>. St. Sebastian and other Frescoes. 1465.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Monte Oliveto</span>. Fresco: Crucifixion. 1466.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Sermoneta.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Parish Church</span>. Madonna and Angels. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Terni.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Biblioteca</span>. Madonna with Angels and five Saints. 1466.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  26. Madonna and Saints. E.
+  </li>
+  <li>
+  <span class="smcap">Baron Tucher</span>. Madonna and Cherubim.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Volterra.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duomo, Cappella del Nome di Ges&ugrave;</span>. Fresco Background to a Della Robbia Nativity: Procession of Magi.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+<h3><a name="botticelli" id="botticelli"></a>
+BOTTICELLI (Alessandro di Mariano Filipepi).</h3>
+
+<div class="artistdesc"><p>
+1444-1510. Pupil of Fra Filippo; influenced early by
+the Pollajuoli.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Bergamo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Morelli</span>, 25. Story of Virginia. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  106. Madonna and Saints. 1485.
+  </li>
+  <li>
+  1128. St. Sebastian. 1474.
+  </li>
+  <li>
+  <span class="smcap">von Kaufmann Collection</span>. Judith (in part). L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Boston (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mrs. J. L. Gardner</span>. Madonna with Angel offering Ears of Wheat to Child. E.
+  </li>
+  <li>
+  Death of Lucretia. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dresden.
+  <ul class="IX">
+  <li>
+  9. Scenes from Life of S. Zanobi. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li><a name="pg117" id="pg117"></a><span class="pagenum">117</span>
+  <span class="smcap">Academy</span>, 73. Coronation. (Virgin and God the Father by inferior hand). Probably, 1490.
+  </li>
+  <li>
+  74. <i>Predelle</i> to above.
+  </li>
+  <li>
+  80. &ldquo;Primavera.&rdquo;
+  </li>
+  <li>
+  85. Madonna, Saints, and Angels.
+  </li>
+  <li>
+  157, 158, 161, 162. <i>Predelle</i> to 85: Dead Christ; Death of St. Ignatius; Salome; Vision of St. Augustine.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 39. Birth of Venus.
+  </li>
+  <li>
+  1154. Portrait of Giovanni di Cosimo de&rsquo; Medici. E.
+  </li>
+  <li>
+  1156. Judith. E.
+  </li>
+  <li>
+  1158. Holofernes. E.
+  </li>
+  <li>
+  1179. St. Augustine.
+  </li>
+  <li>
+  1182. Calumny. L.
+  </li>
+  <li>
+  1267 bis. <i>Tondo</i>: &ldquo;Magnificat.&rdquo;
+  </li>
+  <li>
+  1286. Adoration of Magi.
+  </li>
+  <li>
+  1289. <i>Tondo</i>: Madonna and Angels (&ldquo;Madonna of the Pomegranate&rdquo;). 1487
+  </li>
+  <li>
+  1299. &ldquo;Fortezza.&rdquo; 1470.
+  </li>
+  <li>
+  3436. Adoration of Magi (only laid in by Botticelli).
+  </li>
+  <li>
+  <span class="smcap">Palazzo Capponi, Marchese Farinola.</span> Last Communion of St. Jerome.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Pitti.</span> Pallas subduing a Centaur.
+  </li>
+  <li>
+  <span class="smcap">Ognissanti.</span> Fresco: St. Augustine. 1480.
+  </li>
+  <li>
+  <span class="smcap">Corbignano.</span> (near Florence, towards Settignano), <span class="smcap">Cappella Vanella</span>. Repainted Fresco: Madonna. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  592. Adoration of Magi (earliest extant work).
+  </li>
+  <li>
+  626. Portrait of Young Man.
+  </li>
+  <li><a name="pg118" id="pg118"></a><span class="pagenum">118</span>
+  915. Mars and Venus.
+  </li>
+  <li>
+  1033. <i>Tondo</i>: Adoration of Magi. E.
+  </li>
+  <li>
+  1034. Nativity. 1501.
+  </li>
+  <li>
+  <span class="smcap">Mr. J. P. Heseltine</span>. Madonna and infant John (in small part).
+  </li>
+  <li>
+  <span class="smcap">Mr. Ludwig Mond</span>. Scenes from Life of S. Zanobi (two panels). L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Ambrosiana</span>, 145. <i>Tondo</i>: Madonna and Angels.
+  </li>
+  <li>
+  <span class="smcap">Poldi-Pezzoli</span>, 156. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1297. Fresco: Giovanna Tornabuoni with Venus and the Graces. 1486.
+  </li>
+  <li>
+  1298. Fresco: Lorenzo Tornabuoni introduced into the Circle of the Sciences. 1486.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Vatican, Sixtine Chapel</span>. 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.
+  </li>
+  </ul>
+ </li>
+ <li class="place">St. Petersburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Hermitage</span>, 3. Adoration of Magi. Probably 1482.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="botticini" id="botticini"></a>
+FRANCESCO BOTTICINI.</h3>
+
+<div class="artistdesc"><p>
+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.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Bergamo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Morelli</span>, 33. Tobias and the Angel.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg119" id="pg119"></a><span class="pagenum">119</span>Berlin.
+  <ul class="IX">
+  <li>
+  70<span class="smcap">a.</span> Crucifixion and Saints, 1475.
+  </li>
+  <li>
+  72. Coronation of the Virgin. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Boston (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mrs. J. L. Gardner.</span> Madonna in Landscape.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Chicago (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Martin Ryerson</span>. <i>Tondo</i>: Adoration of Magi.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cleveland (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Holden Collection</span>, 3. Madonna adoring Child (?).
+  </li>
+  <li>
+  13. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Empoli.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Opera del Duomo</span>, 25. Annunciation. Towards 1473.
+   <ul class="IX">
+   <li>
+    Tabernacle for Sacrament, with St. Andrew and Baptist; <i>Predelle</i>: Last Supper; Martyrdom of two Saints. 1484-1491.
+   </li>
+   <li>
+    Tabernacle for sculptured St. Sebastian with two Angels and Donors; <i>Predelle</i>: Story of St. Sebastian. Towards 1473.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 30. St. Vincent Ferrer.
+  </li>
+  <li>
+  59. St. Augustine.
+  </li>
+  <li>
+  60. St. Monica.
+  </li>
+  <li>
+  84. Tobias and the three Archangels.
+  </li>
+  <li>
+  154. Tobias and the Angel, with youthful Donor.
+  </li>
+  <li>
+  Martyrdom of St. Andrew.
+  </li>
+  <li>
+  <span class="smcap">Pitti</span>, 347. Madonna, infant John, and Angels worshipping Child.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 3437. Madonna.
+  </li>
+  <li>
+  <span class="smcap">S. Appolonia</span>. Deposition with Magdalen and SS. Sebastian and Bernard.
+  </li>
+  <li>
+  <span class="smcap">Duca di Brindisi</span>. Two <i>Cassone</i>-panels: Story of Virginia.
+  </li>
+  <li>
+  <span class="smcap">Marchese Pio Strozzi</span>. Madonna with SS. Antony Abbot and Donato.
+  </li>
+  <li><a name="pg120" id="pg120"></a><span class="pagenum">120</span>
+  <span class="smcap">S. Spirito, R. Transept</span>. Altarpiece with <i>Predelle</i>: St. Monica and Nuns. 1483.
+  </li>
+  <li>
+  <span class="smcap">Brozzi (near Florence). S. Andrea, R. Wall</span>. Madonna and Saints. 1480. (The Fresco above, with God, the Father, is school work.)
+  </li>
+  </ul>
+ </li>
+ <li class="place">G&ouml;ttingen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Gallery</span>, 236. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  227. St. Jerome with other Saints and Donors.
+  </li>
+  <li>
+  1126. Assumption of Virgin. Before 1475.
+  </li>
+  <li>
+  <span class="smcap">Earl of Ashburnham.</span> Madonna adoring Child.
+  </li>
+  <li>
+  <span class="smcap">Mr. Robert Benson.</span> <i>Tondo</i>: Madonna in Landscape.
+   <ul class="IX">
+   <li>
+    Madonna with four rose-crowned Angels and two Cherubim.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Mr. C. Brinsley Marlay.</span> Madonna adoring Child.
+  </li>
+  <li>
+  <span class="smcap">Mr. Charles Butler</span>. Bishop enthroned, with four Female Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Modena.
+  <ul class="IX">
+  <li>
+  449. Madonna and Angels adoring Child.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Montefortino (near Amandola, Abruzzi).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio.</span> Madonna adoring Child.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Palermo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Baron Chiaramonte Bordonaro.</span> SS. Nicholas and Roch.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Panzano (near Greve).
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Maria, Third Altar L.</span> Angels and Saints around old Picture.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Parcieux (near Tr&eacute;voux).
+  <ul class="IX">
+  <li>
+  <span class="smcap">La Grange Blanche, M. Henri Chalandon</span>. Nativity.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1482. Madonna in Glory, and Saints.
+  </li>
+  <li><a name="pg121" id="pg121"></a><span class="pagenum">121</span>
+  <span class="smcap">Mme. Edouard Andr&eacute;.</span> Madonna and four Saints; A Version of Fra Filippo&rsquo;s Uffizi Madonna; <i>Piet&agrave;</i> with SS. Nicholas, James, Dominic, and Louis.
+  </li>
+  <li>
+  <span class="smcap">Comtesse Arconati-Visconti.</span> <i>Tondo</i>: Madonna adoring Child.
+  </li>
+  <li>
+  <span class="smcap">M. Henri Heugel.</span> Madonna adoring Child.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Prato.
+  <ul class="IX">
+  <li>
+  Madonna and four Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Richmond (Surrey).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sir Frederick Cook, Museum.</span> Bust of Young Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Scotland.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Gosford House. Earl of Wemyss.</span> Profile of Youth.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Stockholm.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Royal Palace.</span> Bust of Youth.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Turin.
+  <ul class="IX">
+  <li>
+  119. Coronation of Virgin.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Wigan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Haigh Hall, Earl Crawford.</span> Madonna, enthroned with St. Francis, Donor, Tobias, and Angel.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="bronzino" id="bronzino"></a>
+BRONZINO (Angelo Allori).</h3>
+
+<div class="artistdesc"><p>
+1502(?)-1572. Pupil of Pontormo; influenced by
+Michelangelo.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Bergamo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Morelli</span>, 65. Portrait of Alessandro de&rsquo; Medici.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  338. Portrait of Youth.
+  </li>
+  <li>
+  338<span class="smcap">a</span>. Portrait of Ugolino Martelli.
+  </li>
+  <li>
+  338<span class="smcap">b</span>. Portrait of Eleonora da Toledo.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Simon Collection, 2.</span> Bust of Youth.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Herr Edward Simon.</span> Portrait of Bearded Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Besan&ccedil;on.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>, 57. Deposition.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Boston (U. S. A.).
+  <ul class="IX">
+  <li><a name="pg122" id="pg122"></a><span class="pagenum">122</span>
+  <span class="smcap">Mrs. J. L. Gardner.</span> Portrait of a Medici Princess.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Budapest.
+  <ul class="IX">
+  <li>
+  190. Venus and Cupid (in part).
+  </li>
+  <li>
+  191. Adoration of Shepherds.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cassel.
+  <ul class="IX">
+  <li>
+  Portrait of Duke Cosimo de&rsquo; Medici in armour, holding Myrtle-branch.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pitti</span>, 39. Holy Family.
+  </li>
+  <li>
+  403. Portrait of Duke Cosimo I.
+  </li>
+  <li>
+  434. Portrait of the Architect Luca Martini.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 154. Lucrezia Panciatichi.
+  </li>
+  <li>
+  158. Descent from Cross. 1545.
+  </li>
+  <li>
+  159. Bartolommeo Panciatichi.
+  </li>
+  <li>
+  172. Eleonora da Toledo and Don Garzia.
+  </li>
+  <li>
+  198. Portrait of Young Woman.
+  </li>
+  <li>
+  1155. Don Garzia.
+  </li>
+  <li>
+  1164. Maria de&rsquo; Medici.
+  </li>
+  <li>
+  1166. Man in Armour.
+  </li>
+  <li>
+  1209. Dead Christ.
+  </li>
+  <li>
+  1211. Allegory of Happiness.
+  </li>
+  <li>
+  1266. Portrait of Sculptor.
+  </li>
+  <li>
+  1271. Christ in Limbo. 1552.
+  </li>
+  <li>
+  1272. Don Ferdinand.
+  </li>
+  <li>
+  1275. Maria de&rsquo; Medici.
+   <ul class="IX">
+   <li>
+    Miniatures: 848. Don Garzia.
+    <ul class="IX">
+    <li>
+      852. Don Ferdinand.
+    </li>
+    <li>
+      853. Maria de&rsquo; Medici.
+    </li>
+    <li>
+      854. Francesco de&rsquo; Medici.
+    </li>
+    <li>
+      855. Duke Cosimo I.
+    </li>
+    <li>
+      857. Alessandro de&rsquo; Medici.
+    </li>
+    </ul>
+   </li>
+   <li>
+    <span class="smcap">Magazine.</span> Annunciation.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Palazzo Vecchio, Chapel of Eleonora da Toledo.</span> Frescoes. 1564.
+  </li>
+  <li>
+  <span class="smcap">S. Lorenzo, L. Wall.</span> Fresco: Martyrdom of St. Lawrence.
+  </li>
+  </ul>
+ </li>
+ <li class="place">The Hague.
+  <ul class="IX">
+  <li><a name="pg123" id="pg123"></a><span class="pagenum">123</span>
+  3. Portrait of Lady.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  651. Allegory.
+  </li>
+  <li>
+  1323. Piero de&rsquo; Medici il Gottoso.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lucca.
+  <ul class="IX">
+  <li>
+  Don Ferdinand.
+  </li>
+  <li>
+  Don Garzia.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Brera</span>, 565. Portrait of Andrea Doria as Neptune.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New York.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mrs. Gould.</span> Portrait of Woman and Child.
+  </li>
+  <li>
+  <span class="smcap">Havemeyer Collection.</span> Youth in Black.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1183. &ldquo;Noli me Tangere.&rdquo;
+  </li>
+  <li>
+  1184. Portrait of Sculptor.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pisa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Stefano.</span> Nativity. 1564.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Borghese Gallery</span>, 444. St. John the Baptist.
+  </li>
+  <li>
+  <span class="smcap">Colonna Gallery</span>, 4. Venus, Cupid, and Satyr.
+  </li>
+  <li>
+  <span class="smcap">Corsini Gallery</span>, 2171. Portrait of Stefano Colonna. 1548.
+  </li>
+  <li>
+  <span class="smcap">Prince Doria.</span> Portrait of Giannottino Doria.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Turin.
+  <ul class="IX">
+  <li>
+  128. Portrait of Giovanni delle Bande Nere.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Venice.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Seminario</span>, 16. Portrait of Child.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  44. Portrait of Man. L.
+  </li>
+  <li>
+  49. Holy Family.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="bugiardini" id="bugiardini"></a>
+BUGIARDINI.</h3>
+
+<div class="artistdesc"><p>
+1475-1554. Pupil of Ghirlandajo and Pier di Cosimo;
+assistant of Albertinelli; influenced by
+Perugino, Michelangelo, Francesco Francia,
+and Franciabigio.
+</p></div>
+
+<ul class="IX">
+ <li class="place"><a name="pg124" id="pg124"></a><span class="pagenum">124</span>Agram.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Strossmayer Gallery.</span> Madonna seated in a Loggia looking down towards infant John (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  142, 149. <i>Cassone</i>-panels: Story of Tobias.
+  </li>
+  <li>
+  283. Madonna and Saints.
+  </li>
+  <li>
+  <span class="smcap">Museum of Industrial Art.</span> <i>Cassone</i>-front: Story of St. Felicitas.
+  </li>
+  <li>
+  <span class="smcap">Palace of Emperor William I.</span> <i>Cassone</i>-front: Story of Tobias.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bologna.
+  <ul class="IX">
+  <li>
+  25. St. John in Desert.
+  </li>
+  <li>
+  26. Madonna enthroned with SS. Catherine, Antony of Padua, and infant John.
+  </li>
+  <li>
+  745. <i>Tondo</i>: Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bonn.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Gallery</span>, 285. Madonna with infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bowood Park (Calne).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Marquess of Lansdowne.</span> Copy of Perugino&rsquo;s Madonna in Louvre (No. 1565).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Budapest.
+  <ul class="IX">
+  <li>
+  92. &ldquo;<i>Volto Santo di Luca</i>&rdquo; (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dijon.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e.</span> 1. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Figline (near Florence).
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Piero al Terreno, High Altar.</span> Madonna with SS. Peter, Paul, Francis, and Jerome.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pitti</span>, 140. Portrait of Lady.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 89. <i>Tondo</i>: Madonna and infant John (?). E.
+  </li>
+  <li>
+  213. Madonna.
+  </li>
+  <li>
+  3451. Madonna and infant John. 1520.
+  </li>
+  <li>
+  <span class="smcap">Museo di S. Marco, Anticamera of Refectory</span>, 6. Madonna adored by St. Francis and the Magdalen.
+  </li>
+  <li>
+  <span class="smcap">S. Croce, Refectory</span>, 3. St. Nicholas.
+  </li>
+  <li>
+  5. The Baptist.
+  </li>
+  <li><a name="pg125" id="pg125"></a><span class="pagenum">125</span>
+  42. St. Paul.
+  </li>
+  <li>
+  43. St. Jerome.
+  </li>
+  <li>
+  <span class="smcap">S. Maria Novella, R. Transept</span>. Martyrdom of St. Catherine.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  809. Madonna, infant John, and Angels (Michelangelo&rsquo;s suggestion).
+  </li>
+  <li>
+  <span class="smcap">Earl of Northbrook</span>. Baptist in Desert drinking.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Maria delle Grazie.</span> The Baptist.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Modena.
+  <ul class="IX">
+  <li>
+  334. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Mombello (near Milan).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Prince Pio di Savoia.</span> Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Newport (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Theodore M. Davis, The Reef.</span> Madonna, infant John, and Angel.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New York.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Metropolitan Museum.</span> Madonna and infant John (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Olantigh Towers (Wye, Kent).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Erle-Drax</span>, 610. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oldenburg.
+  <ul class="IX">
+  <li>
+  28, St. Sebastian.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1644. Bust of Youth.
+  </li>
+  <li>
+  <span class="smcap">Mus&eacute;e des Arts Decoratifs, Salle,</span> 253. Bust of Woman with Prayer-Book.
+  </li>
+  <li>
+  <span class="smcap">Mme. Edouard Andr&eacute;.</span> Portrait of Lady.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Philadelphia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Peter Widener.</span> 179. <i>Tondo</i>: Madonna and infant John (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Borghese Gallery</span>, 177. Marriage of St. Catherine.
+  </li>
+  <li>
+  443. Madonna and infant John (?).
+  </li>
+  <li>
+  <span class="smcap">Colonna Gallery</span>, 136. Madonna.
+  </li>
+  <li>
+  <span class="smcap">Corsini Gallery</span>, 580. Madonna (?) 1509.
+  </li>
+  <li>
+  584. Leo X. (variation of Raphael&rsquo;s portrait in Pitti).
+  </li>
+  <li><a name="pg126" id="pg126"></a><span class="pagenum">126</span>
+  <span class="smcap">Prince Colonna.</span> <i>Tondo</i>: Madonna and infant John.
+  </li>
+  <li>
+  <span class="smcap">Contessa Spaletti.</span> <i>Tondo</i>: Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Scotland, Langton (Duns).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Hon. Mrs. Baillie-Hamilton.</span> Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Siena.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Palazzo Saracini</span>, 1420. Holy Family in Landscape.
+  </li>
+  </ul>
+ </li>
+ <li class="place">St. Petersburg.
+  <ul class="IX">
+  <li>
+  <i>Tondo</i>: Holy Family with infant John asleep.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Strasburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Gallery</span>, 286. Presentation.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Stuttgart.
+  <ul class="IX">
+  <li>
+  250. <i>Tondo</i>: Holy Family.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Turin.
+  <ul class="IX">
+  <li>
+  114. Madonna and infant John.
+  </li>
+  <li>
+  <span class="smcap">Museo Civico</span>.  Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Venice.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Baron Giorgio Franchetti</span>. Venus asleep and Cupid.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  36. Rape of Dinah. 1531.
+  </li>
+  <li>
+  <span class="smcap">Academy</span>,&nbsp;  1134. <i>Tondo</i>: Madonna with infant John (Michelangelo&rsquo;s suggestion).
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="carli" id="carli"></a>
+RAFFAELLE DEI CARLI (or Croli).</h3>
+
+<div class="artistdesc"><p>
+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.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Von Kaufmann Collection</span>. Three half-length figures of Saints in small ovals.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dresden.
+  <ul class="IX">
+  <li>
+  21. Madonna and two Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg127" id="pg127"></a><span class="pagenum">127</span>D&uuml;sseldorf.
+  <ul class="IX">
+  <li>
+  120. <i>Tondo</i>: Madonna, with Child blessing.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Eastnor Castle (Ledbury).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lady Henry Somerset</span>. Altarpiece: Madonna and Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Esher.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Herbert F. Cook, Copseham.</span> Israelites crossing Red Sea. The Golden Calf.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Uffizi</span>, 90. Madonna appearing to four Saints. Madonna, two Saints, and two Donors (probably painted in Garbo&rsquo;s studio). The four Evangelists (framed above Triptych ascribed to Spinello Aretino) (?).
+   <ul class="IX">
+   <li>
+    <span class="smcap">Magazine.</span> Annunciation.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Mr. B. Berenson.</span> Christ in Tomb between Mary and John.
+  </li>
+  <li>
+  <span class="smcap">Duca di Brindisi.</span> Combat of Marine Deities.
+  </li>
+  <li>
+  <span class="smcap">Mr. H. W. Cannon, Villa Doccia</span> (near Fiesole), <span class="smcap">Chapel in Woods</span>. Fresco.
+  </li>
+  <li>
+  <span class="smcap">Corsini Gallery.</span> Madonna with two Saints and two Angels.
+  </li>
+  <li>
+  <span class="smcap">Via Conservatorio Capponi, I.</span> Tabernacle: Madonna and two Angels.
+  </li>
+  <li>
+  <span class="smcap">Via delle Colonne, Scuola Elementare.</span> Fresco: Miracle of Loaves and Fishes. 1503.
+  </li>
+  <li>
+  <span class="smcap">Mrs. Ross, Poggio Gherardo.</span> Madonna in Glory, and two Bishops.
+  </li>
+  <li>
+  <span class="smcap">S. Ambrogio, first Altar R.</span> St. Ambrogio and other Saints; Annunciation in lunette.
+  </li>
+  <li>
+  <span class="smcap">S. Maria Maddalena dei Pazzi.</span> St. Roch. St. Ignatius.
+  </li>
+  <li>
+  <span class="smcap">S. Procolo. Altar R.</span> Visitation with Saints and Angels.
+  </li>
+  <li><a name="pg128" id="pg128"></a><span class="pagenum">128</span>
+  <span class="smcap">S. Spirito, South Transept</span>. Madonna and Evangelist with SS. Stephen, Lawrence, and Bernard. 1505.
+  </li>
+  <li>
+  Madonna with Evangelist, St. Bartholomew, and two Angels. E.
+  </li>
+  <li>
+  Madonna with two Angels and SS. Nicholas and Bartholomew, and busts of Jerome and another Saint.
+  </li>
+  <li>
+  <span class="smcap">Brozzi</span> (near Florence). <span class="smcap">S. Andrea, R. Wall.</span> Fresco in lunette: SS. Albert and Sigismund.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Le Mans.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>, 19. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Locko Park (near Derby).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Drury Lowe.</span> Deposition. The Baptist.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Robert Benson.</span> Mass of St. Gregory. 1501.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lucca.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sala IV</span>, 16. Polyptych.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Poldi-Pezzoli</span>, 158. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Montepulciano.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio</span>, 80. <i>Tondo</i>: Madonna in Landscape.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Olantigh Towers (Wye).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Erle-Drax.</span> <i>Piet&agrave;</i>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oxford.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Christ Church Library.</span> The Magdalen.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1303. Coronation and four Saints.
+  </li>
+  <li>
+  <span class="smcap">Baron Michele Lazzaroni.</span> Resurrection, with kneeling Donors.
+  </li>
+  <li>
+  <span class="smcap">M. Eug&egrave;ne Richtemberger.</span> <i>Tondo</i>: Madonna and two Angels. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pisa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Museo Civico</span>, 238. Madonna and four Saints.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Sala VI</span>, 15. God appearing to kneeling Company.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">S. Matteo, L. Wall.</span> <i>Predelle</i> to No. 238 in Museo.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Poggibonsi.
+  <ul class="IX">
+  <li><a name="pg129" id="pg129"></a><span class="pagenum">129</span>
+  <span class="smcap">S. Lucchese, R. Wall.</span> &ldquo;Noli me Tangere.&rdquo;
+  </li>
+  </ul>
+ </li>
+ <li class="place">Prato.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio</span>, 6. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">San Miniato del Tedeschi.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Domenico</span>. Madonna with St. Andrew and Baptist(?). 1507.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Siena.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Maria degli Angeli, High Altar.</span> Madonna in Glory, and Saints. 1502.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vallombrosa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pieve</span>. S. Giovanni Gualberto enthroned between four Saints. 1508.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Venice.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 55. Madonna and two Saints, E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Volterra.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio, Anticamera</span>. Fresco: Madonna.
+  </li>
+  <li>
+  <span class="smcap">Museo</span>. Madonna, Saints, and Angels. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Weston Birt (Tetbury).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Captain G. L. Holford</span>. Nativity.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="castagno" id="castagno"></a>
+ANDREA DEL CASTAGNO.</h3>
+
+<div class="artistdesc"><p>
+Died rather young in 1457. Influenced by Donatello
+and Paolo Uccello.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Uffizi, Third Tuscan Room</span>. 12. Fresco: Crucifixion and Saints.
+  </li>
+  <li>
+  <span class="smcap">S. Appolonia, Refectory.</span> Frescoes: Last Supper; Crucifixion; Entombment; Resurrection. Soon after 1434. (Nine Figures) Boccaccio; Petrarch; Dante; Queen Thomyris; Cum&aelig;an Sibyl; Niccol&ograve; Acciajuoli; Farinati degli Uberti; Filippo Scolari (&ldquo;Pippo Spano&rdquo;); Esther. L.&mdash;Frieze of <i>Putti</i> with Garlands.
+   <ul class="IX">
+   <li><a name="pg130" id="pg130"></a><span class="pagenum">130</span>
+    <span class="smcap">Cloister</span>. Fresco: Dead Christ and Angels. Soon after 1434.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Hospital</span> (<span class="smcap">33 Via degli Alfani</span>), <span class="smcap">Court.</span> Fresco: Crucifixion.
+  </li>
+  <li>
+  <span class="smcap">SS. Annunziata, first Altar</span> L. Fresco: Christ and St. Julian. L. (Invisible.)
+   <ul class="IX">
+   <li>
+    <span class="smcap">Second Altar</span> L. Fresco: Trinity with St. Jerome and other Saints. L. (Invisible.)
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Duomo, Wall R. of Entrance</span>: Fresco: Equestrian Portrait of Niccol&ograve; da Tolentino. 1456.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Window in Drum of Cupola</span> (from his design). Deposition. 1444.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Locko Park (near Derby).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Drury Lowe</span>. David (painted on a Shield). L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  1138. Small Crucifixion.
+  </li>
+  <li>
+  <span class="smcap">Mr. J. Pierpont Morgan.</span> Bust of Man.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="cimabue" id="cimabue" ></a>
+CIMABUE.</h3>
+
+<div class="artistdesc"><p>
+About 1240-about 1301.</p>
+
+<p>The following works are all by the same hand, probably
+Cimabue&rsquo;s.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Assisi.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Francesco, Upper Church, Choir and Transepts.</span> Frescoes.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Lower Church, R. Transept.</span> Fresco: Madonna and Angels with St. Francis.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 102. Madonna, Angels, and four Prophets.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg131" id="pg131"></a><span class="pagenum">131</span>Paris.
+  <ul class="IX">
+  <li>
+  1260. Madonna and Angels.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3>COSIMO, see <a href="#pierdicosimo" >PIER DI COSIMO</a>.</h3>
+
+
+<h3><a name="credi" id="credi"></a>
+LORENZO DI CREDI.</h3>
+
+<div class="artistdesc"><p>
+1456-1537. Pupil of Verrocchio.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  80. Bust of Young Woman (?). E.
+  </li>
+  <li>
+  100. Madonna.
+  </li>
+  <li>
+  103. St. Mary of Egypt.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cambridge.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Fitzwilliam Museum</span>, 125. St. Sebastian (the Saint only).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Carlsruhe.
+  <ul class="IX">
+  <li>
+  409. Madonna and infant John adoring Child.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Castiglione Fiorentino.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Collegiata, Altar R. of High Altar.</span> Nativity. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cleveland (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Holden Collection</span>, 14. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dresden.
+  <ul class="IX">
+  <li>
+  13. Madonna and infant John. E.
+  </li>
+  <li>
+  14. Nativity (in part).
+  </li>
+  <li>
+  15. Madonna and Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 92. Adoration of Shepherds.
+  </li>
+  <li>
+  94. Nativity (in great part).
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 24. <i>Tondo</i>: Madonna (in part).
+  </li>
+  <li>
+  34. Portrait of Young Man.
+  </li>
+  <li>
+  1160. Annunciation. E.
+  </li>
+  <li>
+  1163. Portrait of Verrocchio.
+  </li>
+  <li>
+  1168. Madonna and Evangelist.
+  </li>
+  <li>
+  1311. &ldquo;Noli me Tangere.&rdquo;
+  </li>
+  <li>
+  1313. Annunciation.
+  </li>
+  <li>
+  1314. Annunciation.
+  </li>
+  <li>
+  3452. Venus. E.
+  </li>
+  <li>
+  <i>Tondo</i>: Madonna and Angel adoring Child (in part).
+  </li>
+  <li>
+  <span class="smcap">Marchese Pucci.</span> Portrait of Lady.
+  </li>
+  <li>
+  <span class="smcap">S. Domenico</span> (near Fiesole), <span class="smcap">First Altar</span> R. Baptism.
+  </li>
+  <li><a name="pg132" id="pg132"></a><span class="pagenum">132</span>
+  <span class="smcap">Duomo, Sacristy</span>. St. Michael. 1523.
+  </li>
+  <li>
+  <span class="smcap">Or San Michele, Pillar</span>. St. Bartholomew.
+  </li>
+  <li>
+  <span class="smcap">S. Spirito, Apse</span>. Madonna with St. Jerome and an Apostle. E.
+  </li>
+  <li>
+  <span class="smcap">Scandicci</span> (near Florence), <span class="smcap">Comtesse de Turenne</span>. Portrait of Youth.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Forl&igrave;.
+  <ul class="IX">
+  <li>
+  130. Portrait of Lady. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="glasgowcredi" id="glasgowcredi"></a>Glasgow.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. William Beattie</span>. Portrait of the Artist. 1488.
+  </li>
+  </ul>
+ </li>
+ <li class="place">G&ouml;ttingen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Museum</span>, 220. Crucifixion.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Hamburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Weber Collection</span>. <i>Tondo</i>: Ascension of Youthful Saint accompanied by two Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Hanover.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Kestner Museum,</span> 21. Bust of Youth.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  593. Madonna.
+  </li>
+  <li>
+  648. Madonna adoring Child.
+  </li>
+  <li>
+  <span class="smcap">Mr. Charles Butler</span>. Madonna.
+  </li>
+  <li>
+  <span class="smcap">Earl of Rosebery</span>. St. George.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Longleat (Warminster).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Marquess of Bath</span>. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Mayence.
+  <ul class="IX">
+  <li>
+  105. Madonna. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Conte Casatti</span>. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Munich.
+  <ul class="IX">
+  <li>
+  1040<span class="smcap">a.</span> Madonna (?) (done in Verrocchio&rsquo;s studio).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Naples.
+  <ul class="IX">
+  <li>
+  Nativity. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oxford.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Galleries</span>, 26. Madonna (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1263. Madonna and two Saints. 1503, or later.
+  </li>
+  <li>
+  1264. &ldquo;Noli me Tangere.&rdquo;
+  </li>
+  <li>
+  <span class="smcap">M. Gustave Dreyfus</span>. Madonna (done in Verrocchio&rsquo;s studio).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pistoia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duomo, Chapel L. of High Altar</span>. Madonna and Saints (done in Verrocchio&rsquo;s studio. 1478-1485).
+  </li>
+  <li><a name="pg133" id="pg133"></a><span class="pagenum">133</span>
+  <span class="smcap">Madonna del Letto</span>. Virgin, St. Jerome, and Baptist. 1510.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Borghese</span>, 433. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Scotland.
+  <ul class="IX">
+  <li>
+  (Cf. <a href="#glasgowcredi" >Glasgow</a>.)
+  </li>
+  </ul>
+ </li>
+ <li class="place">Strasburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Gallery</span>, 215. Madonna. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Turin.
+  <ul class="IX">
+  <li>
+  115. Madonna. E.
+  </li>
+  <li>
+  118. Madonna (in part).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Venice.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Querini-Stampalia, Sala III</span>, 4. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3>DOMENICO, see <a href="#veneziano" >VENEZIANO</a>.</h3>
+
+
+<h3>FILIPPINO and FILIPPO, see <a href="#lippi" >LIPPI</a>.</h3>
+
+
+<h3><a name="franciabigio" id="franciabigio"></a>
+FRANCIABIGIO.</h3>
+
+<div class="artistdesc">
+<p>
+1482-1525. Pupil of Pier di Cosimo and Albertinelli; worked with and
+was influenced by Andrea del Sarto.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Barnard Castle.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Bowes Museum</span>, 235. Bust of Young Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  235. Portrait of Man.
+  </li>
+  <li>
+  245. Portrait of Man writing. 1522.
+  </li>
+  <li>
+  245<span class="smcap">a</span>. Portrait of Youth in Landscape.
+  </li>
+  <li>
+  <span class="smcap">Herr Eugen Schweizer</span>. Madonna with infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bologna.
+  <ul class="IX">
+  <li>
+  294. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Brussels.
+  <ul class="IX">
+  <li>
+  478. Leda and her Children.
+  </li>
+  <li>
+  <span class="smcap">Mus&eacute;e de la Ville</span>. Profile of Old Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Chantilly.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e Cond&eacute;</span>, 41. Bust of Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cracow.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Potocki Collection</span>. Madonna with infant John (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dijon.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e, Donation Jules Maciet</span>. Bust of Youth.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dresden.
+  <ul class="IX">
+  <li><a name="pg134" id="pg134"></a><span class="pagenum">134</span>
+  75. Bathsheba. 1523.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pitti</span>, 43. Portrait of Man. 1514. 427. Calumny. E.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 92. <i>Tondo</i>: Madonna and infant John, E.
+  </li>
+  <li>
+  1223. Temple of Hercules.
+  </li>
+  <li>
+  1224. <i>Tondo</i>: Holy Family and infant John.
+  </li>
+  <li>
+  1264. Madonna with Job and Baptist. E.
+  </li>
+  <li>
+  <span class="smcap">Chiostro dello Scalzo</span>. Monochrome Frescoes: Baptist leaving his Parents, 1518-19. Baptism, 1509. Meeting of Christ and Baptist, 1518-19.
+  </li>
+  <li>
+  <span class="smcap">SS. Annunziata, Entrance Court, R.</span> Fresco: Sposalizio. 1513.
+  </li>
+  <li>
+  <span class="smcap">La Calza</span>. (Porta Romana). Fresco: Last Supper.
+  </li>
+  <li>
+  <span class="smcap">Poggio a Cajano</span> (Royal Villa near Florence). Fresco: Triumph of C&aelig;sar. 1521.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Hamburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Weber Collection</span>, 119. Bust of Young Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  1035. Portrait of Young Man.
+  </li>
+  <li>
+  <span class="smcap">Mr. Robert Benson</span>. Portrait of Young Man.
+  </li>
+  <li>
+  <span class="smcap">Earl of Northbrook</span>. Head of Young Man.
+  </li>
+  <li>
+  <span class="smcap">Mr. T. Vasel</span>. Bust of Young Man.
+  </li>
+  <li>
+  <span class="smcap">Earl of Yarborough</span>. Bust of a Jeweller. 1516.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Modena.
+  <ul class="IX">
+  <li>
+  223. Birth of Baptist. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New York.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Rutherford Stuyvesant</span>. Portrait of Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">N&icirc;mes.
+  <ul class="IX">
+  <li>
+  132, 269, 270. Small <i>Tondi</i>: Trinity, SS. Peter and Paul.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg135" id="pg135"></a><span class="pagenum">135</span>Oxford.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. T. W. Jackson.</span> Legend of a Saint.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1651<span class="smcap">a.</span> Portrait of Andrea Fausti.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Philadelphia.
+  <ul class="IX">
+  <li>
+  <span class="smcap"> Mr. John G. Johnson.</span> Bust of Christ Blessing (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pinerolo (Piedmont).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Villa Lamba Doria.</span> Portrait of Young Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Barberini Gallery.</span> Portrait of Young Man.
+  </li>
+  <li>
+  <span class="smcap">Borghese Gallery</span>, 458. Madonna and infant John. E.
+  </li>
+  <li>
+  <span class="smcap">Corsini Gallery</span>, 570. Madonna holding Child on Parapet. Portrait of Man with Book.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Turin.
+  <ul class="IX">
+  <li>
+  112. Annunciation. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  46. Holy Family.
+  </li>
+  <li>
+  52. Madonna and infant John in Landscape.
+  </li>
+  <li>
+  <span class="smcap">Count Lanckoronski.</span> Man with Cap and Feathers. L. Christ saving Man from drowning (?).
+  </li>
+  <li>
+  <span class="smcap">Prince Liechtenstein.</span> Bust of Young Man. 1517. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Wiesbaden.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Nassauisches Kunstverein</span>, 118. <i>Cassone</i> picture.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Windsor Castle.
+  <ul class="IX">
+  <li>
+   Portrait of Man (&ldquo;Gardener of Pier Francesco dei Medici&rdquo;).
+  </li>
+  </ul>
+ </li>
+</ul>
+
+<h3><a name="garbo" id="garbo"></a>
+RAFFAELINO DEL GARBO.</h3>
+
+<div class="artistdesc"><p>
+1466-1524 (?). Pupil of Botticelli and Filippino Lippi; influenced by
+    Ghirlandajo and Perugino.</p></div>
+
+<ul class="IX">
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  78. Bust of Man.
+  </li>
+  <li><a name="pg136" id="pg136"></a><span class="pagenum">136</span>
+  81. Profile of Young Woman.
+  </li>
+  <li>
+  90. <i>Tondo</i>: Madonna and Angels.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Simon Collection</span>, i. <i>Tondo</i>: Madonna and Angels. E.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dresden.
+  <ul class="IX">
+  <li>
+  22. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 90. Resurrection.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Glasgow.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Corporation Gallery.</span> Madonna with infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Robert Benson.</span> <i>Tondo</i>: Madonna and Angels.
+  </li>
+  <li>
+  <span class="smcap">Col. G. L. Holford, Dorchester House.</span> Madonna and Angel.
+  </li>
+  <li>
+  <span class="smcap">Mr. Charles Ricketts.</span> Madonna in Landscape.
+  </li>
+  <li>
+  <span class="smcap">Sir Henry Samuelson</span>. <i>Tondo</i>: Madonna with Magdalen and St. Catherine.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lyons.
+  <ul class="IX">
+  <li>
+  <span class="smcap">M. Edouard Aynard</span>. Profile Bust of Baptist.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Munich.
+  <ul class="IX">
+  <li>
+  1009. <i>Piet&agrave;</i>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Naples.
+  <ul class="IX">
+  <li>
+  <i>Tondo</i>: Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  <span class="smcap">M. Henri Heugel.</span> <i>Tondo</i>: Madonna and two Angels. E.
+  </li>
+  <li>
+  <span class="smcap">Baron Edouard de Rothschild.</span> Profile bust of Young Lady.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Parma.
+  <ul class="IX">
+  <li>
+  56. Madonna giving Girdle to St. Thomas.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Venice.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lady Layard.</span> Portrait of Man.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="ghirlandajo" id="ghirlandajo"></a>DOMENICO GHIRLANDAJO.</h3>
+
+<div class="artistdesc"><p>
+1449-1494. Pupil of Baldovinetti; influenced slightly
+by Botticelli and more strongly by Verrocchio.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 66. Madonna and Saints.
+  </li>
+  <li><a name="pg137" id="pg137"></a><span class="pagenum">137</span>
+  195. Adoration of Shepherds. 1485.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 19. Madonna and Saints.
+  </li>
+  <li>
+  43. Portrait of Giovanni Bicci de&rsquo; Medici.
+  </li>
+  <li>
+  1295. Adoration of Magi.
+  </li>
+  <li>
+  1297. Madonna, Saints, and Angels.
+  </li>
+  <li>
+  <span class="smcap">Museo di San Marco, Small Refectory</span>. Fresco: Last Supper.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Vecchio, Flag Room</span>. Fresco: Triumph of S. Zanobi. 1482-1484.
+  </li>
+  <li>
+  <span class="smcap">Duomo, over N. Door</span>. Mosaic: Annunciation. 1490.
+  </li>
+  <li>
+  <span class="smcap">Innocenti, High Altar</span>. Adoration of Magi (the episode of the &ldquo;Massacre of the Innocents&rdquo; painted by Alunno di Domenico). 1488.
+  </li>
+  <li>
+  <span class="smcap">S. Maria Novella, Choir</span>. Frescoes: Lives of the Virgin and Baptist, etc. (execution, save certain portrait heads, chiefly by David, Mainardi, and other assistants). Begun 1486, finished 1490.
+  </li>
+  <li>
+  <span class="smcap">Ognissanti, L. Wall</span>. Fresco: St. Augustine. 1480.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Altar R.</span> Fresco: Madonna della Misericordia (in part). E.
+   </li>
+   <li>
+    <span class="smcap">Refectory</span>. Fresco: Last Supper. 1480.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">S. Trinita. Chapel R. of Choir.</span> Frescoes: Life of St. Francis. 1483-1485.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Over Arch</span>. Fresco: Augustus and Sibyl (in part). Same date.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Badia di Passignano (Tavernelle, near Florence), Refectory</span>. Frescoes: Last Supper, etc. 1477.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li><a name="pg138" id="pg138"></a><span class="pagenum">138</span>
+  1299. Portrait of Young Man (repainted).
+  </li>
+  <li>
+  <span class="smcap">Mr. Robert Benson.</span> Francesco Sassetti and his Son.
+  </li>
+  <li>
+  <span class="smcap">Mr. Ludwig Mond.</span> Madonna.
+  </li>
+  <li>
+  <span class="smcap">Mr. J. Pierpont Morgan.</span> Profile of Giovanna Tornabuoni. 1488.
+  </li>
+  <li>
+  <span class="smcap">Mr. George Salting.</span> Madonna and infant John. Bust of Costanza de&rsquo; Medici.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lucca.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duomo, Sacristy.</span> Madonna and Saints, with <i>Piet&agrave;</i> in lunette.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Narni.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio</span>. Coronation of Virgin (in part). 1486.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New Haven (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Jarves Collection</span>, 73. Fresco: Head of Woman (Cf. woman to extreme L. in &ldquo;Visitation&rdquo; at S. Maria Novella, Florence).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1321. Visitation (in part).
+  </li>
+  <li>
+  1322. Old Man and Boy.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pisa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Museo Civico, Sala VI</span>, 21. SS. Sebastian and Roch (in part). Virgin with St. Anne and Saints (in part).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Vatican, Sixtine Chapel.</span> Frescoes: Calling of Peter and Andrew. 1482. Single figures of Popes: Anacletus, Iginius, Clement, and Pius. 1482.
+  </li>
+  </ul>
+ </li>
+ <li class="place">San Gemignano.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Collegiata, Chapel of S. Fina.</span> Frescoes: Life of the Saint. About 1475.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vercelli.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Museo Borgogna.</span> Madonna adoring Infant. E.
+  </li>
+  </ul>
+ </li>
+ <li>Volterra.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio.</span> Christ in Glory adored by two Saints and Don Guido Bonvicini (in part). 1492.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="pg139" id="pg139"></a><span class="pagenum">139</span>
+<a name="ghirlandajoR" id="ghirlandajoR"></a>
+RIDOLFO GHIRLANDAJO.</h3>
+
+<div class="artistdesc"><p>
+1483 to 1561. Pupil of Granacci, and eclectic imitator
+of most of his important contemporaries.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Bergamo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Morelli</span>, 51. Bust of Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  91. Nativity.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Budapest.
+  <ul class="IX">
+  <li>
+  58. Nativity. 1510.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Chatsworth.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duke of Devonshire.</span> Bust of Man (?). L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Colle di Val d&rsquo;Elsa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Agostino, third Altar</span> R. <i>Piet&agrave;</i>. 1521.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 83, 87. Panels with three Angels each. E.
+  </li>
+  <li>
+  <span class="smcap">Pitti</span>, 207. Portrait of a Goldsmith. E.
+  </li>
+  <li>
+  224. Portrait of a Lady. 1509.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 1275, 1277. Miracles of S. Zanobi. 1510.
+  </li>
+  <li>
+  <span class="smcap">Bigallo.</span> <i>Predelle</i>. 1515.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Vecchio, Cappella dei Priori</span>. Frescoes. 1514.
+  </li>
+  <li>
+  <span class="smcap">Corsini Gallery</span>, 129. Portrait of Man.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Torrigiani.</span> Portrait of Ardinghelli.
+  </li>
+  <li>
+  <span class="smcap">La Quiete.</span> St. Sebastian.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Glasgow.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. William Beattie.</span> Portrait of Man (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  1143. Procession to Calvary. E.
+  </li>
+  <li>
+  <span class="smcap">Mr. George Salting.</span> Portrait of Girolamo Beniviene.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lucardo (near Certaldo).
+  <ul class="IX">
+  <li>
+  <span class="smcap">High Altar</span>. Madonna with SS. Peter, Martin, Justus, and the Baptist. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Comm. Benigno Crespi.</span> Small Triptych. Nativity and Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg140" id="pg140"></a><span class="pagenum">140</span>New Haven (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Jarves Collection</span>, 97. Madonna and Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1324. Coronation of Virgin. 1503.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Philadelphia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Elkins Park, Mr. Peter Widener</span>, 191. Bust of Lucrezia Summaria, E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pistoia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Pietro Maggiore.</span> Madonna and Saints. 1508.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Prato.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duomo.</span> Madonna giving Girdle to St. Thomas. 1514.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Reigate (Surrey).
+  <ul class="IX">
+  <li>
+  <span class="smcap">The Priory, Mr. Somers Somerset.</span> Portrait of Girolamo Beniviene.
+  </li>
+  </ul>
+ </li>
+ <li class="place">St. Petersburg.
+  <ul class="IX">
+  <li>
+  40. Portrait of Old Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Wantage.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lockinge House, Lady Wantage.</span> Youngish Man looking up from Letter.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="giotto" id="giotto"></a>GIOTTO.</h3>
+
+<div class="artistdesc"><p>
+1276-1336. Follower of Pietro Cavallini; influenced by
+Giovanni Pisano.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Assisi.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Francesco, Lower Church, Chapel of the Magdalen</span>: Frescoes: Feast in the House of Simon (in great part); Raising of Lazarus; &ldquo;Noli me Tangere,&rdquo; (in part); Magdalen and Donor (in part)(?). (The remaining frescoes in this chapel are by assistants.) Before 1328.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Upper Church.</span> II-XIX of frescoes recounting the Life of St. Francis (with occasional aid of A). E.
+   </li>
+   <li>
+    <span class="smcap">West Wall.</span> Fresco: Madonna.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg141" id="pg141"></a><span class="pagenum">141</span>Boston (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mrs. J. L. Gardner</span>: Presentation of Christ in the Temple. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 103. Madonna enthroned and Angels.
+  </li>
+  <li>
+  <span class="smcap">S. Croce, Bardi Chapel.</span> Frescoes: Life of St. Francis, etc. (Little more than the compositions are now Giotto&rsquo;s.) Not earlier than 1317.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Peruzzi Chapel</span>. Frescoes: Lives of the Baptist and St. John the Evangelist (considerably repainted). L.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Munich.
+  <ul class="IX">
+  <li>
+  983. Last Supper.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Padua.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Arena Chapel.</span> Frescoes: Lives of Christ and His Mother; Last Judgment; Symbolical Figures. About 1305-6.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Sacristy.</span> Painted Crucifix. About 1305-6.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Giovanni Laterano</span>, <span class="smcap">Pillar R. Aisle</span>. Fragment of Fresco: Boniface VIII proclaiming the Jubilee. 1300.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="giottoass" id="giottoass"></a>GIOTTO&rsquo;S ASSISTANTS.</h3>
+
+<div class="artistdesc"><p>
+[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.]
+</p></div>
+
+
+<h4>A.</h4>
+
+<ul class="IX">
+ <li class="place">Assisi.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Francesco, Upper Church</span>. XX-XXV and first of Frescoes recounting the Life of St. Francis, done perhaps under Giotto&rsquo;s directions. <a name="pg142" id="pg142"></a><span class="pagenum">142</span>XXVI-XXVIII of same series done more upon his own responsibility.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Lower Church, Chapel of the Sacrament</span>. Frescoes: Legend of St. Nicholas; Christ with SS. Francis and Nicholas and Donors, etc. (?). Before 1316. Madonna between SS. Francis and Nicholas (?). Before 1316.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Uffizi</span>, 20. Altarpiece of St. Cecily. E.
+  </li>
+  <li>
+  <span class="smcap">S. Margherita a Montici</span> (beyond Torre del Gallo). Madonna. E. Altarpiece with St. Margaret. E.
+  </li>
+  <li>
+  <span class="smcap">S. Miniato</span>: Altarpiece with S. Miniato. E.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h4>B.</h4>
+
+<ul class="IX">
+ <li class="place">Assisi.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Francesco, Lower Church, Over Tomb of Saint</span>. Frescoes: Allegories of Poverty, Chastity, and Obedience, and Triumph of St. Francis. (The Francis between the two Angels in the &ldquo;Obedience&rdquo; and nearly all of the &ldquo;Triumph&rdquo; were executed by another hand, probably C.)
+   <ul class="IX">
+   <li>
+    <span class="smcap">R. Transept</span>. 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&rsquo;s Madonna) Crucifixion (with the aid of C).
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg143" id="pg143"></a><span class="pagenum">143</span>Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Croce, Cappella Medici.</span> Baroncelli Polyptych: Coronation of Virgin, Saints and Angels (?).
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h4>C.</h4>
+
+<ul class="IX">
+ <li class="place">Assisi.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Francesco, Lower Church, R. Transept.</span> Frescoes: Eight Scenes from the Childhood of Christ.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  1074<span class="smcap">a</span>. Crucifixion.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Bargello Chapel</span>. Fresco: Paradise (?). (Cf. also under B for assistance rendered by C.)
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h4>VARIOUS.</h4>
+
+<ul class="IX">
+ <li class="place">Bologna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pinacoteca</span>, 102. Polyptych: Madonna and Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Felice.</span> Painted Crucifix.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Munich.
+  <ul class="IX">
+  <li>
+  981. Crucifixion (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1512. St. Francis receiving Stigmata.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">St. Peter&rsquo;s, Sagrestia dei Canonici</span>. Stefaneschi Polyptych (suggests Bernardo Daddi).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Strasburg.
+  <ul class="IX">
+  <li>
+  203. Crucifixion.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3>GOZZOLI, see <a href="#benozzo" >BENOZZO</a>.</h3>
+
+
+<h3><a name="granacci" id="granacci"></a>FRANCESCO GRANACCI.</h3>
+
+<div class="artistdesc"><p>
+1477-1543. Pupil first of Credi, and then of Ghirlandajo,
+whom he assisted; influenced by Botticelli,
+Michelangelo Fra Bartolommeo, and
+Pontormo.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  74 and 76. SS. Vincent and Antonino (in Ghirlandajo&rsquo;s studio). Soon after 1494.
+  </li>
+  <li><a name="pg144" id="pg144"></a><span class="pagenum">144</span>
+  88. Madonna and four Saints (kneeling figures and landscape his own cartoons, the rest Ghirlandajesque design).
+  </li>
+  <li>
+  97. Madonna with Baptist and Archangel Michael, E.
+  </li>
+  <li>
+  229. The Trinity.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Budapest.
+  <ul class="IX">
+  <li>
+  54. St. John at Patmos.
+  </li>
+  <li>
+  78. Madonna and infant John (?)
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cassel.
+  <ul class="IX">
+  <li>
+  480. <i>Tondo</i>: Madonna holding Child on Parapet.
+  </li>
+  <li>
+  482. Crucifixion.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Chantilly.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e Cond&eacute;</span>, 95. Madonna (from Ghirlandajo&rsquo;s studio) (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Citt&agrave; di Castello.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pinacoteca.</span> Coronation of Virgin (in part; done in Ghirlandajo&rsquo;s studio).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Darmstadt.
+  <ul class="IX">
+  <li>
+  Small Crucifixion. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dublin.
+  <ul class="IX">
+  <li>
+  78. Holy Family.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 68. Assumption of Virgin.
+  </li>
+  <li>
+  154. Madonna.
+  </li>
+  <li>
+  285-290. Stories of Saints. L.
+  </li>
+  <li>
+  <span class="smcap">Pitti</span>, 345. Holy Family.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 1249, 1282. Life of Joseph.
+  </li>
+  <li>
+  Portrait of Lucrezia del Fede.
+  </li>
+  <li>
+  Covoni Altarpiece, Madonna and Saints.
+  </li>
+  <li>
+  <span class="smcap">Istituto dei Minorenni Corrigendi</span> (<span class="smcap">Via della Scala.</span>) Altarpiece: Madonna with SS. Sebastian and Julian (?).
+  </li>
+  <li>
+  <span class="smcap">Brozzi</span> (near Florence). <span class="smcap">S. Andrea. L. Wall.</span> Frescoes: Baptism, Madonna enthroned between SS. Dominic and Sebastian (Ghirlandajo&rsquo;s designs).
+  </li>
+  <li><a name="pg145" id="pg145"></a><span class="pagenum">145</span>
+  <span class="smcap">Quintole (near Florence). S. Pietro.</span> <i>Piet&agrave;</i>. L.
+  </li>
+  <li>
+  <span class="smcap">Villamagna (near Florence), Church</span>. Madonna with SS. Gherardo and Donnino.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="glasgowgranacci" id="glasgowgranacci"></a>Glasgow.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. James Mann.</span> Madonna (?). E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Victoria and Albert Museum.</span> <i>Tondo</i>: Madonna.
+  </li>
+  <li>
+  <span class="smcap">Mr. Robert Benson.</span> 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.
+  </li>
+  <li>
+  <span class="smcap">Duke of Buccleugh</span>, 10. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lucca.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Marchese Mansi</span> (<span class="smcap">S. Maria Forisportam</span>). <i>Tondo</i>: Madonna and two Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Comm. Benigno Crespi.</span> Entry of Charles VIII into Florence.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Munich.
+  <ul class="IX">
+  <li>
+  1011. Madonna in Glory and four Saints (Ghirlandajo&rsquo;s design). Soon after 1494.
+  </li>
+  <li>
+  1061-1064. Panels with a Saint in each. L.
+  </li>
+  <li>
+  1065. Holy Family.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New Haven (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Jarves Collection</span>, 86. <i>Piet&agrave;</i>. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oxford.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Christ Church Library.</span> St. Francis.
+  </li>
+  <li>
+  <span class="smcap">University Museum</span>, 23. St. Antony of Padua and an Angel.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Panshanger (near Hertford).
+  <ul class="IX">
+  <li>
+  Portrait of Lady.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  <span class="smcap">M. Jean Dollfus.</span> Madonna and Saints (?).
+  </li>
+  <li><a name="pg146" id="pg146"></a><span class="pagenum">146</span>
+  <span class="smcap">M. d&rsquo;Eichtal</span>. Bust of Lady.
+  </li>
+  <li>
+  <span class="smcap">M. Eug&egrave;ne Richtemberger</span>. Nativity.
+  </li>
+  <li>
+  <span class="smcap">M. Joseph Spiridon</span>. Bust of Young Woman in Red.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Philadelphia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. John G. Johnson</span>. <i>Piet&agrave;</i> in Landscape (?). E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Reigate (Surrey).
+  <ul class="IX">
+  <li>
+  <span class="smcap">The Priory, Mr. Somers Somerset</span>. Madonna giving Girdle to St. Thomas.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Borghese</span>, 371. Maddalena Strozzi as St. Catherine.
+  </li>
+  <li>
+  <span class="smcap">Corsini</span>, 573. Hebe.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Scotland.
+  <ul class="IX">
+  <li>
+  (Glasgow, Cf. <a href="#glasgowgranacci" >Glasgow</a>).
+  </li>
+  <li>
+  <span class="smcap">Rossie Priory (Inchture, Perthshire</span>), <span class="smcap">Lord Kinnaird</span>. St. Lucy before her Judges. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">St. Petersburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Hermitage</span>, 22. Nativity with SS. Francis and Jerome.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Count Lanckoronski</span>. Preaching of St. Stephen.
+  </li>
+  <li>
+  <span class="smcap">Herr Carl Wittgenstein</span>. Bust of Woman in Green. (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Warwick Castle.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Earl of Warwick</span>. Assumption of Virgin, and four Saints. L.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="leonardo" id="leonardo"></a>LEONARDO DA VINCI.</h3>
+
+<div class="artistdesc"><p>
+1452-1519. Pupil of Verrocchio.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Uffizi</span>, 1252. Adoration of Magi (unfinished). Begun in 1481.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Burlington House, Diploma Gallery</span>. Large Cartoon for Madonna with St. Anne.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Maria delle Grazie, Refectory</span>. Fresco: Last Supper.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li><a name="pg147" id="pg147"></a><span class="pagenum">147</span>
+  1265. Annunciation. E.
+  </li>
+  <li>
+  1598. Madonna with St. Anne (unfinished).
+  </li>
+  <li>
+  1599. &ldquo;La Vierge aux Rochers.&rdquo;
+  </li>
+  <li>
+  1601. &ldquo;La Gioconda.&rdquo;
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Vatican, Pinacoteca</span>. St. Jerome, (unfinished).
+  </li>
+  </ul>
+ </li>
+</ul>
+
+<p><span class="smcap">Note</span>:&mdash;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&rsquo;s &ldquo;Literary Works of Leonardo da
+Vinci,&rdquo; and in B. Berenson&rsquo;s &ldquo;Drawings of the Florentine
+Painters.&rdquo;</p>
+
+
+<h3><a name="lippi" id="lippi"></a>FILIPPINO LIPPI</h3>
+
+<div class="artistdesc"><p>
+1457-1504. Pupil of Botticelli; influenced by Amico
+di Sandro, and very slightly by Piero di Cosimo.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  78<span class="smcap">a.</span> Allegory of Music. L.
+  </li>
+  <li>
+  96. Crucifixion with Virgin and St. Francis. L.
+  </li>
+  <li>
+  101. Madonna.
+  </li>
+  <li>
+  Fragment of Fresco: Head of Youth in black cap, with brown curls.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bologna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Domenico, Chapel R. of High Altar</span>. Marriage of St. Catherine. 1501.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Copenhagen.
+  <ul class="IX">
+  <li>
+  Meeting of Joachim and Anne. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 89. St. Mary of Egypt.
+  </li>
+  <li>
+  91. St. Jerome.
+  </li>
+  <li>
+  93. The Baptist.
+  </li>
+  <li>
+  98. Deposition (finished by Perugino).
+  </li>
+  <li>
+  <span class="smcap">Pitti</span>, 336. Allegorical Subject.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 286. Fresco: Portrait of Himself. E.
+  </li>
+  <li><a name="pg148" id="pg148"></a><span class="pagenum">148</span>
+  1167. Fresco: Old Man. E.
+  </li>
+  <li>
+  1257. Adoration of Magi. 1496.
+  </li>
+  <li>
+  1268. Madonna and Saints. 1486.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Corsini.</span> <i>Tondo</i>: Madonna and Angels. E.
+  </li>
+  <li>
+  <span class="smcap">Mr. Herbert P. Horne.</span> Christ on Cross. L.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Torrigiani.</span> Bust of Youth.
+  </li>
+  <li>
+  <span class="smcap">S. Ambrogio, Niche L.</span> Monochromes: Angels, and medallions in <i>predella</i>. L.
+  </li>
+  <li>
+  <span class="smcap">Badia.</span> Vision of St. Bernard with Piero di Francesco del Pugliese as Donor. Soon after 1480.
+  </li>
+  <li>
+  <span class="smcap">Carmine, Brancacci Chapel.</span> Completion of Masaccio&rsquo;s Frescoes. 1484. Angel delivering St. Peter; Paul visiting Peter in Prison; Peter and Paul before the Proconsul; Martyrdom of Peter; (in the &ldquo;Raising of the King&rsquo;s Son&rdquo;) the group of four men on the extreme L.; the Boy; and eight men and a child in a row.
+  </li>
+  <li>
+  <span class="smcap">S. Maria Novella, Strozzi Chapel.</span> Frescoes: Episodes from Lives of Evangelist and St. Philip, etc. Finished 1502.
+  </li>
+  <li>
+  <span class="smcap">S. Spirito.</span> Madonna and Saints, with Tanai di Nerli and his Wife.
+  </li>
+  <li>
+  <span class="smcap">Villa Reale di Poggio a Cajano</span> (near Florence), <span class="smcap">Porch</span>. Fragment of Fresco.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Genoa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Palazzo Bianco, Sala V</span>, 30. Madonna and Saints. 1503.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Kiel.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Prof. Martius.</span> Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg149" id="pg149"></a><span class="pagenum">149</span>Lewes (Sussex).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. E. P. Warren.</span> <i>Tondo</i>: Holy Family and St. Margaret.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  293. Madonna with SS. Jerome and Dominic.
+  </li>
+  <li>
+  927. Angel adoring.
+  </li>
+  <li>
+  <span class="smcap">Mr. Robert Benson.</span> Dead Christ.
+  </li>
+  <li>
+  <span class="smcap">Sir Henry Samuelson.</span> Moses striking the Rock. Adoration of Golden Calf.
+  </li>
+  <li>
+  <span class="smcap">Sir Julius Wernher.</span> Madonna. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lucca.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Michele, first Altar R.</span> SS. Helena, Jerome, Sebastian, and Roch. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Naples.
+  <ul class="IX">
+  <li>
+  Annunciation, with Baptist and St. Andrew. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New Haven (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Jarves Collection</span>, 81. Christ on Cross.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oxford.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Christ Church Library.</span> Centaur; on back, unfinished allegorical figures.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Prato.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio</span>, 16. Madonna with Baptist and St. Stephen. 1503.
+  </li>
+  <li>
+  Fresco in <span class="smcap">Tabernacle on Street Corner</span>: Madonna and Saints. 1498.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Maria sopra Minerva, Caraffa Chapel.</span> Annunciation. Frescoes: Triumph of St. Thomas Aquinas; Assumption of Virgin. 1489-1493.
+  </li>
+  </ul>
+ </li>
+ <li class="place">St. Petersburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Stroganoff Collection</span>. Annunciation. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Strasburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Gallery</span>, 214. Head of Angel (a fragment).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Venice.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Seminario</span>, 15. Christ and the Samaritan Woman.
+  </li>
+  <li>
+  17. &ldquo;Noli me Tangere.&rdquo;
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Herr Eugen von Miller Aicholz.</span> Christ on Cross.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="pg150" id="pg150"></a><span class="pagenum">150</span>
+<a name="filippolippi" id="filippolippi"></a>
+FRA FILIPPO LIPPI.</h3>
+
+<div class="artistdesc"><p>
+1406-1469. Pupil of Lorenzo Monaco and follower
+of Masaccio; influenced by Fra Angelico.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Ashridge Park (Berkhampstead).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Earl Brownlow.</span> Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  58. Madonna.
+  </li>
+  <li>
+  69. Madonna adoring Child.
+  </li>
+  <li>
+  95. &ldquo;Madonna della Misericordia.&rdquo;
+  </li>
+  <li>
+  95<span class="smcap">b.</span> <i>Predella</i>: Miraculous Infancy of a Saint.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 55. Madonna and Saints.
+  </li>
+  <li>
+  62. Coronation of Virgin. 1441.
+  </li>
+  <li>
+  79. Virgin adoring Child.
+  </li>
+  <li>
+  82. Nativity. E.
+  </li>
+  <li>
+  86. <i>Predelle</i>: S. Frediano changing the Course of the Serchio; Virgin receiving the Announcement of her Death; St. Augustine in his Study.
+  </li>
+  <li>
+  263. Gabriel and Baptist.
+  </li>
+  <li>
+  264. Madonna and St. Antony Abbot.
+  </li>
+  <li>
+  <span class="smcap">Pitti</span>, 343. Madonna. 1442.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 1307. Madonna.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Alessandri.</span> St. Antony Abbot and a Bishop. SS. Lawrence, Cosmas, and Damian and Donors.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Riccardi (Prefecture).</span> Madonna.
+  </li>
+  <li>
+  <span class="smcap">S. Lorenzo, Martelli Chapel.</span> Annunciation, and <i>Predelle</i>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  248. Vision of St. Bernard. 1447.
+  </li>
+  <li>
+  666. Annunciation. E.
+  </li>
+  <li>
+  667. Seven Saints. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lyons.
+  <ul class="IX">
+  <li><a name="pg151" id="pg151"></a><span class="pagenum">151</span>
+  <span class="smcap">M. Edouard Aynard.</span> <i>Predella</i>: St. Benedict and Novice.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Munich.
+  <ul class="IX">
+  <li>
+  1005. Annunciation. E.
+  </li>
+  <li>
+  1006. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oxford.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Galleries</span>, 12. Meeting of Joachim and Anne.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1344. Madonna and Angels. 1437.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Prato.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duomo, Choir.</span> Frescoes: Lives of St. Stephen and the Baptist (assisted by Fra Diamante). 1452-1464.
+   <ul class="IX">
+   <li>
+    <span class="smcap">R. Transept.</span> Fresco: Death of St. Bernard (the upper part by Fra Diamante). Ordered 1450.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Richmond (Surrey).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sir Frederick Cook.</span> <i>Tondo</i>: Adoration of Magi. E. SS. Michael and Antony Abbot. 1457.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lateran</span>, 65. Triptych: Coronation, Saints and Donors (the angels are, in execution at least, by another hand, probably Fra Diamante&rsquo;s).
+  </li>
+  <li>
+  <span class="smcap">Prince Doria.</span> Annunciation.
+  </li>
+  <li>
+  <span class="smcap">Mr. Ludwig Mond.</span> Annunciation and Donors.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Spoleto.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duomo, Apse.</span> Frescoes: Life of Virgin (chiefly by Fra Diamante). Left unfinished at death.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Turin.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Accademia Albertina</span>, 140, 141. The Four Church Fathers.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="lorenzo" id="lorenzo"></a>LORENZO MONACO.</h3>
+
+<div class="artistdesc"><p>
+About 1370-1425. Follower of Agnolo Gaddi and the
+Sienese.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Altenburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lindenau Museum</span>, 23. Crucifixion with <a name="pg152" id="pg152"></a><span class="pagenum">152</span>SS. Francis, Benedict, and Romuald. E.
+  </li>
+  <li>
+  90. Flight into Egypt.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bergamo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Morelli</span>, 10. Dead Christ.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  1110. Madonna with Baptist and St. Nicholas. E.
+  </li>
+  <li>
+  <span class="smcap">Print Room.</span> Illuminations: Visitation. Journey of Magi.
+  </li>
+  <li>
+  <span class="smcap">Von Kaufmann Collection.</span> St. Jerome. Nativity.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Brant Broughton (Lincolnshire).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Rev. Arthur F. Sutton.</span> Miracles of St. Benedict.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Brunswick.
+  <ul class="IX">
+  <li>
+  SS. Stephen, Dominic, Francis, and Lawrence. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cambridge.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Fitzwilliam Museum</span>, 555. Madonna and two Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cassel.
+  <ul class="IX">
+  <li>
+  478. King David.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Copenhagen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Thorwaldsen Museum</span>, i. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Empoli.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Opera del Duomo</span>, 20. Triptych. 1404.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Fiesole.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Ansano</span> (to be transferred to Museo). Christ on Cross between Mary, John, and Francis.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 143. Annunciation.
+  </li>
+  <li>
+  144. Life of St. Onofrio.
+  </li>
+  <li>
+  145. Nativity.
+  </li>
+  <li>
+  146. Life of St. Martin.
+  </li>
+  <li>
+  166. Three Pinnacles above Fra Angelico&rsquo;s Deposition.
+  </li>
+  <li>
+  <span class="smcap">Bargello</span>. Codex X, Miniatures. 1412-1413.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 39. Adoration of Magi (Annunciation and Prophets in frame by Cosimo Rosselli).
+  </li>
+  <li>
+  40. <i>Piet&agrave;</i>. 1404.
+  </li>
+  <li>
+  41. Triptych: Madonna and Saints. 1410.
+  </li>
+  <li><a name="pg153" id="pg153"></a><span class="pagenum">153</span>
+  42. Madonna with Baptist and St. Paul. 1309. Coronation and Saints. 1413.
+  </li>
+  <li>
+  <span class="smcap">Museo di San Marco.</span> 11, 12, 13. Crucifixion with Mary and John.
+  </li>
+  <li>
+  <span class="smcap">Biblioteca Laurenziana.</span> Miniatures. 1409.
+  </li>
+  <li>
+  <span class="smcap">Hospital (S. Maria Nuova), over Door in a Corridor.</span> Fresco: Fragment of a <i>Piet&agrave;</i>. E.
+  </li>
+  <li>
+  <span class="smcap">Mr. Charles Loeser.</span> Crucifixion.
+  </li>
+  <li>
+  <span class="smcap">S. Croce, Refectory</span>, 6. St. James enthroned.
+  </li>
+  <li>
+  <span class="smcap">S. Giovanni dei Cavalieri.</span> Crucifix; Mary; John.
+  </li>
+  <li>
+  <span class="smcap">S. Giuseppe.</span> Crucifix.
+  </li>
+  <li>
+  <span class="smcap">Chiostro degli Oblati (25 Via S. Egidio).</span> Frescoes: <i>Piet&agrave;</i>, with Symbols of Passion; Christ and Apostles; Agony in Garden.
+  </li>
+  <li>
+  <span class="smcap">S. Trinita, Bartolini Chapel.</span> Altarpiece: Annunciation and <i>Predelle</i>. L. Frescoes: Life of Virgin. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Gloucester.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Highnam Court, Sir Hubert Parry</span>, 49. Adoration of Magi; Visitation.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  215, 216. Various Saints. 1897. Coronation of Virgin.
+  </li>
+  <li>
+  <span class="smcap">Mr. Henry Wagner.</span> Legend of S. Giovanni Gualberto.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Comm. Benigno Crespi.</span> Small Shrine with Madonna and Saints.
+  </li>
+  <li>
+  <span class="smcap">Cav. Aldo Noseda.</span> Madonna. 1405.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Munich.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lotzbeck Collection</span>, 96. St. Peter enthroned. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New Haven (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Jarves Collection</span>, 18. Crucifixion.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg154" id="pg154"></a><span class="pagenum">154</span>Parcieux (near Tr&eacute;voux).
+  <ul class="IX">
+  <li>
+  <span class="smcap">La Grange Blanche, M. Henri Chalandon.</span> Three Panels with Saint and Prophet in each.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1348. Agony in Garden; Three Marys at Tomb. 1408.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Posen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Raczynski Collection.</span> Adoration of Magi.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Richmond (Surrey).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sir Frederick Cook.</span> Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Vatican, Museo Cristiano, Case C, II.</span> Crucifixion.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Case S, III.</span> Fragment of <i>Predella</i>: St. Antony Abbot visited by Madonna. XI. Benedict calling a dead Friar to life, and Demon tempting another Friar.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Siena.
+  <ul class="IX">
+  <li>
+  157. Triptych: Madonna and Saints. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Turin.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Museo Civico</span>, 3023. Madonna with Baptist and old Saint (on Glass). 1408.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Washington (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Victor G. Fischer.</span> Madonna and two Angels. E.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="mainardi" id="mainardi"></a>BASTIANO MAINARDI.</h3>
+
+<div class="artistdesc"><p>
+About 1450-1513. Pupil and imitator of his brother-in-law,
+Domenico Ghirlandajo.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Altenburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lindenau Museum</span>, 102. Bust of Woman.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  77. Madonna.
+  </li>
+  <li>
+  83. Portrait of Young Woman.
+  </li>
+  <li>
+  85. Portrait of a Cardinal.
+  </li>
+  <li>
+  86. Portrait of Young Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Boston (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mrs. Quincy A. Shaw.</span> Madonna adoring Child.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cologne.
+  <ul class="IX">
+  <li><a name="pg155" id="pg155"></a><span class="pagenum">155</span>
+  522. Madonna and five Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="dresdenmainardi" id="dresdenmainardi"></a>Dresden.
+  <ul class="IX">
+  <li>
+  16 <i>Tondo</i>: Nativity.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Uffizi</span>, 1315. St. Peter Martyr between SS. James and Peter.
+  </li>
+  <li>
+  <span class="smcap">Bargello, Chapel.</span> Fresco: Madonna. 1490.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Torrigiani.</span> <i>Tondo</i>: Madonna and two Angels.
+  </li>
+  <li>
+  <span class="smcap">S. Croce, Baroncelli Chapel.</span> Fresco: Virgin giving Girdle to St. Thomas.
+  </li>
+  <li>
+  <span class="smcap">Chiesa di Orbetello, R. Wall.</span> Fresco: Madonna and two Cherubim (SS. Andrew and Dionysus, etc., by another Ghirlandajesque hand).
+  </li>
+  <li>
+  <span class="smcap">Brozzi</span> (near Florence), <span class="smcap">Fattoria Orsini.</span> Frescoes: Nativity (Cf. <a href="#dresdenmainardi" >Dresden</a> 16); Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Hamburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Weber Collection</span>, 30. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Hildesheim.
+  <ul class="IX">
+  <li>
+  1134. <i>Tondo</i>: Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Locko Park (near Derby).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Drury-Lowe.</span> Replicas of Berlin Portraits, Nos. 83 and 86.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  1230. Bust of Young Woman.
+  </li>
+  <li>
+  <span class="smcap">Sir Henry Howorth.</span> Madonna and three Angels adoring Child.
+  </li>
+  <li>
+  <span class="smcap">Mr. George Salting.</span> Bust of Young Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Longleat (Warminster).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Marquess of Bath.</span> Madonna, four Saints, <i>Putti</i>, and Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lyons.
+  <ul class="IX">
+  <li>
+  <span class="smcap">M. Edouard Aynard.</span> St. Stephen.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Comm. Benigno Crespi.</span> Two panels with Men and Women Worshippers.
+  </li>
+  </ul>
+ </li>
+ <li>Munich.
+  <ul class="IX">
+  <li>
+  1012, 1013. SS. Lawrence and Catherine of Siena (soon after 1494).
+  </li>
+  <li>
+  1014. Madonna and Donor.
+  </li>
+  <li>
+  1015. SS. George and Sebastian.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg156" id="pg156"></a><span class="pagenum">156</span>M&uuml;nster i./W.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Kunstverein</span>, 32. Marriage of St. Catherine.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oxford.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Museum</span>, 21. SS. Bartholomew and Julian.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Palermo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Baron Chiaramonte Bordonaro</span>, 98. Madonna with SS. Paul and Francis. 1506.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1367. <i>Tondo</i>: Madonna with infant John and Angels.
+  </li>
+  <li>
+  <span class="smcap">Comtesse Arconati-Visconti.</span> Busts of Man and Woman (free replicas of Berlin, Nos. 83 and 86).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Philadelphia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. John G. Johnson.</span> Madonna with SS. Sebastian and Appolonia.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Vatican, Museo Cristiano, Case O</span>, XVI. <i>Tondo</i>: Nativity.
+  </li>
+  <li>
+  <span class="smcap">Count Gregori Stroganoff.</span> Three Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place">San Gemignano.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio</span>, 8 and 9. <i>Tondi</i>: Madonnas.
+  </li>
+  <li>
+  <span class="smcap">Ospedale di S. Fina.</span> Frescoes in Vaulting.
+  </li>
+  <li>
+  <span class="smcap">Via S. Giovanni.</span> Fresco: Madonna and Cherubim.
+  </li>
+  <li>
+  <span class="smcap">S. Agostino, R. Wall.</span> SS. Nicholas of Bari, Lucy, and Augustine.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Ceiling.</span> Frescoes: The four Church Fathers.
+   </li>
+   <li>
+    <span class="smcap">L. Wall.</span> Frescoes for Tomb of Fra Domenico Strambi. 1487.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Collegiata, Chapel of S. Fina.</span> Frescoes in Ceiling.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Chapel of S. Giovanni.</span> Annunciation. 1482.
+   </li>
+   <li>
+    <span class="smcap">Sacristy.</span> Madonna in Glory, and Saints.
+   </li>
+   </ul>
+  </li>
+  <li><a name="pg157" id="pg157"></a><span class="pagenum">157</span>
+  <span class="smcap">Monte Oliveto, Chapel R.</span> Madonna with SS. Bernard and Jerome. 1502.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Siena.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Palazzo Saracini</span>, 205. Bust of Young Woman in Red.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Harrach Collection</span>, 314. Nativity (replica of Dresden, 16).
+  </li>
+  <li>
+  <span class="smcap">Prince Liechtenstein.</span> Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="masaccio" id="masaccio"></a>MASACCIO.</h3>
+
+<div class="artistdesc"><p>
+1401-1428. Pupil of Masolino; influenced by Brunellesco
+and Donatello.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  58<span class="smcap">a.</span> Adoration of Magi. Probably 1426.
+  </li>
+  <li>
+  58<span class="smcap">b.</span> Martyrdom of St. Peter and Baptist. Probably 1426.
+  </li>
+  <li>
+  58<span class="smcap">c.</span> A Birth Plate.
+  </li>
+  <li>
+  58<span class="smcap">d.</span> Four Saints. Probably 1426.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Boston (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mrs. J. L. Gardner.</span> Profile of Young Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Brant Broughton (Lincolnshire).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Rev. Arthur F. Sutton.</span> Madonna enthroned on high Seat with two Angels below worshipping and two others seated playing on Lutes. Probably 1426.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 73. Madonna with St. Anne. E.
+  </li>
+  <li>
+  <span class="smcap">Carmine, Brancacci Chapel.</span> 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&rsquo;s Son (except the Son, a Child, and <a name="pg158" id="pg158"></a><span class="pagenum">158</span>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).
+  </li>
+  <li>
+  <span class="smcap">S. Maria Novella, Wall R. of Entrance.</span> Fresco: Trinity with Virgin and St. John and Donor and his Wife.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Montemarciano (Val d&rsquo;Arno Superiore).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Oratorio.</span> Fresco: Madonna with Michael and Baptist. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Naples.
+  <ul class="IX">
+  <li>
+  Crucifixion. Probably 1426.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pisa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sala VI</span>, 27. St. Paul. Probably 1426.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Strasburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Gallery</span>, 211. Resurrected Christ (?). E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Count Lanckoronski.</span> St. Andrew. Probably 1426.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="masolino" id="masolino"></a>MASOLINO.</h3>
+
+<div class="artistdesc"><p>
+1384-after 1435.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Bremen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Kunsthalle</span>, 164. Madonna. 1423.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Castiglione d&rsquo;Olona.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Church.</span> Frescoes: Life of Virgin.
+  </li>
+  <li>
+  <span class="smcap">Baptistery.</span> Frescoes: Life of Baptist.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Castiglione.</span> Frescoes: A Landscape and Friezes.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Empoli.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duomo, Baptistery.</span> Fresco: <i>Piet&agrave;</i>.
+  </li>
+  <li>
+  <span class="smcap">S. Stefano.</span> Fresco in an Arch: Madonna and Angels. Probably 1424.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Carmine, Brancacci Chapel.</span> Frescoes: Preaching of St. Peter; Raising of Tabitha and Healing of Cripple; Fall of Adam and Eve.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Munich.
+  <ul class="IX">
+  <li><a name="pg159" id="pg159"></a><span class="pagenum">159</span>
+  1019. Madonna and Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Naples.
+  <ul class="IX">
+  <li>
+  Christ receiving Virgin in Paradise.
+  </li>
+  <li>
+  Founding of S. Maria Maggiore.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Vatican, Museo Cristiano, Case P, V.</span> <i>Predella</i>: Dormition (?).
+   <ul class="IX">
+   <li>
+    <span class="smcap">Case R, II.</span> Crucifixion (in part?).
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">S. Clemente.</span> Frescoes: Episodes from Lives of SS. Ambrose and Catherine of Alexandria; Crucifixion (some of these frescoes are completely repainted).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Scotland.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Gosford House, Earl of Wemyss.</span> Annunciation.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Todi.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Fortunato, fourth Chapel R.</span> Fresco: Madonna with two Angels.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="michelangelo" id="michelangelo"></a>MICHELANGELO BUONARROTI.</h3>
+
+<div class="artistdesc"><p>
+1475-1564. Pupil of Ghirlandaio; influenced by the
+works of Jacopo della Quercia, Donatello, and
+Signorelli.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Uffizi</span>, 1139. <i>Tondo</i>: Holy Family.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  790. Deposition (unfinished).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Vatican, Sixtine Chapel.</span> Frescoes: On Ceiling, 1508-1512. <span class="smcap">W. Wall.</span> Last Judgment. 1534-1541.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Cappella Paolina.</span> Frescoes: Conversion of Paul; Martyrdom of St. Peter. L.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+</ul>
+
+<h4>SCULPTURE.</h4>
+
+<ul class="IX">
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  Small Marble Apollo.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bologna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Domenico.</span> S. Petronio; An Angel (for Ark of St. Dominic). 1494.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bruges.
+  <ul class="IX">
+  <li><a name="pg160" id="pg160"></a><span class="pagenum">160</span>
+  <span class="smcap">Notre Dame.</span> Madonna. Finished before August, 1506.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy.</span> David. 1504. Life size model of reclining Male Figure.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Court.</span> St. Matthew. 1504.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Bargello.</span> Bacchus. E. Bust of Brutus. <i>Tondo</i>, Relief: Madonna. Apollo.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Court.</span> Victory.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Boboli Gardens, Grotto.</span> Four unfinished Figures.
+  </li>
+  <li>
+  <span class="smcap">Casa Buonarroti.</span> Reliefs: Centaurs and Lapith&aelig;. E. Madonna. E.
+  </li>
+  <li>
+  <span class="smcap">Duomo, Behind High Altar.</span> <i>Piet&agrave;</i>. L.
+  </li>
+  <li>
+  <span class="smcap">S. Lorenzo, New Sacristy.</span> Madonna; Tombs of Lorenzo dei Medici, Duke of Urbino, and Giuliano, Duke of Nemours. Left unfinished 1534.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Burlington House, Diploma Gallery.</span> <i>Tondo</i>, Relief: Madonna.
+  </li>
+  <li>
+  <span class="smcap">Victoria and Albert Museum.</span> Cupid.
+  </li>
+  <li>
+  <span class="smcap">Beit Collection.</span> Young Athlete (bronze).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Prince Trivulzio.</span> Small Slave (bronze).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Room of Renaissance Sculpture.</span> Two Slaves.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Palazzo Rondanini.</span> <i>Piet&agrave;</i> (unfinished). L.
+  </li>
+  <li>
+  <span class="smcap">S. Maria sopra Minerva.</span> Christ with Cross. Finished 1521.
+  </li>
+  <li>
+  <span class="smcap">St. Peter&rsquo;s.</span> <i>Piet&agrave;</i>. 1499.
+  </li>
+  <li>
+  <span class="smcap">S. Pietro in Vincoli.</span> Moses, Rachel, and Leah.
+  </li>
+  </ul>
+ </li>
+ <li>St. Petersburg.
+  <ul class="IX">
+  <li>
+  Crouching Boy.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="pg161" id="pg161"></a><span class="pagenum">161</span>
+MONACO see <a href="#lorenzo" >LORENZO</a>.</h3>
+
+
+<h3><a name="orcagna" id="orcagna"></a>ANDREA ORCAGNA AND HIS BROTHERS.</h3>
+
+<div class="artistdesc"><p>
+Andrea, 1308(?)-1368. Pupil of Andrea Pisano;
+follower of Giotto; influenced by Ambrogio
+Lorenzetti of Siena.</p>
+
+<p>Of the brothers, Nardo, who died in 1365, was scarcely
+his inferior.</p>
+
+<p>The only painting certainly from Andrea&rsquo;s hand is the
+altarpiece at S. Maria Novella. The frescoes
+in the same church are probably by Nardo.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Budapest.
+  <ul class="IX">
+  <li>
+  50. Madonna and Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 14. Vision of St. Bernard and Saints.
+  </li>
+  <li>
+  40. Trinity with Evangelist and St. Romuald. 1365.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 10. St. Bartholomew and Angel (?). E.
+  </li>
+  <li>
+  29. Coronation of the Virgin.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Third Tuscan Room.</span> 20. St. Matthew Triptych. Begun in 1367.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Mr. B. Berenson.</span> St. Benedict receiving a Novice.
+  </li>
+  <li>
+  <span class="smcap">Badia, Cappella Bonsi.</span> Descent of Holy Spirit.
+  </li>
+  <li>
+  <span class="smcap">S. Croce, Sacristy.</span> Madonna with SS. Gregory and Job. 1365.
+  </li>
+  <li>
+  <span class="smcap">S. Maria Novella, L. Transept.</span> Altarpiece. 1357. Frescoes: Paradise; Last Judgment; Hell.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Cloister.</span> Frescoes: Annunciation to Joachim and Anne; Meeting of Same; Birth of Virgin; Presentation of Virgin in Temple; <a name="pg162" id="pg162"></a><span class="pagenum">162</span>Full length figures of Saints.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Certosa</span> (near Florence), <span class="smcap">Chapel.</span> Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  569-578. Coronation and Saints, with nine smaller panels representing the Trinity, Angels, and Gospel Scenes.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New Haven (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Jarves Collection</span>, 25. Baptist.
+  </li>
+  <li>
+  26. St. Peter.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Palermo.
+ <ul class="IX">
+   <li>
+  <span class="smcap">Baron Chiaramonte-Bordonaro.</span> Madonna.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h4>SCULPTURE (by Andrea).</h4>
+
+<ul class="IX">
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Von Kaufmann Collection.</span> Head of female Saint.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Bargello.</span> 139. Angel playing Viol.
+  </li>
+  <li>
+  <span class="smcap">Or San Michele.</span> Tabernacle. Finished 1359.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="pesellino" id="pesellino"></a>FRANCESCO PESELLINO.</h3>
+
+<div class="artistdesc"><p>
+1422-1457. Pupil possibly of his grandfather, Giuliano
+Pesello; follower of Fra Angelico, Masaccio and
+Domenico Veneziano, but chiefly of Fra Filippo
+Lippi.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Altenburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lindenau Museum</span>, 96. SS. Jerome and Francis.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bergamo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Morelli</span>, 9. Florentine arraigned before a Judge.
+  </li>
+  <li>
+  11. Story of Griselda.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  Small Crucifixion.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Boston (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mrs. J. L. Gardner.</span> Two <i>Cassone</i> panels: Triumphs of Petrarch.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg163" id="pg163"></a><span class="pagenum">163</span>Chantilly.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e Cond&eacute;</span>, 11. Madonna and Saints.
+  </li>
+  <li>
+  12. Adoration of Magi. (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Empoli.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Opera del Duomo</span>, 24. Madonna and Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 72. <i>Predelle</i>: Nativity; Martyrdom of SS. Cosmas and Damian; Miracle of St. Antony of Padua.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Gloucester.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Highnam Court, Sir Hubert Parry</span>, 95. Annunciation.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Col. G. L. Holford, Dorchester House.</span> Madonna and Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Poldi-Pezzoli</span>, 436. Annunciation (early XVI century copy).
+  </li>
+  <li>
+  587. <i>Piet&agrave;</i>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1414. <i>Predelle</i>: Miracle of SS. Cosmas and Damian; St. Francis receiving the Stigmata.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Prince Doria.</span> <i>Predelle</i>: Pope Sylvester before Constantine; Pope Sylvester subduing Dragon.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Wantage.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lockinge House, Lady Wantage.</span> Two <i>Cassone</i> panels: Story of David.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="pierdicosimo" id="pierdicosimo"></a>PIER DI COSIMO.</h3>
+
+<div class="artistdesc"><p>
+1462-1521. Pupil of Cosimo Rosselli; influenced by
+Verrocchio, Signorelli, Filippino, Leonardo, and
+Credi.
+</p></div>
+
+<ul class="IX">
+ <li class="place"><a name="berlinpier" id="berlinpier"></a>Berlin.
+  <ul class="IX">
+  <li>
+  107. Venus, Cupid, and Mars.
+  </li>
+  <li>
+  204. Adoration of Shepherds.
+  </li>
+  <li>
+  <span class="smcap">Von Kaufmann Collection.</span> Prometheus Myth (Cf. <a href="#strasburgpier" >Strasburg</a>).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Borgo San Lorenzo (Mugello).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Chiesa del Crocifisso.</span> Madonna with St. Thomas and Baptist.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg164" id="pg164"></a><span class="pagenum">164</span>Chantilly.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e Cond&eacute;</span>, 13. &ldquo;La Bella Simonetta.&rdquo;
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dresden.
+  <ul class="IX">
+  <li>
+  20. Holy Family and Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dulwich.
+  <ul class="IX">
+  <li>
+  Head of Young Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Fiesole.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Francesco.</span> Coronation of Virgin (in part). L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pitti</span>, 370. Head of a Saint.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>. Immaculate Conception.
+  </li>
+  <li>
+  82, 83, 84. Story of Perseus and Andromeda.
+  </li>
+  <li>
+  1312. Rescue of Andromeda.
+  </li>
+  <li>
+  3414. Portrait of &ldquo;Caterina Sforza&rdquo; (?).
+   <ul class="IX">
+   <li>
+    <span class="smcap">Magazine.</span> <i>Tondo</i>: Madonna with infant John. L.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Innocenti, Gallery.</span> Holy Family and Saints.
+  </li>
+  <li>
+  <span class="smcap">S. Lorenzo, R. Transept.</span> Madonna and Saints adoring Child.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="glasgowpier" id="glasgowpier"></a>Glasgow.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. William Beattie.</span> <i>Tondo</i>: Madonna with the two Holy Children embracing.
+  </li>
+  </ul>
+ </li>
+ <li class="place">The Hague.
+  <ul class="IX">
+  <li>
+  254, 255. Giuliano di Sangallo and his Father.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Harrow-on-the-Hill.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Rev. J. Stogdon.</span> Large Nativity with three Saints and three Donors (?). E. <i>Tondo</i>: Madonna and Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="londonpier" id="londonpier"></a>London.
+  <ul class="IX">
+  <li>
+  698. Death of Procris.
+  </li>
+  <li>
+  895. Portrait of Man in Armour.
+  </li>
+  <li>
+  <span class="smcap">Hertford House.</span> Triumph of Venus (?).
+  </li>
+  <li>
+  <span class="smcap">Mr. Robert Benson.</span> Hylas and the Nymphs. E. Portrait of Clarissa Orsini (?).
+  </li>
+  <li>
+  <span class="smcap">Earl of Plymouth.</span> Head of Young Man.
+  </li>
+  <li><a name="pg165" id="pg165"></a><span class="pagenum">165</span>
+  <span class="smcap">Mr. Charles Ricketts.</span> Combat of Centaurs and Lapith&aelig; (Cf. <a href="#newyorkpier" >New York</a>).
+  </li>
+  <li>
+  <span class="smcap">Mr. A. E. Street.</span> <i>Tondo</i>: Madonna adoring Child.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lyons.
+  <ul class="IX">
+  <li>
+  <span class="smcap">M. Edouard Aynard.</span> <i>Tondo</i>: Madonna with Lamb.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Borromeo.</span> Madonna. L.
+  </li>
+  <li>
+  <span class="smcap">Prince Trivulzio.</span> Madonna and Angels. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New Haven (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Jarves Collection</span>, 68. Lady holding Rabbit.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Newlands Manor (Hampshire).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Col. Cornwallis West.</span> Visitation.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="newyorkpier" id="newyorkpier"></a>New York.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Metropolitan Museum.</span> The Hunt. Return from the Hunt (Cf. Mr. Ricketts, <a href="#londonpier" >London</a>).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oxford.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Christ Church Library</span>, 2. <i>Tondo</i>: <i>Piet&agrave;</i>. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1274. The Young Baptist.
+  </li>
+  <li>
+  1416. Coronation of Virgin. L.
+  </li>
+  <li>
+  1662. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Philadelphia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. John G. Johnson.</span> Bust of Physician. Portrait of Man. 1512. Madonna (fragment).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Borghese.</span> 329. Judgment of Solomon.
+  </li>
+  <li>
+  335. Holy Family L. (?).
+  </li>
+  <li>
+  343. <i>Tondo</i>: Madonna and Angels adoring Child.
+  </li>
+  <li>
+  <span class="smcap">Corsini.</span> Magdalen. <i>Piet&agrave;</i>.
+  </li>
+  <li>
+  <span class="smcap">Vatican, Sixtine Chapel.</span> Fresco: Destruction of Pharaoh. 1482.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Scotland.
+  <ul class="IX">
+  <li>
+  (Glasgow, Cf. <a href="#glasgowpier" >Glasgow</a>).
+  </li>
+  <li>
+    <span class="smcap">Cawder House (Bishopbriggs, near Glasgow), Capt. Archibald
+        Stirling.</span> Madonna and infant John.
+  </li>
+  <li><a name="pg166" id="pg166"></a><span class="pagenum">166</span>
+    <span class="smcap">Gosford House, Earl of Wemyss.</span> Bust of Man.
+  </li>
+  <li>
+    <span class="smcap">Newbattle Abbey (Dalkeith), Marquess of Lothian.</span> Mythological
+        Scene.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Siena.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Monastero del Santuccio, Altar L.</span> Nativity.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Stockholm.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Royal Gallery.</span> Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="strasburgpier" id="strasburgpier"></a>Strasburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Gallery</span>, 216<span class="smcap">a.</span> Madonna.
+  </li>
+  <li>
+  216<span class="smcap">b.</span> Prometheus Myth (Cf. Von Kaufmann Collection, <a href="#berlinpier" >Berlin</a>).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Harrach Collection</span>, 136. Holy Family and Angels. L.
+  </li>
+  <li>
+  <span class="smcap">Prince Liechtenstein.</span> Madonna and infant John. L. <i>Tondo</i>: Landscape with Water, etc.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Worksop (Nottinghamshire).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Clumber Park, Duke of Newcastle.</span> Altarpiece with <i>Predelle</i>: Madonna with St. Peter and Baptist and kneeling Ecclesiastic.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="pierffiorentino" id="pierffiorentino"></a>
+PIER FRANCESCO FIORENTINO.</h3>
+
+<div class="artistdesc"><p>
+Known to have been active during the last three
+decades of the fifteenth century. Pupil possibly
+of Fra Angelico or Benozzo Gozzoli;
+influenced by Neri di Bicci; eclectic imitator
+of Alesso Baldovinetti, Fra Filippo, and Pesellino.
+Some of the best of the following are
+copies of the two last and of Compagno di
+Pesellino.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Altenburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lindenau Museum</span>, 97. Madonna with infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg167" id="pg167"></a><span class="pagenum">167</span>Bergamo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Morelli</span>, 36. SS. Jerome and Francis (version of Pesellino at Altenburg).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  71<span class="smcap">a.</span> Madonna against Rose-hedge (version of M. Aynard&rsquo;s Compagno di Pesellino).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Brussels.
+  <ul class="IX">
+  <li>
+  Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Budapest.
+  <ul class="IX">
+  <li>
+  55. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cambridge (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Fogg Museum.</span> Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Castelnuovo di Val d&rsquo;Elsa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Barbara, High Altar.</span> Madonna and Saints surrounded by Frescoes.
+   <ul class="IX">
+   <li>
+    <span class="smcap">First Altar R.</span> Madonna and Saints.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Certaldo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Palazzo dei Priori, Lower Floor.</span> Fresco: <i>Piet&agrave;</i>. 1484. Fresco: Incredulity of Thomas.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Upper Floor.</span> Fresco: Madonna. 1495.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Cappella del Ponte d&rsquo;Agliena.</span> Frescoes: Tobias and Angel. St. Jerome.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cleveland (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Holden Collection</span>, 8. Madonna adoring Child.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Colle di Val d&rsquo;Elsa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Palazzo Antico del Comune.</span> Altarpiece: Madonna and four Saints, <i>Predelle</i>, etc. Madonna with SS. Bernardino, Antony Abbot, Magdalen, and Catherine.
+  </li>
+  <li>
+  <span class="smcap">Via Gozzina.</span> Tabernacle, Fresco: Madonna and two Bishops.
+  </li>
+  <li>
+  <span class="smcap">Via S. Lucia.</span> Frescoes in Tabernacle: Annunciation and various fragments.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Detroit (U. S. A.).
+  <ul class="IX">
+  <li>
+  4. Madonna adoring Child.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dijon.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Donation Jules Maciet.</span> Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg168" id="pg168"></a><span class="pagenum">168</span>Eastnor Castle (Ledbury).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lady Henry Somerset.</span> Madonna against Rose-hedge (version of M. Aynard&rsquo;s Compagno di Pesellino at Lyons).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Empoli.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Opera del Duomo</span>, 22. Madonna and four Saints.
+  </li>
+  <li>
+  30. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Englewood (New Jersey, U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. D. F. Platt.</span> Madonna with Angel and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Uffizi</span>, 61. Madonna and Angels (copied from Compagno di Pesellino formerly in Hainauer Collection, Berlin).
+  </li>
+  <li>
+  <span class="smcap">Bargello, Carrand Collection</span>, 15. Madonna with infant John.
+  </li>
+  <li>
+  <span class="smcap">Cenacolo di S. Appolonia.</span> Nativity.
+  </li>
+  <li>
+  <span class="smcap">Mr. Edmund Houghton.</span> Madonna adoring Child.
+  </li>
+  <li>
+  <span class="smcap">Conte Serristori.</span> Madonna.
+  </li>
+  <li>
+  <span class="smcap">S. Francesco delle Stimate.</span> Madonna.
+  </li>
+  <li>
+  <span class="smcap">S. Giovannino dei Cavalieri, Sacristy.</span> Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Frankfort a./M.
+  <ul class="IX">
+  <li>
+  <span class="smcap">St&auml;delinstitut,</span> 10. Madonna and Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Frome (Somerset).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mells Park, Lady Horner.</span> Madonna, Saints, and Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Gloucester.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Highnam Court, Sir Hubert Parry.</span> 48. Madonna with infant John (Cf. Herr Brachts&rsquo; Compagno di Pesellino, Berlin).
+  </li>
+  <li>
+  56. Madonna, with two Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">G&ouml;ttingen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Gallery,</span> 226. Copy of Fra Filippo&rsquo;s Annunciation (in the Doria Gallery, Rome).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Gubbio.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pinacoteca</span>, 49. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg169" id="pg169"></a><span class="pagenum">169</span>Hamburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Weber Collection</span>, 22. Madonna and St. Catherine against Rose-hedge.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Harrow-on-the-Hill.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Rev. J. Stogdon.</span> Madonna and infant John (after Fra Filippo).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Hatfield.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Warren Wood, Mr. Charles Butler.</span> Two Madonnas.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Le Mans.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>, 407. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lille.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>, 21. Madonna and Angel.
+  </li>
+  <li>
+  929. Procris and Cephalus (?).
+  </li>
+  <li>
+  930. Scene in Temple (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Liverpool.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Walker Art Gallery</span>, 19. Head of Woman (possibly copy of lost portrait of Lucrezia Buti by Fra Filippo).
+  </li>
+  <li>
+  23. Madonna and Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  1199. Madonna, infant John, and Angels.
+  </li>
+  <li>
+  <span class="smcap">Victoria and Albert Museum.</span> Fresco: Baptist and St. Dorothy.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Ionides Bequest.</span> Madonna (version of M. Aynard&rsquo;s Compagno di Pesellino at Lyons).
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Mr. Charles Butler.</span> Madonna.
+  </li>
+  <li>
+  <span class="smcap">Mr. William E. Grey.</span> Madonna and infant John (after Fra Filippo).
+  </li>
+  <li>
+  <span class="smcap">Mrs. Louisa Herbert.</span> Madonna in Landscape.
+  </li>
+  <li>
+  <span class="smcap">Lady Horner.</span> Nativity.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Montefortino (near Amandola, Marches).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio.</span> Madonna with Tobias and two Archangels. 1497.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Narbonne.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>, 243. <i>Tondo</i>: Madonna and Angels adoring Child.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New Haven (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Jarves Collection.</span> 61. Madonna; St. Catherine, and Angels (perhaps after a lost Filippo).
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg170" id="pg170"></a><span class="pagenum">170</span>Palermo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Baron Chiaramonte Bordonaro</span>, 54. Madonna and Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Parcieux (near Tr&eacute;voux).
+  <ul class="IX">
+  <li>
+  <span class="smcap">La Grange Blanche, M. Henri Chalandon.</span> Madonna and two Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mme. Edouard Andr&eacute;.</span> Madonna with Baptist and Angels. Painted Flower background to Desideriesque gesso relief of Madonna.
+  </li>
+  <li>
+  <span class="smcap">M. L&eacute;on Bonnat.</span> Madonna and Angels.
+  </li>
+  <li>
+  <span class="smcap">M. Henri Heugel.</span> Madonna and infant John (after Fra Filippo).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pavia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Galleria Malaspina</span>, 25. Madonna with SS. Catherine and Antony Abbot.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Perugia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Marchese Meniconi Bracceschi.</span> Madonna and infant John (after Fra Filippo).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Philadelphia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. John G. Johnson.</span> Madonna with two Angels. Madonna against Rose-hedge (version of M. Aynard&rsquo;s Compagno di Pesellino at Lyons).
+  </li>
+  <li>
+  <span class="smcap">Elkins Park, Mr. Peter Widener.</span> Madonna against Rose-hedge (version of M. Aynard&rsquo;s Compagno di Pesellino at Lyons).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Richmond (Surrey).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sir Frederick Cook.</span> Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">San Gemignano.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio, Pinacoteca.</span> Madonna between two kneeling Saints. 1477.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Sala del Giudice Conciliatore.</span> Fresco: Trinity and small scenes from sacred Legends. 1497.
+   </li>
+   <li>
+    <span class="smcap">Tower.</span> Fresco: Madonna.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">S. Agostino, first Altar R.</span> Madonna and Saints. 1494.
+  </li>
+  <li><a name="pg171" id="pg171"></a><span class="pagenum">171</span>
+  <span class="smcap">Collegiata, Nave.</span> Monochrome Frescoes: Ten Disciples in medallions, and two smaller Busts; decoration of <i>Putti</i> and Garlands. 1474-1475.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Over Triumphal Arch.</span> Fresco: Dead Christ. 1474-1475.
+   </li>
+   <li>
+    <span class="smcap">L. Aisle, Spandrils of Arches.</span> Frescoes: Abraham and six Prophets.
+   </li>
+   <li>
+    <span class="smcap">L. Wall.</span> Fresco: Adam and Eve driven forth from Paradise (original fresco of Taddeo di Bartolo restored by Pier Francesco).
+   </li>
+   <li>
+    <span class="smcap">Cloister.</span> Fresco: Dead Christ. 1477.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">S. Jacopo, Pillar R.</span> Fresco: St. James.
+  </li>
+  <li>
+  <span class="smcap">S. Lucia, Behind High Altar.</span> Fresco: Crucifixion. E.
+  </li>
+  <li>
+  <span class="smcap">Cappella di Monte</span> (near San Gemignano). Madonna with SS. Antony Abbot and Bartholomew. 1490.
+  </li>
+  <li>
+  <span class="smcap">S. Maria Assunta a Pancole</span> (near San Gemignano). Madonna.
+  </li>
+  <li>
+  <span class="smcap">Pieve di Ulignano</span> (near San Gemignano). Madonna with SS. Stephen and Bartholomew.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Siena.
+  <ul class="IX">
+  <li>
+  149-152. Triumphs of Petrarch.
+  </li>
+  <li>
+  209. Nativity.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Sinalunga (Val di Chiana).
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Martino, Sacristy.</span> <i>Tondo</i>: Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Todi.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pinacoteca.</span> Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Faniteum (&uuml;ber St. Veit).</span> Fresco: Madonna with Bishop and St. Christina. 1485.
+  </li>
+  <li>
+  <span class="smcap">Count Lanckoronski.</span> Madonna against Rose-hedge.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg172" id="pg172"></a><span class="pagenum">172</span>Volterra.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio.</span> Fresco: Crucifixion.
+  </li>
+  <li>
+  <span class="smcap">Oratorio di S. Antonio.</span> Nativity.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="pollajuoli" id="pollajuoli"></a>THE POLLAJUOLI.</h3>
+
+<div class="artistdesc"><p>
+Antonio. 1429-1498. Pupil of Donatello and Andrea
+del Castagno; strongly influenced by Baldovinetti.
+Sculptor as well as painter.</p>
+
+<p>Piero. 1443-1496. Pupil of Baldovinetti; worked
+mainly on his brother&rsquo;s designs. (Where the
+execution can be clearly distinguished as of
+either of the brothers separately, the fact is
+indicated).
+</p></div>
+
+<ul class="IX">
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  73. Annunciation (Piero).
+  </li>
+  <li>
+  73<span class="smcap">a.</span> David (Antonio).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Boston (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mrs. J. L. Gardner.</span> Profile of Lady (Antonio).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Uffizi</span>, 30. Portrait of Galeazzo Sforza.
+  </li>
+  <li>
+  69. Hope.
+  </li>
+  <li>
+  70. Justice.
+  </li>
+  <li>
+  71. Temperance. (The execution of these three was perhaps largely the work of pupils.)
+  </li>
+  <li>
+  72. Faith (Piero).
+  </li>
+  <li>
+  73. Cartoon for &ldquo;Charity&rdquo; (on back of picture, the execution of which is studio work). (Antonio). 1469.
+  </li>
+  <li>
+  1153. Hercules and the Hydra; Hercules and Ant&aelig;us (Antonio).
+  </li>
+  <li>
+  1301. SS. Eustace, James, and Vincent (Piero). 1467.
+  </li>
+  <li>
+  1306. Prudence (Piero). 1470.
+  </li>
+  <li>
+  3358. Miniature Profile of Lady (Piero).
+  </li>
+  <li>
+  <span class="smcap">Torre di Gallo (Arcetri).</span> Fresco <a name="pg173" id="pg173"></a><span class="pagenum">173</span>(discovered in 1897 and since then entirely repainted): Dance of Nudes (Antonio).
+  </li>
+  <li>
+  <span class="smcap">S. Miniato, Portuguese Chapel</span>. Fresco (around Window): Flying Angels (executed probably 1466). (Antonio).
+  </li>
+  <li>
+  <span class="smcap">S. Niccol&ograve;</span>. Fresco: Assumption of Virgin (Piero). E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  292. St. Sebastian (Antonio). 1475.
+  </li>
+  <li>
+  928. Apollo and Daphne (Antonio).
+  </li>
+  </ul>
+ </li>
+ <li class="place">New Haven (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Jarves Collection</span>, 64. Hercules and Nessus (Antonio).
+  </li>
+  </ul>
+ </li>
+ <li class="place">New York.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Metropolitan Museum</span>, 85. Fresco; St. Christopher (Piero).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1367<span class="smcap">a.</span> Madonna (Piero) (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">San Gemignano.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Collegiata, Choir</span>. Coronation of Virgin (Piero). 1483.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Staggia (near Siena).
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Maria Assunta, R. Transept.</span> St. Mary of Egypt upborne by Angels (design Antonio, execution Piero).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Strasburg.
+  <ul class="IX">
+  <li>
+  212<span class="smcap">a.</span> Madonna enthroned (Piero).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Turin.
+  <ul class="IX">
+  <li>
+  117. Tobias and the Angel.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+<h4>SCULPTURE, ETC.</h4>
+
+<ul class="IX">
+ <li class="place">Assisi.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Francesco.</span> Altar-frontal embroidered probably from designs by Piero.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Bargello.</span> Bust of Young Warrior (Terra-cotta). Hercules and Ant&aelig;us (Bronze).
+  </li>
+  <li>
+  <span class="smcap">Opera del Duomo</span>. Enamels in Pedestal of Silver Crucifix. Finished 1459. Birth of Baptist (Relief in Silver). <a name="pg174" id="pg174"></a><span class="pagenum">174</span>Twenty-seven Scenes from Life of Baptist (embroideries after Antonio&rsquo;s designs). 1466-1473.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Victoria and Albert Museum.</span> &ldquo;Discord&rdquo; (Relief in Gesso).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">St. Peter&rsquo;s, Chapel of Sacrament.</span> Tomb of Sixtus IV (Bronze). Finished 1493.
+   <ul class="IX">
+   <li>
+    <span class="smcap">L. Aisle.</span> Tomb of Innocent VIII (Bronze). Finished 1498.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+</ul>
+
+<h3><a name="pontormo" id="pontormo"></a>PONTORMO (Jacopo Carucci).</h3>
+
+<div class="artistdesc"><p>
+1494-1556. Pupil of Andrea del Sarto; influenced
+by Michelangelo.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Bergamo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Morelli</span>, 59. Portrait of Baccio Bandinelli.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  Portrait of Andrea del Sarto (not exhibited).
+  </li>
+  <li>
+  <span class="smcap">Herr von Dirksen.</span> Portrait of a Lady seated.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Borgo San Sepolcro.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio.</span> St. Quentin in the Pillory (in part).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Carmignano (near Florence).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Parish Church.</span> Visitation.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dzikow (Poland).
+  <ul class="IX">
+  <li>
+  <span class="smcap">M. Zanislas Tarnowski.</span> Full face bust of oldish Lady in velvet, lace, and pearls.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 183. <i>Piet&agrave;</i>. L.
+  </li>
+  <li>
+  190. Christ at Emmaus. 1528.
+  </li>
+  <li>
+  Fresco (behind the Giotto): Hospital of S. Matteo, E.
+  </li>
+  <li>
+  <span class="smcap">Pitti</span>, 149. Portrait of Man in Armour with Dog (?).
+  </li>
+  <li>
+  182. Martyrdom of forty Saints.
+  </li>
+  <li><a name="pg175" id="pg175"></a><span class="pagenum">175</span>
+  233. St. Antony. L.
+  </li>
+  <li>
+  249. Portrait of Man.
+  </li>
+  <li>
+  379. Adoration of Magi.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 1177. Madonna with SS. Francis and Jerome.
+  </li>
+  <li>
+  1187. Martyrdom of S. Maurizio.
+  </li>
+  <li>
+  1198. Birth Plate: Birth of St. John.
+  </li>
+  <li>
+  1220. Portrait of Man.
+  </li>
+  <li>
+  1267. Cosimo del Medici.
+  </li>
+  <li>
+  1270. Cosimo I, Duke of Florence.
+  </li>
+  <li>
+  1284. Venus and Cupid (designed by Michelangelo).
+  </li>
+  <li>
+  <span class="smcap">Collegio Militare, Pope&rsquo;s Chapel.</span> Frescoes. 1513.
+  </li>
+  <li>
+  <span class="smcap">Museo di S. Marco, Room 38.</span> Portrait of Cosimo dei Medici.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Capponi, Marchese Farinola.</span> Madonna and infant John.
+  </li>
+  <li>
+  <span class="smcap">Corsini Gallery</span>, 141. Madonna and infant John.
+  </li>
+  <li>
+  185. Madonna and infant John.
+  </li>
+  <li>
+  <span class="smcap">SS. Annunziata, Cloister R.</span> Fresco: Visitation. 1516.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Cappella di S. Luca.</span> Fresco: Madonna and Saints. E.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">S. Felicit&agrave;, Chapel R.</span> Altarpiece: Deposition. Frescoes: Annunciation; Medallions of Prophets.
+  </li>
+  <li>
+  <span class="smcap">S. Michele Visdomini.</span> Holy Family and Saints. 1518.
+  </li>
+  <li>
+  <span class="smcap">Certosa</span> (near Florence). <span class="smcap">Cloister.</span> Fresco: Christ before Pilate. 1523.
+  </li>
+  <li>
+  <span class="smcap">Poggio a Cajano</span> (Royal Villa near Florence). Decorative fresco around <a name="pg176" id="pg176"></a><span class="pagenum">176</span>window: Vertumnus, Pomona, Diana, and other figures. 1521.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Frankfort a./M.
+  <ul class="IX">
+  <li>
+  <span class="smcap">St&auml;delinstitut</span>, 14<span class="smcap">a.</span> Portrait of Lady with Dog.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Genoa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Palazzo Bianco</span>. Portrait of Youth.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Brignole-Sale</span>. Man in Red with Sword.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Hatfield.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Warren Wood, Mr. Charles Butler.</span> Birth Plate.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  1131. Joseph and his Kindred in Egypt. E.
+  </li>
+  <li>
+  <span class="smcap">Mr. Ludwig Mond.</span> A Conversation.
+  </li>
+  <li>
+  <span class="smcap">Earl of Plymouth.</span> Portrait of Youth.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lucca.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sala I</span>, 5. Portrait of Youth.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Prince Trivulzio</span>. Portrait of Rinuccini Lady. Portrait of Youth holding Book.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New Haven (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Jarves Collection</span>, 100. Cosimo dei Medici. L.
+  </li>
+  <li>
+  104. Bust of Lady. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oldenburg.
+  <ul class="IX">
+  <li>
+  19. Portrait of Lady.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Palermo.
+  <ul class="IX">
+  <li>
+  406. Judith. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Panshanger (Hertford).
+  <ul class="IX">
+  <li>
+  Portrait of Youth. Two panels with Story of Joseph. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1240. Holy Family and Saints. 1543.
+  </li>
+  <li>
+  1241. Portrait of Engraver of Precious Stones.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pontormo (near Empoli).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Parish Church</span>. SS. John the Evangelist and Michael. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Barberini Gallery</span>, 83. Pygmalion and Galatea.
+  </li>
+  <li>
+  <span class="smcap">Borghese Gallery</span>, 75. Lucretia (?).
+  </li>
+  <li>
+  173. Tobias and Angel. L.
+  </li>
+  <li>
+  408. Portrait of Cardinal.
+  </li>
+  <li>
+  <span class="smcap">Corsini Gallery</span>, 577. Bust of Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Scotland.
+  <ul class="IX">
+  <li><a name="pg177" id="pg177"></a><span class="pagenum">177</span>
+  <span class="smcap">Keir (Dunblane), Captain Archibald Stirling.</span> Portrait of Bartolommeo Compagni.
+  </li>
+  <li>
+  <span class="smcap">Newbattle Abbey (Dalkeith), Marquess of Lothian.</span> Portrait of Youth.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Turin.
+  <ul class="IX">
+  <li>
+  122. Portrait of Lady.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  45. Portrait of Lady. L.
+  </li>
+  <li>
+  48. Portrait of Lady. L.
+  </li>
+  <li>
+  50. Young Man with Letter (?).
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="rosselli" id="rosselli"></a>COSIMO ROSSELLI.</h3>
+
+<div class="artistdesc"><p>
+1439-1507. Pupil of Neri di Bicci; influenced by
+Benozzo Gozzoli and Alesso Baldovinetti.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Agram (Croatia).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Strossmayer Collection.</span> Madonna and two Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Amsterdam.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Dr. Otto Lanz.</span> Madonna with St. Joseph and two Angels adoring Child.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  59. Madonna, Saints, and Angels. L.
+  </li>
+  <li>
+  59<span class="smcap">a.</span> Glory of St. Anne. 1471.
+  </li>
+  <li>
+  (<span class="smcap">Magazine.</span>) 71. Entombment.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Breslau.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Schlesisches Museum.</span> 171. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cambridge.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Fitzwilliam Museum</span>, 556. Madonna and four Saints. 1493.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cologne.
+  <ul class="IX">
+  <li>
+  518. Madonna, Saints, and Innocents. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cortona.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Signor Colonnesi.</span> Madonna with SS. Jerome and Antony of Padua.
+  </li>
+  </ul>
+ </li>
+ <li class="place">D&uuml;sseldorf.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Akademie</span>, 110. Madonna adoring Child (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Eastnor Castle (Ledbury).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lady Henry Somerset.</span> Madonna with SS. Sebastian and Michael.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Empoli.
+  <ul class="IX">
+  <li><a name="pg178" id="pg178"></a><span class="pagenum">178</span>
+  <span class="smcap">Opera del Duomo</span>, 32. Holy Family and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Fiesole.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duomo, Salutati Chapel.</span> Frescoes: Various Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 52. SS. Barbara, John, and Matthew. E.
+  </li>
+  <li>
+  160. Nativity.
+  </li>
+  <li>
+  275. Moses and Abraham.
+  </li>
+  <li>
+  276. David and Noah.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 50. Coronation of Virgin.
+  </li>
+  <li>
+  59. Madonna adored by two Angels.
+  </li>
+  <li>
+  65. Adoration of Magi. E.
+  </li>
+  <li>
+  65. (From S. M. Nuova). Madonna in Clouds.
+  </li>
+  <li>
+  1280 bis. Madonna, Saints, and Angels. 1492.
+  </li>
+  <li>
+  <span class="smcap">Via Ricasoli.</span> Fresco in shrine: Madonna enthroned and two Angels.
+  </li>
+  <li>
+  <span class="smcap">Mr. B. Berenson.</span> Madonna.
+  </li>
+  <li>
+  <span class="smcap">Corsini Gallery</span>, 339. <i>Tondo</i>: Madonna and Angels adoring Child.
+  </li>
+  <li>
+  <span class="smcap">Mme. Finali, Villa Landau.</span> Preaching of St. Bernardino.
+  </li>
+  <li>
+  <span class="smcap">Signor Angelo Orvieto.</span> Nativity.
+  </li>
+  <li>
+  <span class="smcap">S. Ambrogio, third Altar L.</span> Assumption and <i>Predella</i>. 1498.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Chapel of Sacrament.</span> Frescoes: Miraculous Chalice, etc. 1486.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">SS. Annunziata, L. Cloister.</span> Fresco: St. Filippo Benizzi taking Servite Habit. 1476.
+  </li>
+  <li>
+  <span class="smcap">S. Croce, Cappella Medicea, over Door.</span> Lunette: God and Cherubim (?)
+  </li>
+  <li>
+  <span class="smcap">S. Maria Maddalena dei Pazzi.</span> Coronation of Virgin. 1505.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg179" id="pg179"></a><span class="pagenum">179</span>Genoa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Palazzo Adorno.</span> Small Triumphs.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lille.
+  <ul class="IX">
+  <li>
+  667. St. Mary of Egypt.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Liverpool.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Walker Art Gallery</span>, 15. St. Lawrence.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  1196. Combat of Love and Chastity.
+  </li>
+  <li>
+  <span class="smcap">Mr. Charles Butler.</span> St. Catherine of Siena instituting her Order. Madonna and Cherubs.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lucca.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duomo, Wall L. of Entrance.</span> Fresco: Story of True Cross.
+  </li>
+  <li>
+  <span class="smcap">S Francesco.</span> Frescoes: Presentation of Virgin, etc.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Conte Casatti.</span> Nativity.
+  </li>
+  </ul>
+ </li>
+ <li class="place">M&uuml;nster i./W.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Kunstverein</span>, 33. Madonna with Gabriel and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1656. Annunciation and Saints. 1471.
+  </li>
+  <li>
+  <span class="smcap">Mus&eacute;e des Arts Decoratifs.</span> <span class="smcap">Legs M. Peyre</span>, 253. Madonna and two Angels.
+  </li>
+  <li>
+  <span class="smcap">Mme. Edouard Andr&eacute;.</span> Madonna and Angels adoring Child.
+  </li>
+  <li>
+  <span class="smcap">M. Joseph Spiridon.</span> Portrait of Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Philadelphia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. John G. Johnson.</span> Madonna with Child holding Bird and Pomegranate. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Reigate.
+  <ul class="IX">
+  <li>
+  <span class="smcap">The Priory</span>, Mr. Somers Somerset. Small Descent from Cross.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Vatican, Sixtine Chapel.</span> Frescoes: Christ Preaching. Moses destroying the Tables of the Law. Last Supper (but not the scenes visible through painted windows). All 1482.
+  </li>
+  <li>
+  <span class="smcap">Mr. Ludwig Mond.</span> Madonna and Angel adoring Child.
+  </li>
+  </ul>
+ </li>
+ <li>Turin.
+  <ul class="IX">
+  <li>
+  106. Triumph of Chastity.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="pg180" id="pg180"></a><span class="pagenum">180</span>
+<a name="rosso" id="rosso"></a>ROSSO FIORENTINO.</h3>
+
+<div class="artistdesc"><p>
+1494-1541. Pupil of Andrea del Sarto; influenced by
+Pontormo and Michelangelo.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Arezzo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sala II</span>, 6. Christ bearing Cross.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Borgo San Sepolcro.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Orfanelle.</span> Deposition.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Citt&agrave; di Castello.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duomo.</span> Transfiguration. Finished 1528.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dijon.
+  <ul class="IX">
+  <li>
+  68. Bust of Baptist.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pitti</span>, 113. Three Fates.
+  </li>
+  <li>
+  237. Madonna and Saints.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 1241. Angel playing Guitar. Madonna and four Saints with two <i>Putti</i> reading, 1517.
+  </li>
+  <li>
+  <span class="smcap">Bargello, Della Robbia Room.</span> Fresco: Justice.
+  </li>
+  <li>
+  <span class="smcap">SS. Annunziata, R. Cloister.</span> Fresco: Assumption.
+  </li>
+  <li>
+  <span class="smcap">S. Lorenzo.</span> <i>Sposalizio</i>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Frankfort a./M.
+  <ul class="IX">
+  <li>
+  <span class="smcap">St&auml;delinstitut</span>, 14. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1485. <i>Piet&agrave;</i>.
+  </li>
+  <li>
+  1486. Challenge of the Pierides.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Siena.
+  <ul class="IX">
+  <li>
+  Portrait of Young Man.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Turin.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Armeria Reale, F.</span> 3. Designs for Buckler with Wars of Jugurtha and Marius.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Venice.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 46. Profile bust of Man in red Cloak and Hat.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Count Lanckoronski.</span> Madonna. E. Two naked <i>Putti</i>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Volterra.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio.</span> Deposition. 1521.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3>SARTO <i>see</i> <a href="#andrea" >ANDREA</a>.</h3>
+
+
+<h3><a name="pg181" id="pg181"></a><span class="pagenum">181</span>
+<a name="sellajo" id="sellajo"></a>
+JACOPO DEL SELLAJO.</h3>
+
+<div class="artistdesc"><p>
+1441 or 2-1493. Pupil of Fra Filippo; influenced
+slightly by Castagno&rsquo;s works; imitated most of
+his Florentine contemporaries, especially Botticelli,
+Ghirlandajo, and Amico di Sandro.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Altenburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lindenau Museum</span>, 99. Adoration of Magi.
+  </li>
+  <li>
+  105. Madonna with Tobias and John.
+  </li>
+  <li>
+  150. St. Jerome.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Arezzo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sala II</span>, 9. Madonna against Rose-hedge.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bergamo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Carrara</span>, 167. Bust of Christ holding head of Lance.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  94. Meeting of young Christ and Baptist.
+  </li>
+  <li>
+  1055. <i>Piet&agrave;</i>. 1483.
+  </li>
+  <li>
+  1132, 1133. Death of Julius C&aelig;sar.
+  </li>
+  <li>
+  <span class="smcap">Herr Eugen Schweizer.</span> Nativity with infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bonn.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Gallery</span>, 1139. St. Jerome.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bordeaux.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>, 48. Ecce Homo.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Brandenburg a./H.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Wredowsche Zeichnenschule</span>, 65. Adoration.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Breslau.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Schlesisches Museum</span>, 189. St. Jerome.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Budapest.
+  <ul class="IX">
+  <li>
+  56. Esther before Ahasuerus.
+  </li>
+  <li>
+  (<span class="smcap">Magazine</span>) 1221. St. Jerome.
+   <ul class="IX">
+   <li>
+    1369. St. Jerome.
+   </li>
+   </ul>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Caen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>, 58. Madonna with infant John and Angel.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Castiglione Fiorentino.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pinacoteca</span>, 14. Pool of Bethesda.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Chantilly.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e Cond&eacute;</span>, 14. Madonna in Landscape.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg182" id="pg182"></a><span class="pagenum">182</span>Dijon.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>, Donation Maciet. Small Adoration of Magi, with SS. Andrew and Catherine (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Eastnor Castle (Ledbury).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lady Henry Somerset.</span> Madonna and Saints.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Empoli.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Opera del Duomo</span>, 29. Madonna and infant John.
+  </li>
+  <li>
+  33. Madonna in Glory with SS. Peter Martyr and Nicholas.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Englewood (New Jersey, U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. D. F. Platt.</span> St. Jerome.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Fiesole.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Ansano</span> (to be transferred to Museo). Four Triumphs of Petrarch.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 150. <i>Piet&agrave;</i>.
+  </li>
+  <li>
+  <span class="smcap">Pitti</span>, 364. Madonna and infant John adoring Child.
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 66-68. Story of Esther.
+  </li>
+  <li>
+  1573. <i>Piet&agrave;</i>.
+  </li>
+  <li>
+  <span class="smcap">Bigallo.</span> <i>Tondo</i>: Madonna, Saints, and Angels.
+  </li>
+  <li>
+  <span class="smcap">Cenacolo di S. Appolonia.</span> Entombment. Adoration of Magi.
+  </li>
+  <li>
+  <span class="smcap">Museo di San Marco, Ospizio, 21.</span> Annunciation.
+  </li>
+  <li>
+  <span class="smcap">Mr. Herbert P. Horne.</span> St. Jerome.
+  </li>
+  <li>
+  <span class="smcap">S. Frediano, Sacristy.</span> Christ on Cross and Saints.
+  </li>
+  <li>
+  <span class="smcap">S. Jacopo sopra Arno, Sacristy.</span> <i>Piet&agrave;</i>.
+  </li>
+  <li>
+  <span class="smcap">S. Lucia de&rsquo; Magnoli (&ldquo;tra le Rovinate&rdquo;), First Altar L.</span> Annunciation.
+  </li>
+  <li>
+  <span class="smcap">La Quiete.</span> Adoration of Magi, with Trinity and Angels above.
+  </li>
+  <li>
+  <span class="smcap">S. Spirito.</span> Antependium: St. Lawrence.
+  </li>
+  <li>
+  <span class="smcap">Gangalandi</span> (between Florence and <a name="pg183" id="pg183"></a><span class="pagenum">183</span>Signa), <span class="smcap">S. Martino, R. Wall</span>. Madonna, with Eternal in lunette.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Gloucester.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Highnam Court, Sir Hubert Parry.</span> 23. Madonna and St. Peter Martyr adoring Child.
+  </li>
+  <li>
+  32. Head of Angel.
+  </li>
+  </ul>
+ </li>
+ <li class="place">G&ouml;ttingen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Gallery</span>, 237. Meeting of Young Christ and John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Hanover.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Provinzialmuseum</span>. <i>Piet&agrave;</i> and other Scenes.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Ince Blundell Hall (Blundellsands, Lancashire).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Charles Weld Blundell</span>. Nativity.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lille.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>, 995. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Liverpool.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Walker Art Gallery</span>, 21. Adventures of Ulysses.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  916. Venus and Cupids.
+  </li>
+  <li>
+  <span class="smcap">Mr. Brinsley Marlay</span>. <i>Cassone</i>-front: Cupid and Psyche.
+  </li>
+  <li>
+  <span class="smcap">Mr. Charles Butler</span>. <i>Cassone</i>-front: Cupid and Psyche.
+  </li>
+  <li>
+  <span class="smcap">Earl Crawford</span>. Brutus and Portia. St. Mary of Egypt. St. Jerome. Baptist.
+  </li>
+  <li>
+  <span class="smcap">Earl of Ilchester</span>. Ecce Homo. Madonna.
+  </li>
+  <li>
+  <span class="smcap">Mr. Charles Ricketts</span>. Madonna and infant John.
+  </li>
+  <li>
+  <span class="smcap">Mr. George Salting</span>. <i>Tondo</i>: Madonna and Angels adoring Child.
+  </li>
+  <li>
+  <span class="smcap">Mr. Vernon Watney</span>. Marriage Feast of Nastagio degli Onesti. 1483.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lyons.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>, 62. Deposition.
+  </li>
+  <li>
+  <span class="smcap">M. Edouard Aynard</span>. Epiphany. <i>Piet&agrave;</i>.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg184" id="pg184"></a><span class="pagenum">184</span>
+ <a name="marseillessellajo" id="marseillessellajo"></a>
+ Marseilles.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>. Madonna and Angels (copy of lost Amico di Sandro).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Conti Bagati Valsecchi</span>. <i>Cassone</i>-front: Story of Griselda.
+  </li>
+  <li>
+  <span class="smcap">Prince Trivulzio</span>. Young Baptist. Madonna in Niche (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Munich.
+  <ul class="IX">
+  <li>
+  1002. St. Sebastian.
+  </li>
+  <li>
+  1004. Adoration of Magi.
+  </li>
+  <li>
+  1007. Annunciation. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">M&uuml;nster i./W.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Kunstverein</span>, 1377. Tobias and the Angel.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Nantes.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e des Beaux Arts</span>, 220. Madonna (?).
+  </li>
+  <li>
+  273. Madonna.
+  </li>
+  <li>
+  <span class="smcap">Mus&eacute;e Dobret</span>, 384. Crucifixion.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New Haven (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Jarves Collection</span>, 41. Madonna adoring Child.
+  </li>
+  <li>
+  52. St. Jerome.
+  </li>
+  <li>
+  72. Madonna in Clouds with Cherubim (version of picture by Rosselli in Uffizi).
+  </li>
+  <li>
+  80. St. Sebastian. 1479.
+  </li>
+  <li>
+  82. Diana and Act&aelig;on.
+  </li>
+  <li>
+  85. Creation of Adam and Eve.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New York.
+  <ul class="IX">
+  <li>
+  <span class="smcap">James Collection.</span> <i>Cassone</i>-front: Story of Act&aelig;on.
+  </li>
+  <li>
+  <span class="smcap">Mr. Stanley Mortimer</span>. Madonna adoring Child.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oxford.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Christ Church Library</span>, 1. Madonna adoring Child.
+  </li>
+  <li>
+  <span class="smcap">Mr. T. W. Jackson</span>. Madonna and infant John.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Palermo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Baron Chiaramonte Bordonaro</span>, 62. <i>Tondo</i>: Nativity.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1299. Venus and Cupids.
+  </li>
+  <li><a name="pg185" id="pg185"></a><span class="pagenum">185</span>
+  1300<span class="smcap">a.</span> Madonna and two Angels (copy of lost Amico di Sandro; Cf. <a href="#marseillessellajo" >Marseilles</a>).
+  </li>
+  <li>
+  1658. St. Jerome. Story of Esther.
+  </li>
+  <li>
+  <span class="smcap">M. L&eacute;on Bonnat.</span> Madonna and infant John.
+  </li>
+  <li>
+  <span class="smcap">M. Gustave Dreyfus.</span> Madonna and infant John (?).
+  </li>
+  <li>
+  <span class="smcap">Baron Michele Lazzaroni.</span> <i>Piet&agrave;</i>. Panel for Story of Esther.
+  </li>
+  <li>
+  <span class="smcap">M. Eug&egrave;ne Richtemberger.</span> Nativity.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Peace Dale (Rhode Island, U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mrs. Bacon, The Acorns.</span> Madonna adoring Child.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Philadelphia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. John G. Johnson.</span> Battle Piece. Madonna and Angels against hedge of Pinks. Story of Nastagio degli Onesti. Madonna adoring Child. David.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Poitiers.
+  <ul class="IX">
+  <li>
+  <span class="smcap">H&ocirc;tel de Ville,</span> 102. Madonna.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Count Gregori Stroganoff.</span> Head of Virgin.
+  </li>
+  </ul>
+ </li>
+ <li class="place">San Giovanni Valdarno.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Oratorio di S. Maria delle Grazie.</span> Annunciation. 1472.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Scotland.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Newbattle Abbey. (Dalkeith), Marquess of Lothian.</span> Entombment.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Count Lanckoronski.</span> Orpheus. St. Sigismund and kneeling Youth. E.
+  </li>
+  <li>
+  <span class="smcap">Prince Liechtenstein.</span> <i>Tondo</i>: Madonna and Angels.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Wiesbaden.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Nassauisches Kunstverein,</span> 6. Adoration of Magi.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="uccello" id="uccello"></a>PAOLO UCCELLO.</h3>
+
+<div class="artistdesc"><p>
+1397-1475. Influenced by Donatello.
+</p></div>
+
+<ul class="IX">
+ <li class="place"><a name="pg186" id="pg186"></a><span class="pagenum">186</span>Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Uffizi, 52.</span> Battle of S. Romano.
+  </li>
+  <li>
+  <span class="smcap">Duomo, Wall above Entrance.</span> Fresco; Four Heads of Prophets.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Wall L. of Entrance.</span> Fresco: Equestrian portrait of Sir John Hawkwood. 1437.
+   </li>
+   <li>
+    <span class="smcap">Windows in Drum of Cupola</span> (from his designs). Resurrection; Nativity; Ascension; Annunciation. 1443.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">S. Maria Novella, Cloister.</span> Frescoes: Creation of Adam; Creation of Animals; Creation and Temptation of Eve. E.
+  </li>
+  <li>
+  The Flood; Sacrifice of Noah.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  583. Battle of S. Romano.
+  </li>
+  <li>
+  758. Profile of Lady (?).
+  </li>
+  </ul>
+ </li>
+ <li class="place">New York.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Metropolitan Museum, Marquand Collection.</span> Profiles of Woman and Man of Portinari Family.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oxford.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Museum, 28.</span> A Hunt.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  1272. Portraits of Giotto, Uccello, Donatello, Brunelleschi, and Antonio Manetti. L.
+  </li>
+  <li>
+  1273. Battle of S. Romano.
+  </li>
+  <li>
+  <span class="smcap">Mme. Edouard Andr&eacute;.</span> St. George and the Dragon.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Urbino.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Ducal Palace, 89.</span> Story of the Jew and the Host. 1468.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Count Lanckoronski.</span> St. George and the Dragon.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="veneziano" id="veneziano"></a>DOMENICO VENEZIANO.</h3>
+
+<div class="artistdesc"><p>
+About 1400-1461. Probably acquired his rudiments
+at Venice; formed under the influence of Donatello,
+Masaccio, and Fra Angelico.
+</p></div>
+
+<ul class="IX">
+ <li class="place"><a name="pg187" id="pg187"></a><span class="pagenum">187</span> Berlin.
+  <ul class="IX">
+  <li>
+  64. Martyrdom of St. Lucy.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Uffizi</span>, 1305. Madonna and four Saints.
+  </li>
+  <li>
+  <span class="smcap">S. Croce, R. Wall.</span> Fresco: The Baptist and St. Francis. L.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  766, 767. Frescoes: Heads of Monks.
+  </li>
+  <li>
+  1215. Fresco transferred to canvas: Madonna enthroned.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3><a name="verrocchio" id="verrocchio"></a>ANDREA VERROCCHIO.</h3>
+
+<div class="artistdesc"><p>
+1435-1488. Pupil of Donatello and Alesso Baldovinetti,
+influenced by Pesellino.
+</p></div>
+
+<ul class="IX">
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  104<span class="smcap">a.</span> Madonna and Angel. E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>, 71. Baptism (in great part).
+  </li>
+  <li>
+  <span class="smcap">Uffizi</span>, 1204. Profile of Lady (?).
+  </li>
+  <li>
+  3450. Annunciation (possibly with assistance of Credi).
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  296. Madonna and two Angels (designed and superintended by Verrocchio). E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Poldi-Pezzoli</span>, 157. Profile of Young Woman (?). E.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Baron Arthur Schickler</span>. Madonna (designed and superintended by Verrocchio).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Sheffield.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Ruskin Museum.</span> Madonna adoring Child (designed by Verrocchio).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Prince Liechtenstein</span>, 32. Portrait of Lady.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+<h4>SCULPTURES.</h4>
+
+<ul class="IX">
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  93. Sleeping Youth (terra-cotta).
+  </li>
+  <li>
+  97<span class="smcap">a.</span> Entombment (terra-cotta).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Bargello.</span> David (bronze). Bust of Woman (marble).
+  </li>
+  <li><a name="pg188" id="pg188"></a><span class="pagenum">188</span>
+  <span class="smcap">Opera del Duomo.</span> Decapitation of Baptist (silver relief). 1480.
+  </li>
+  <li>
+  <span class="smcap">Uffizi.</span> Madonna and Child (terra-cotta).
+  </li>
+  <li>
+  <span class="smcap">Palazzo Vecchio, Courtyard.</span> Boy with Dolphin (bronze).
+  </li>
+  <li>
+  <span class="smcap">S. Lorenzo, Sacristy.</span> Tomb of Cosimo de&rsquo; Medici (bronze). 1472.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Inner Sacristy.</span> Lavabo (marble) (in part).
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Or San Michele, Outside:</span> Christ and St. Thomas (bronze). Finished 1483.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  <span class="smcap">M. Gustave Dreyfus.</span> Bust of Lady (marble).
+  </li>
+  </ul>
+ </li>
+ <li class="place">Venice.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Piazza SS. Giovanni e Paolo.</span> Equestrian Monument of Bartolommeo Colleoni (bronze). Left unfinished at death.
+  </li>
+  </ul>
+ </li>
+</ul>
+
+
+<h3>VINCI see <a href="#leonardo" >LEONARDO</a></h3>
+
+
+
+
+<h2><a name="pg189" id="pg189"></a><span class="pagenum">189</span>
+<a name="INDEX_OF_PLACES" id="INDEX_OF_PLACES"></a>
+INDEX OF PLACES.</h2>
+
+<ul class="IX">
+ <li class="place">Agram (Croatia).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Strossmayer Collection</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#fraangelico" >Fra Angelico</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Aix-en-Provence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#alunno" >Alunno di Domenico</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Altenburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lindenau Museum</span>: <a href="#amico" >Amico di Sandro</a>, <a href="#fraangelico" >Fra Angelico</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#mainardi" >Mainardi</a>, <a href="#pesellino" >Pesellino</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Amsterdam.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Dr. Otto Lanz</span>: <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Arezzo.
+  <ul class="IX">
+  <li>
+  <a href="#alunno" >Alunno di Domenico</a>, <a href="#rosso" >Rosso</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Ashridge Park (Berkhampstead).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Earl Brownlow</span>: <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#filippolippi" >Fra Filippo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Asolo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Canonica della Parrocchia</span>: <a href="#bacchiacca" >Bacchiacca</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Assisi.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Francesco</span>: <a href="#cimabue" >Cimabue</a>, <a href="#giotto" >Giotto</a> and <a href="#giottoass" >Assistants</a>, <a href="#pollajuoli" >Pollajuolo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Barnard Castle.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Bowes Museum</span>: <a href="#franciabigio" >Franciabigio</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bergamo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Carrara</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Lochis</span>: <a href="#albertinelli" >Albertinelli</a>.
+  </li>
+  <li>
+  <span class="smcap">Morelli</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#amico" >Amico di Sandro</a>, <a href="#bacchiacca" >Bacchiacca</a>, <a href="#baldovinetti" >Baldovinetti</a>, <a href="#botticelli" >Botticelli</a>, <a href="#botticini" >Botticini</a>, <a href="#bronzino" >Bronzino</a>, <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#pesellino" >Pesellino</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#pontormo" >Pontormo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Berlin.
+  <ul class="IX">
+  <li>
+  <a href="#amico" >Amico di Sandro</a>, <a href="#andrea" >Andrea del Sarto</a>, <a href="#fraangelico" >Fra Angelico</a>, <a href="#bacchiacca" >Bacchiacca</a>, <a href="#baldovinetti" >Baldovinetti</a>, <a name="pg190" id="pg190"></a><span class="pagenum">190</span><a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#benozzo" >Benozzo</a>, <a href="#botticelli" >Botticelli</a>, <a href="#botticini" >Botticini</a>, <a href="#bronzino" >Bronzino</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#carli" >Carli</a>, <a href="#credi" >Credi</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#garbo" >Garbo</a>, <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#giottoass" >Assistant of Giotto</a>, <a href="#granacci" >Granacci</a>, <a href="#lippi" >Filippino Lippi</a>, <a href="#filippolippi" >Fra Filippo Lippi</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#mainardi" >Mainardi</a>, <a href="#masaccio" >Masaccio</a>, <a href="#michelangelo" >Michelangelo</a>, <a href="#pesellino" >Pesellino</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#pollajuoli" >The Pollajuoli</a>, <a href="#pontormo" >Pontormo</a>, <a href="#rosselli" >Cosimo Rosselli</a>, <a href="#sellajo" >Sellajo</a>, <a href="#veneziano" >Domenico Veneziano</a>, <a href="#verrocchio" >Verrocchio</a>.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Simon Collection</span>: <a href="#amico" >Amico di Sandro</a>, <a href="#bronzino" >Bronzino</a>, <a href="#garbo" >Garbo</a>.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Museum of Industrial Art</span>: <a href="#bugiardini" >Bugiardini</a>.
+  </li>
+  <li>
+  <span class="smcap">Palace of Emperor William I</span>: <a href="#bugiardini" >Bugiardini</a>.
+  </li>
+  <li>
+  <span class="smcap">Herr von Dirksen</span>: <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li>
+  <span class="smcap">Von Kaufmann Collection</span>: <a href="#botticelli" >Botticelli</a>, <a href="#carli" >Carli</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#orcagna" >Orcagna</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  <li>
+  <span class="smcap">Herr Eugen Schweizer</span>: <a href="#bacchiacca" >Bacchiacca</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Herr Edward Simon</span>: <a href="#amico" >Amico di Sandro</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Besan&ccedil;on.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#bronzino" >Bronzino</a>.
+  </li>
+  <li>
+  <span class="smcap">Cathedral</span>: <a href="#frabartolommeo" >Fra Bartolommeo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">B&eacute;ziers.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#benozzo" >Benozzo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bologna.
+  <ul class="IX">
+  <li>
+   <a href="#bugiardini" >Bugiardini</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#giottoass" >Assistant of Giotto</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Domenico</span>: <a href="#lippi" >Filippino Lippi</a>, <a href="#michelangelo" >Michelangelo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bonn.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Gallery</span>: <a href="#bugiardini" >Bugiardini</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bordeaux.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg191" id="pg191"></a><span class="pagenum">191</span>Borgo San Lorenzo (Mugello).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Chiesa del Crocifisso</span>: <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Borgo San Sepolcro.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio</span>: <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li>
+  <span class="smcap">Orfanelle</span>: <a href="#rosso" >Rosso</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Boston (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mrs. J. L. Gardner</span>: <a href="#fraangelico" >Fra Angelico</a>, <a href="#bacchiacca" >Bacchiacca</a>, <a href="#botticelli" >Botticelli</a>, <a href="#botticini" >Botticini</a>, <a href="#bronzino" >Bronzino</a>, <a href="#giotto" >Giotto</a>, <a href="#masaccio" >Masaccio</a>, <a href="#pesellino" >Pesellino</a>, <a href="#pollajuoli" >Antonio Pollajuolo</a>.
+  </li>
+  <li>
+  <span class="smcap">Mrs. Quincy A. Shaw</span>: <a href="#mainardi" >Mainardi</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bowood Park (Calne).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Marquess of Lansdowne</span>: <a href="#bugiardini" >Bugiardini</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Brandenburg a./H.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Wredowsche Zeichnenschule</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Brant Broughton (Lincolnshire).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Rev. Arthur F. Sutton</span>: <a href="#fraangelico" >Fra Angelico</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#masaccio" >Masaccio</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bremen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Kunsthalle</span>: <a href="#masolino" >Masolino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Breslau.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Schlesisches Museum</span>: <a href="#rosselli" >Cosimo Rosselli</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Brocklesby (Lincolnshire).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Earl of Yarborough</span>: <a href="#bacchiacca" >Bacchiacca</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Bruges.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Notre Dame</span>. <a href="#michelangelo" >Michelangelo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Brunswick.
+  <ul class="IX">
+  <li>
+  <a href="#lorenzo" >Lorenzo Monaco</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Brussels.
+  <ul class="IX">
+  <li>
+  <a href="#franciabigio" >Franciabigio</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">Mus&eacute;e de la Ville</span>: <a href="#franciabigio" >Franciabigio</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Budapest.
+  <ul class="IX">
+  <li>
+  <a href="#amico" >Amico di Sandro</a>, <a href="#bacchiacca" >Bacchiacca</a>, <a href="#bronzino" >Bronzino</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#granacci" >Granacci</a>, <a href="#orcagna" >Orcagna</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Caen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cambridge.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Fitzwilliam Museum</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#credi" >Credi</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cambridge (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Fogg Museum</span>: <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#benozzo" >Benozzo</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Carlsruhe.
+  <ul class="IX">
+  <li>
+  <a href="#credi" >Credi</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg192" id="pg192"></a><span class="pagenum">192</span>Carmignano (near Florence).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Parish Church.</span> <a href="#pontormo" >Pontormo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cassel.
+  <ul class="IX">
+  <li>
+  <a href="#bacchiacca" >Bacchiacca</a>, <a href="#bronzino" >Bronzino</a>, <a href="#granacci" >Granacci</a>, <a href="#lorenzo" >Lorenzo Monaco</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Castel Fiorentino.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Cappella di S. Chiara</span>: <a href="#benozzo" >Benozzo</a>.
+  </li>
+  <li>
+  <span class="smcap">Madonna della Tosse</span>: <a href="#benozzo" >Benozzo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Castelnuovo di Val d&rsquo;Elsa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Barbara</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Castiglione d&rsquo;Olona (Varesotto).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Palazzo Castiglione</span>: <a href="#masolino" >Masolino</a>.
+  </li>
+  <li>
+  <span class="smcap">Church</span>: <a href="#masolino" >Masolino</a>.
+  </li>
+  <li>
+  <span class="smcap">Baptistery</span>: <a href="#masolino" >Masolino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Castiglione Fiorentino.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pinacoteca</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Collegiata</span>: <a href="#credi" >Credi</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Certaldo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Palazzo dei Priori</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">Cappella del Ponte d&rsquo;Agliena</span>: <a href="#benozzo" >Benozzo</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Chantilly.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e Cond&eacute;</span>: <a href="#amico" >Amico di Sandro</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#granacci" >Granacci</a>, <a href="#pesellino" >Pesellino</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Chartres.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#albertinelli" >Albertinelli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Chatsworth.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duke of Devonshire</span>: <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Chicago.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Martin Ryerson</span>: <a href="#botticini" >Botticini</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Citt&agrave; di Castello.
+  <ul class="IX">
+  <li>
+  <a href="#granacci" >Granacci</a>.
+  </li>
+  <li>
+  <span class="smcap">Duomo</span>: <a href="#rosso" >Rosso</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cleveland (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Holden Collection</span>: <a href="#botticini" >Botticini</a>, <a href="#credi" >Credi</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Colle di Val d&rsquo;Elsa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Palazzo Antico del Comune</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">Via Gozzino</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">Via S. Lucia</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Agostino</span>: <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cologne.
+  <ul class="IX">
+  <li>
+  <a href="#benozzo" >Benozzo</a>, <a href="#mainardi" >Mainardi</a>, <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg193" id="pg193"></a><span class="pagenum">193</span>Copenhagen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Thorwaldsen Museum</span>: <a href="#lippi" >Filippino Lippi</a>, <a href="#lorenzo" >Lorenzo Monaco</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cortona.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Signor Colonnesi</span>: <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Domenico</span>: <a href="#fraangelico" >Fra Angelico</a>.
+  </li>
+  <li>
+  <span class="smcap">Ges&ugrave;</span>: <a href="#fraangelico" >Fra Angelico</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Cracow.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Potocki Collection</span>: <a href="#franciabigio" >Franciabigio</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Darmstadt.
+  <ul class="IX">
+  <li>
+  <a href="#granacci" >Granacci</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Detroit (U. S. A.).
+  <ul class="IX">
+  <li>
+  <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dijon.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#bacchiacca" >Bacchiacca</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#rosso" >Rosso</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dresden.
+  <ul class="IX">
+  <li>
+  <a href="#alunno" >Alunno di Domenico</a>, <a href="#andrea" >Andrea del Sarto</a>, <a href="#bacchiacca" >Bacchiacca</a>, <a href="#botticelli" >Botticelli</a>, <a href="#carli" >Carli</a>, <a href="#credi" >Credi</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#garbo" >Garbo</a>, <a href="#mainardi" >Mainardi</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dublin.
+  <ul class="IX">
+  <li>
+  <span class="smcap">National Gallery</span>: <a href="#granacci" >Granacci</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dulwich (near London).
+  <ul class="IX">
+  <li>
+  <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">D&uuml;sseldorf.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>: <a href="#fraangelico" >Fra Angelico</a>, <a href="#carli" >Carli</a>, <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Dzikow (Poland).
+  <ul class="IX">
+  <li>
+  <span class="smcap">M. Zanislas Tarnowski</span>: <a href="#pontormo" >Pontormo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Eastnor Castle (Ledbury).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lady Henry Somerset</span>: <a href="#carli" >Carli</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#rosselli" >Cosimo Rosselli</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Empoli.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Opera del Duomo</span>: <a href="#botticini" >Botticini</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#pesellino" >Pesellino</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#rosselli" >Cosimo Rosselli</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Baptistery</span>: <a href="#masolino" >Masolino</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Stefano</span>: <a href="#masolino" >Masolino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Englewood (New Jersey, U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Daniel Fellows Platt</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Esher.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Herbert F. Cook</span>: <a href="#carli" >Carli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Fiesole.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Ansano</span> (to be transferred to Museo): <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li><a name="pg194" id="pg194"></a><span class="pagenum">194</span>
+  <span class="smcap">Duomo</span>: <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Francesco</span>: <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Figline (Val d&rsquo;Arno Superiore).
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Piero al Terreno</span>: <a href="#bugiardini" >Bugiardini</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Florence.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#alunno" >Alunno di Domenico</a>, <a href="#andrea" >Andrea del Sarto</a>, <a href="#fraangelico" >Fra Angelico</a>, <a href="#baldovinetti" >Baldovinetti</a>, <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#benozzo" >Benozzo</a>, <a href="#botticelli" >Botticelli</a>, <a href="#botticini" >Botticini</a>, <a href="#cimabue" >Cimabue</a>, <a href="#credi" >Credi</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#garbo" >Garbo</a>, <a href="#ghirlandajo" >Domenico</a> and <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#giotto" >Giotto</a>, <a href="#granacci" >Granacci</a>, <a href="#lippi" >Filippino Lippi</a>, <a href="#filippolippi" >Fra Filippo Lippi</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#masaccio" >Masaccio</a>, <a href="#michelangelo" >Michelangelo</a>, <a href="#orcagna" >Orcagna</a>, <a href="#pesellino" >Pesellino</a>, <a href="#pontormo" >Pontormo</a>, <a href="#rosselli" >Cosimo Rosselli</a>, <a href="#sellajo" >Sellajo</a>, <a href="#verrocchio" >Verrocchio</a>.
+  </li>
+  <li>
+  <span class="smcap">Bargello:</span> <a href="#giottoass" >Assistant of Giotto</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#mainardi" >Mainardi</a>, <a href="#michelangelo" >Michelangelo</a>, <a href="#orcagna" >Orcagna</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#pollajuoli" >Antonio Pollajuolo</a>, <a href="#rosso" >Rosso</a>, <a href="#verrocchio" >Verrocchio</a>.
+  </li>
+  <li><a name="pitti" id="pitti"></a>
+  <span class="smcap">Pitti</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#amico" >Amico di Sandro</a>, <a href="#andrea" >Andrea del Sarto</a>, <a href="#bacchiacca" >Bacchiacca</a>, <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#botticini" >Botticini</a>, <a href="#bronzino" >Bronzino</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#granacci" >Granacci</a>, <a href="#lippi" >Filippino Lippi</a>, <a href="#filippolippi" >Fra Filippo Lippi</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#pontormo" >Pontormo</a>, <a href="#rosso" >Rosso</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li><a name="uffizi" id="uffizi"></a>
+  <span class="smcap">Uffizi</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#alunno" >Alunno di Domenico</a>, <a href="#andrea" >Andrea del Sarto</a>, <a href="#fraangelico" >Fra Angelico</a>, <a href="#baldovinetti" >Baldovinetti</a>, <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#benozzo" >Benozzo</a>, <a href="#botticelli" >Botticelli</a>, <a href="#botticini" >Botticini</a>, <a href="#bronzino" >Bronzino</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#carli" >Carli</a>, <a href="#castagno" >Castagno</a>, <a href="#credi" >Credi</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#ghirlandajo" >Domenico</a> and <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#giottoass" >Assistant of Giotto</a>, <a href="#granacci" >Granacci</a>, <a href="#leonardo" >Leonardo</a>, <a href="#lippi" >Filippino Lippi</a>, <a name="pg195" id="pg195"></a><span class="pagenum">195</span><a href="#filippolippi" >Fra Filippo Lippi</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#mainardi" >Mainardi</a>, <a href="#michelangelo" >Michelangelo</a>, <a href="#orcagna" >Orcagna</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#pollajuoli" >The Pollajuoli</a>, <a href="#pontormo" >Pontormo</a>, <a href="#rosselli" >Cosimo Rosselli</a>, <a href="#rosso" >Rosso</a>, <a href="#sellajo" >Sellajo</a>, <a href="#uccello" >Paolo Uccello</a>, <a href="#veneziano" >Domenico Veneziano</a>, <a href="#verrocchio" >Verrocchio</a>.
+  </li>
+  <li>
+  <span class="smcap">Biblioteca Laurenziana</span>: <a href="#lorenzo" >Lorenzo Monaco</a>.
+  </li>
+  <li>
+  <span class="smcap">Bigallo</span>: <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Boboli Gardens</span>: <a href="#michelangelo" >Michelangelo</a>.
+  </li>
+  <li>
+  <span class="smcap">Casa Buonarroti</span>: <a href="#michelangelo" >Michelangelo</a>.
+  </li>
+  <li>
+  <span class="smcap">Cenacolo di S. Appolonia</span>: <a href="#botticini" >Botticini</a>, <a href="#castagno" >Castagno</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Cenacolo di Foligno</span>: <a href="#amico" >Amico di Sandro</a>.
+  </li>
+  <li>
+  <span class="smcap">Chiostro dello Scalzo</span>: <a href="#andrea" >Andrea del Sarto</a>, <a href="#franciabigio" >Franciabigio</a>.
+  </li>
+  <li>
+  <span class="smcap">Collegio Militare</span>: <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li>
+  <span class="smcap">Hospital</span>: <a href="#castagno" >Castagno</a>, <a href="#lorenzo" >Lorenzo Monaco</a>.
+  </li>
+  <li>
+  <span class="smcap">Innocenti, Gallery</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  <li>
+  <span class="smcap">Istituto dei Minorenni Corrigendi</span>: <a href="#granacci" >Granacci</a>.
+  </li>
+  <li>
+  <span class="smcap">San Lorenzo, New Sacristy</span>: <a href="#michelangelo" >Michelangelo</a>.
+  </li>
+  <li>
+  <span class="smcap">Museo di San Marco</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#fraangelico" >Fra Angelico</a>, <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#ghirlandajo" >Domenico Ghirlandajo</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#pontormo" >Pontormo</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Opera del Duomo</span>: <a href="#pollajuoli" >Antonio Pollajuolo</a>, <a href="#verrocchio" >Verrocchio</a>.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Riccardi</span>: <a href="#benozzo" >Benozzo</a>, <a href="#filippolippi" >Fra Filippo Lippi</a>.
+  </li>
+  <li><a name="pg196" id="pg196"></a><span class="pagenum">196</span>
+  <span class="smcap">Palazzo Vecchio</span>: <a href="#bronzino" >Bronzino</a>, <a href="#ghirlandajo" >Domenico</a> and <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#verrocchio" >Verrocchio</a>.
+  </li>
+  <li>
+  (<span class="smcap">Pitti</span>, see <a href="#pitti" >above</a>).
+  </li>
+  <li>
+  <span class="smcap">San Salvi</span>: <a href="#andrea" >Andrea del Sarto</a>.
+  </li>
+  <li>
+  <span class="smcap">Scuole Elementare</span> (Via della Colonna): <a href="#carli" >Carli</a>.
+  </li>
+  <li>
+  (<span class="smcap">Uffizi</span>, see <a href="#uffizi" >above</a>).
+  </li>
+  <li>
+  <span class="smcap">Via Conservatorio Capponi</span>, No. ii.: <a href="#carli" >Carli</a>.
+  </li>
+  <li>
+  <span class="smcap">Via Ricasoli</span>: <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Alessandri</span>: <a href="#benozzo" >Benozzo</a>, <a href="#filippolippi" >Fra Filippo Lippi</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. B. Berenson</span>: <a href="#baldovinetti" >Baldovinetti</a>, <a href="#bronzino" >Bronzino</a>, <a href="#carli" >Carli</a>, <a href="#orcagna" >Orcagna</a>, <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">Duca di Brindisi</span>: <a href="#botticini" >Botticini</a>, <a href="#carli" >Carli</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. Henry White Cannon</span>, Villa Doccia: <a href="#carli" >Carli</a>.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Capponi</span>, Marchese Farinola: <a href="#botticelli" >Botticelli</a>, <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Corsini</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#amico" >Amico di Sandro</a>, <a href="#andrea" >Andrea del Sarto</a>, <a href="#bacchiacca" >Bacchiacca</a>, <a href="#carli" >Carli</a>, <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#lippi" >Filippino Lippi</a>, <a href="#pontormo" >Pontormo</a>, <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">Mme. Finali</span>, Villa Landau: <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. Herbert P. Horne</span>: <a href="#benozzo" >Benozzo</a>, <a href="#lippi" >Filippino Lippi</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. Edmund Houghton</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">Contessa Lardarel</span>: <a href="#botticini" >Botticini</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. Charles Loeser</span>: <a href="#lorenzo" >Lorenzo Monaco</a>.
+  </li>
+  <li>
+  <span class="smcap">Conte Niccolini</span>: <a href="#bacchiacca" >Bacchiacca</a>.
+  </li>
+  <li>
+  <span class="smcap">Conte Fernando dei Nobili</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li><a name="pg197" id="pg197"></a><span class="pagenum">197</span>
+  <span class="smcap">Signor Angelo Orvieto</span>: <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Pitti</span>: <a href="#botticelli" >Botticelli</a>.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Pucci</span>: <a href="#credi" >Credi</a>.
+  </li>
+  <li>
+  <span class="smcap">Marchese Manelli Riccardi</span>: <a href="#alunno" >Alunno di Domenico</a>.
+  </li>
+  <li>
+  <span class="smcap">Mrs. Ross, Poggio Gherardo</span>: <a href="#carli" >Carli</a>.
+  </li>
+  <li>
+  <span class="smcap">Conte Serristori</span>: <a href="#bacchiacca" >Bacchiacca</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">Marchese Pio Strozzi</span>: <a href="#botticini" >Botticini</a>.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Torrigiani</span>: <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#lippi" >Filippino Lippi</a>, <a href="#mainardi" >Mainardi</a>.
+  </li>
+  <li>
+  <span class="smcap">Torre del Gallo (Villino)</span>: <a href="#pollajuoli" >Antonio Pollajuolo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Ambrogio</span>: <a href="#baldovinetti" >Baldovinetti</a>, <a href="#carli" >Carli</a>, <a href="#lippi" >Filippino Lippi</a>, <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">SS. Annunziata</span>: <a href="#andrea" >Andrea del Sarto</a>, <a href="#baldovinetti" >Baldovinetti</a>, <a href="#castagno" >Castagno</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#pontormo" >Pontormo</a>, <a href="#rosselli" >Cosimo Rosselli</a>, <a href="#rosso" >Rosso</a>.
+  </li>
+  <li>
+  <span class="smcap">Badia</span>: <a href="#lippi" >Filippino Lippi</a>, <a href="#orcagna" >Orcagna</a>.
+  </li>
+  <li>
+  <span class="smcap">La Calza (Porta Romana)</span>: <a href="#franciabigio" >Franciabigio</a>.
+  </li>
+  <li>
+  <span class="smcap">Carmine</span>: <a href="#lippi" >Filippino Lippi</a>, <a href="#masaccio" >Masaccio</a>, <a href="#masolino" >Masolino</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Croce</span>: <a href="#bugiardini" >Bugiardini</a>, <a href="#giotto" >Giotto</a> and <a href="#giottoass" >Assistants</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#mainardi" >Mainardi</a>, <a href="#orcagna" >Orcagna</a>, <a href="#rosselli" >Cosimo Rosselli</a>, <a href="#veneziano" >Domenico Veneziano</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Domenico di Fiesole</span>: <a href="#fraangelico" >Fra Angelico</a>, <a href="#credi" >Credi</a>.
+  </li>
+  <li>
+  <span class="smcap">Duomo</span>: <a href="#baldovinetti" >Baldovinetti</a>, <a href="#castagno" >Castagno</a>, <a href="#credi" >Credi</a>, <a href="#ghirlandajo" >Domenico Ghirlandajo</a>, <a href="#michelangelo" >Michelangelo</a>, <a href="#uccello" >Paolo Uccello</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Felice</span>: <a href="#giottoass" >Assistant of Giotto</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Felicita</span>: <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li><a name="pg198" id="pg198"></a><span class="pagenum">198</span>
+  <span class="smcap">S. Francesco delle Stimmate</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Frediano</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Giovannino dei Cavalieri</span>: <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Giuseppe</span>: <a href="#lorenzo" >Lorenzo Monaco</a>.
+  </li>
+  <li>
+  <span class="smcap">Innocenti (Church)</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#ghirlandajo" >Domenico Ghirlandajo</a>,
+  </li>
+  <li>
+  <span class="smcap">S. Jacopo sopra Arno</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Lorenzo</span>: <a href="#bronzino" >Bronzino</a>, <a href="#filippolippi" >Fra Filippo Lippi</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#rosso" >Rosso</a>, <a href="#verrocchio" >Verrocchio</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Lucia de&rsquo; Magnoli (tra le Rovinate)</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Marco</span>: <a href="#baldovinetti" >Baldovinetti</a>, <a href="#frabartolommeo" >Fra Bartolommeo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. M. Maddalena dei Pazzi</span>: <a href="#carli" >Carli</a>, <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">S. M. Novella</span>: <a href="#bugiardini" >Bugiardini</a>, <a href="#ghirlandajo" >Domenico Ghirlandajo</a>, <a href="#lippi" >Filippino Lippi</a>, <a href="#masaccio" >Masaccio</a>, <a href="#orcagna" >Orcagna</a>, <a href="#uccello" >Paolo Uccello</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Margherita a Montici</span>: <a href="#giottoass" >Assistant of Giotto</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Michele Visdomini</span>: <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Miniato</span>: <a href="#baldovinetti" >Baldovinetti</a>, <a href="#giottoass" >Assistant of Giotto</a>, <a href="#pollajuoli" >Antonio Pollajuolo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Niccol&ograve;</span>: Piero Pollajuolo.
+  </li>
+  <li>
+  <span class="smcap">Chiostro degli Oblati (25 Via S. Egidio)</span>: <a href="#lorenzo" >Lorenzo Monaco</a>.
+  </li>
+  <li>
+  <span class="smcap">Ognissanti</span>: <a href="#botticelli" >Botticelli</a>, <a href="#ghirlandajo" >Domenico Ghirlandajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Chiesa di Orbetello</span>: <a href="#mainardi" >Mainardi</a>.
+  </li>
+  <li>
+  <span class="smcap">Or San Michele</span>: <a href="#credi" >Credi</a>, <a href="#orcagna" >Orcagna</a>, <a href="#verrocchio" >Verrocchio</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Pancrazio</span>: <a href="#baldovinetti" >Baldovinetti</a>.
+  </li>
+  <li><a name="pg199" id="pg199"></a><span class="pagenum">199</span>
+  <span class="smcap">Pazzi Chapel</span>: <a href="#baldovinetti" >Baldovinetti</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Procolo</span>: <a href="#carli" >Carli</a>.
+  </li>
+  <li>
+  <span class="smcap">La Quiete</span>: <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Spirito</span>: <a href="#botticini" >Botticini</a>, <a href="#carli" >Carli</a>, <a href="#credi" >Credi</a>, <a href="#lippi" >Filippino Lippi</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Trinita</span>: <a href="#baldovinetti" >Baldovinetti</a>, <a href="#ghirlandajo" >Domenico Ghirlandajo</a>, <a href="#lorenzo" >Lorenzo Monaco</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Places near Florence:
+  <ul class="IX">
+  <li>
+  <span class="smcap">Brozzi, Fattoria Orsini</span>: <a
+    href="#mainardi" >Mainardi</a>.
+    <ul class="IX">
+      <li>
+    <span class="smcap">S. Andrea</span>: <a href="#botticini"
+      >Botticini</a>, <a href="#carli" >Carli</a>.
+      </li>
+      </ul>
+  </li>
+  <li>
+  <span class="smcap">Certosa</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#orcagna" >Orcagna</a>, <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li>
+  <span class="smcap">Corbignano (near Settignano), Cappella Vanella</span>: <a href="#botticelli" >Botticelli</a>.
+  </li>
+  <li>
+  <span class="smcap">Gangalandi (between Florence and Signa), S. Martino</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Badia di Passignano (Tavernelle), Refectory</span>: <a href="#ghirlandajo" >Domenico Ghirlandajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Pian di Mugnone, S. M. Maddalena</span>: <a href="#frabartolommeo" >Fra Bartolommeo</a>.
+  </li>
+  <li>
+  <span class="smcap">Poggio a Cajano (Royal Villa)</span>: <a href="#andrea" >Andrea del Sarto</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#lippi" >Filippino Lippi</a>, <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li>
+  <span class="smcap">Quintole, S. Pietro</span>: <a href="#granacci" >Granacci</a>.
+  </li>
+  <li>
+  <span class="smcap">Scandicci, Comtesse de Turenne</span>: <a href="#credi" >Credi</a>.
+  </li>
+  <li>
+  <span class="smcap">Villamagna, S. Donnino</span>: <a href="#granacci" >Granacci</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Forl&igrave;.
+  <ul class="IX">
+  <li>
+  <a href="#credi" >Credi</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Frankfort a./M.
+  <ul class="IX">
+  <li>
+  <span class="smcap">St&auml;delinstitut</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#pontormo" >Pontormo</a>, <a href="#rosso" >Rosso</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Frome (Somerset).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lady Horner, Mells Park</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Geneva.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#albertinelli" >Albertinelli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Genoa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Palazzo Adorno</span>: <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Bianco</span>: <a href="#lippi" >Filippino Lippi</a>, <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li><a name="pg200" id="pg200"></a><span class="pagenum">200</span>
+  <span class="smcap">Palazzo Brignole-Sale</span>: <a href="#pontormo" >Pontormo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="glasgow"></a>Glasgow.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Corporation Gallery</span>: <a href="#garbo" >Garbo</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. William Beattie</span>: <a href="#credi" >Credi</a>, <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. James Mann</span>: <a href="#granacci" >Granacci</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Gloucester.
+  <ul class="IX">
+  <li>
+  <span class="smcap"> Highnam Court, Sir Hubert Parry</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#credi" >Credi</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#pesellino" >Pesellino</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">G&ouml;ttingen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Gallery</span>: <a href="#botticini" >Botticini</a>, <a href="#credi" >Credi</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Grenoble.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#frabartolommeo" >Fra Bartolommeo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Gubbio.
+  <ul class="IX">
+  <li>
+  <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">The Hague.
+  <ul class="IX">
+  <li>
+  <a href="#albertinelli" >Albertinelli</a>, <a href="#bronzino" >Bronzino</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Hamburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Weber Collection</span>: <a href="#credi" >Credi</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#mainardi" >Mainardi</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Hanover.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Kestner Museum</span>: <a href="#credi" >Credi</a>.
+  </li>
+  <li>
+  <span class="smcap">Provinzialmuseum</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Harrow-on-the-Hill.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Rev. J. Stogdon</span>: <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Hatfield.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Charles Butler, Warren Wood</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#pontormo" >Pontormo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Hildesheim.
+  <ul class="IX">
+  <li>
+  <a href="#mainardi" >Mainardi</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Horsmonden (Kent).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mrs. Austen, Capel Manor:</span> <a href="#alunno" >Alunno di Domenico</a>, <a href="#amico" >Amico di Sandro</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Ince Blundell Hall (Lancashire).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Charles Weld Blundell:</span> <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Kiel.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Prof. Martius</span>: <a href="#lippi" >Filippino Lippi</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Le Mans.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#carli" >Carli</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lewes.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. E. P. Warren, Lewes House</span>: <a href="#lippi" >Filippino Lippi</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lille.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg201" id="pg201"></a><span class="pagenum">201</span>Liverpool.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Walker Art Gallery</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#rosselli" >Cosimo Rosselli</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Locko Park (near Derby).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Charles Drury-Lowe</span>: <a href="#bacchiacca" >Bacchiacca</a>, <a href="#benozzo" >Benozzo</a>, <a href="#carli" >Carli</a>, <a href="#castagno" >Castagno</a>, <a href="#mainardi" >Mainardi</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">London.
+  <ul class="IX">
+  <li>
+  <a href="#amico" >Amico di Sandro</a>, <a href="#andrea" >Andrea del Sarto</a>, <a href="#fraangelico" >Fra Angelico</a>, <a href="#bacchiacca" >Bacchiacca</a>, <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#benozzo" >Benozzo</a>, <a href="#botticelli" >Botticelli</a>, <a href="#botticini" >Botticini</a>, <a href="#bronzino" >Bronzino</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#castagno" >Castagno</a>, <a href="#credi" >Credi</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#ghirlandajo" >Domenico</a> and <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#lippi" >Filippino</a> and <a href="#filippolippi" >Fra Filippo Lippi</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#mainardi" >Mainardi</a>, <a href="#michelangelo" >Michelangelo</a>, <a href="#orcagna" >Orcagna</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#pollajuoli" >Antonio Pollajuolo</a>, <a href="#pontormo" >Pontormo</a>, <a href="#rosselli" >Cosimo Rosselli</a>, <a href="#sellajo" >Sellajo</a>, <a href="#uccello" >Paolo Uccello</a>, <a href="#veneziano" >Domenico Veneziano</a>, <a href="#verrocchio" >Verrocchio</a>.
+  </li>
+  <li>
+  <span class="smcap">H. M. The King, Buckingham Palace</span>: <a href="#benozzo" >Benozzo</a>.
+  </li>
+  <li>
+  <span class="smcap">Burlington House, Diploma Gallery</span>: <a href="#leonardo" >Leonardo</a>, <a href="#michelangelo" >Michelangelo</a>.
+  </li>
+  <li>
+  <span class="smcap">Hertford House</span>: <a href="#andrea" >Andrea del Sarto</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  <li>
+  <span class="smcap">Victoria and Albert Museum</span>: <a href="#amico" >Amico di Sandro</a>, <a href="#benozzo" >Benozzo</a>, <a href="#granacci" >Granacci</a>, <a href="#michelangelo" >Michelangelo</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#pollajuoli" >Antonio Pollajuolo</a>.
+  </li>
+  <li>
+  <span class="smcap">Beit Collection</span>: <a href="#michelangelo" >Michelangelo</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. Robert Benson</span>: <a href="#amico" >Amico di Sandro</a>, <a href="#andrea" >Andrea del Sarto</a>, <a href="#botticini" >Botticini</a>, <a href="#carli" >Carli</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#garbo" >Garbo</a>, <a href="#ghirlandajo" >Domenico Ghirlandajo</a>, <a href="#granacci" >Granacci</a>, <a href="#lippi" >Filippino Lippi</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  <li><a name="pg202" id="pg202"></a><span class="pagenum">202</span>
+  <span class="smcap">Mr. Charles Brinsley Marlay</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#botticini" >Botticini</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Duke of Buccleugh</span>: <a href="#granacci" >Granacci</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. Charles Butler</span>: <a href="#bacchiacca" >Bacchiacca</a>, <a href="#botticini" >Botticini</a>, <a href="#credi" >Credi</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#rosselli" >Cosimo Rosselli</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Earl Crawford</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. William E. Grey</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">Mrs. Louisa Herbert</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. J. P. Heseltine</span>: <a href="#botticelli" >Botticelli</a>.
+  </li>
+  <li>
+  <span class="smcap">Col. G. L. Holford, Dorchester House</span>: <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#garbo" >Garbo</a>, <a href="#pesellino" >Pesellino</a>.
+  </li>
+  <li>
+  <span class="smcap">Lady Horner</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">Sir H. Howorth</span>: <a href="#mainardi" >Mainardi</a>.
+  </li>
+  <li>
+  <span class="smcap">Earl of Ilchester, Holland House</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Sir Kenneth Muir Mackenzie</span>: <a href="#alunno" >Alunno di Domenico</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. Ludwig Mond</span>: <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#botticelli" >Botticelli</a>, <a href="#ghirlandajo" >Domenico Ghirlandajo</a>, <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. J. Pierpont Morgan</span>: <a href="#castagno" >Castagno</a>, <a href="#ghirlandajo" >Domenico Ghirlandajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Earl of Northbrook</span>: <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#franciabigio" >Franciabigio</a>.
+  </li>
+  <li>
+  <span class="smcap">Earl of Plymouth</span>: <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. Charles Ricketts</span>: <a href="#garbo" >Garbo</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. C. N. Robinson</span>: <a href="#benozzo" >Benozzo</a>.
+  </li>
+  <li>
+  <span class="smcap">Earl of Rosebery</span>: <a href="#credi" >Credi</a>.
+  </li>
+  <li><a name="pg203" id="pg203"></a><span class="pagenum">203</span>
+  <span class="smcap">Mr. Leopold de Rothschild</span>: <a href="#andrea" >Andrea del Sarto</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. George Salting</span>: <a href="#ghirlandajo" >Domenico</a> and <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#mainardi" >Mainardi</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Sir Henry Samuelson</span>: <a href="#garbo" >Garbo</a>, <a href="#lippi" >Filippino Lippi</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. A. E. Street</span>: <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  <li>
+  <span class="smcap">Mrs. J. E. Taylor</span>: <a href="#fraangelico" >Fra Angelico</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. T. Vasel</span>: <a href="#franciabigio" >Franciabigio</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. Henry Wagner</span>: <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. Vernon Watney</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Sir Julius Wernher</span>: <a href="#lippi" >Filippino Lippi</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. Frederick A. White</span>: <a href="#bacchiacca" >Bacchiacca</a>.
+  </li>
+  <li>
+  <span class="smcap">Earl of Yarborough</span>: <a href="#franciabigio" >Franciabigio</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Longleat (Warminster).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Marquess of Bath</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#credi" >Credi</a>, <a href="#mainardi" >Mainardi</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lovere.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Galleria Tadini</span>: <a href="#alunno" >Alunno di Domenico</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lucardo (near Certaldo).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Parish Church</span>: <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lucca.
+  <ul class="IX">
+  <li>
+  <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#bronzino" >Bronzino</a>, <a href="#carli" >Carli</a>, <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li>
+  <span class="smcap">Marchese Mansi (S. M. Forisportam)</span>: <a href="#granacci" >Granacci</a>.
+  </li>
+  <li>
+  <span class="smcap">Duomo</span>: <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#ghirlandajo" >Domenico Ghirlandajo</a>, <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Francesco</span>: <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Michele</span>: <a href="#lippi" >Filippino Lippi</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Lyons.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">M. Edouard Aynard</span>: <a href="#fraangelico" >Fra Angelico</a>, <a href="#garbo" >Garbo</a>, <a href="#filippolippi" >Fra Filippo Lippi</a>, <a href="#mainardi" >Mainardi</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Madrid.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e del Prado</span>: <a href="#andrea" >Andrea del Sarto</a>, <a href="#fraangelico" >Fra Angelico</a>.
+  </li>
+  <li><a name="pg204" id="pg204"></a><span class="pagenum">204</span>
+  <span class="smcap">Duke of Alba</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#fraangelico" >Fra Angelico</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Marseilles.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Mayence.
+  <ul class="IX">
+  <li>
+  <a href="#credi" >Credi</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Meiningen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Grand Ducal Palace</span>: <a href="#amico" >Amico di Sandro</a>, <a href="#benozzo" >Benozzo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Milan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Ambrosiana</span>: <a href="#botticelli" >Botticelli</a>.
+  </li>
+  <li>
+  <span class="smcap">Borromeo</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  <li>
+  <span class="smcap">Brera</span>: <a href="#benozzo" >Benozzo</a>, <a href="#bronzino" >Bronzino</a>.
+  </li>
+  <li>
+  <span class="smcap">Poldi-Pezzoli</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#alunno" >Alunno di Domenico</a>, <a href="#botticelli" >Botticelli</a>, <a href="#carli" >Carli</a>, <a href="#pesellino" >Pesellino</a>, <a href="#sellajo" >Sellajo</a>, <a href="#verrocchio" >Verrocchio</a>.
+  </li>
+  <li>
+  <span class="smcap">Conti Bagati Valsecchi</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Conte Casatti</span>: <a href="#credi" >Credi</a>, <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">Comm. Benigno Crespi</span>: <a href="#bacchiacca" >Bacchiacca</a>, <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#granacci" >Granacci</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#mainardi" >Mainardi</a>.
+  </li>
+  <li>
+  <span class="smcap">Dr. Gustavo Frizzoni</span>: <a href="#bacchiacca" >Bacchiacca</a>.
+  </li>
+  <li>
+  <span class="smcap">Cav. Aldo Noseda</span>: <a href="#lorenzo" >Lorenzo Monaco</a>.
+  </li>
+  <li>
+  <span class="smcap">Prince Trivulzio</span>: <a href="#amico" >Amico di Sandro</a>, <a href="#michelangelo" >Michelangelo</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#pontormo" >Pontormo</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Maria delle Grazie</span>: <a href="#bugiardini" >Bugiardini</a>, <a href="#leonardo" >Leonardo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Modena.
+  <ul class="IX">
+  <li>
+  <a href="#botticini" >Botticini</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#franciabigio" >Franciabigio</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Mombello (near Milan).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Prince Pio di Savoia</span>: <a href="#bugiardini" >Bugiardini</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Montefalco.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pinacoteca (S. Francesco)</span>: <a href="#benozzo" >Benozzo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Fortunato</span>: <a href="#benozzo" >Benozzo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Montefortino (near Amandola, Marches).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio</span>: <a href="#botticini" >Botticini</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Montemarciano (Val d&rsquo;Arno Superiore).
+  <ul class="IX">
+  <li>
+  <a href="#masaccio" >Masaccio</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Montepulciano.
+  <ul class="IX">
+  <li>
+  <a href="#carli" >Carli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place"><a name="pg205" id="pg205"></a><span class="pagenum">205</span>Munich.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Alte Pinakotek</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#fraangelico" >Fra Angelico</a>, <a href="#bacchiacca" >Bacchiacca</a>, <a href="#credi" >Credi</a>, <a href="#garbo" >Garbo</a>, <a href="#giotto" >Giotto</a> and <a href="#giottoass" >Assistant</a>, <a href="#granacci" >Granacci</a>, <a href="#filippolippi" >Fra Filippo Lippi</a>, <a href="#mainardi" >Mainardi</a>, <a href="#masolino" >Masolino</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Lotzbeck Collection</span>: <a href="#lorenzo" >Lorenzo Monaco</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">M&uuml;nster i./W.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Kunstverein</span>: <a href="#mainardi" >Mainardi</a>, <a href="#rosselli" >Cosimo Rosselli</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Nantes.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e Des Beaux Arts</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Mus&eacute;e Dobret</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Naples.
+  <ul class="IX">
+  <li>
+  <a href="#amico" >Amico di Sandro</a>, <a href="#andrea" >Andrea del Sarto</a>, <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#garbo" >Garbo</a>, <a href="#lippi" >Filippino Lippi</a>, <a href="#masaccio" >Masaccio</a>, <a href="#masolino" >Masolino</a>.
+  </li>
+  <li>
+  <span class="smcap">Museo Filangieri</span>: <a href="#amico" >Amico di Sandro</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Narbonne.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Narni.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#benozzo" >Benozzo</a>, <a href="#ghirlandajo" >Domenico Ghirlandajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New Haven (Conn., U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Jarves Collection</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#ghirlandajo" >Domenico</a> and <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#granacci" >Granacci</a>, <a href="#lippi" >Filippino Lippi</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#orcagna" >Orcagna</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#pollajuoli" >Antonio Pollajuolo</a>, <a href="#pontormo" >Pontormo</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Newlands Manor (Hampshire).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Col. Cornwallis West</span>: <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Newport. (U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Theodore M. Davis, The Reef</span>: <a href="#bugiardini" >Bugiardini</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">New York.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Metropolitan Museum</span>: <a href="#bugiardini" >Bugiardini</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#pollajuoli" >Piero Pollajuolo</a>, <a href="#uccello" >Paolo Uccello</a>.
+  </li>
+  <li>
+  <span class="smcap">Mrs. Gould</span>: <a href="#bronzino" >Bronzino</a>.
+  </li>
+  <li>
+  <span class="smcap">Havemeyer Collection</span>: <a href="#bronzino" >Bronzino</a>.
+  </li>
+  <li>
+  <span class="smcap">James Collection</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. Stanley Mortimer</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li><a name="pg206" id="pg206"></a><span class="pagenum">206</span>
+  <span class="smcap">Mr. Rutherford Stuyvesant</span>: <a href="#franciabigio" >Franciabigio</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. Samuel Untermeyer</span>: <a href="#albertinelli" >Albertinelli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">N&icirc;mes.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Gower Collection</span>: <a href="#franciabigio" >Franciabigio</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Olantigh Towers (Wye).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Erle-Drax</span>: <a href="#bugiardini" >Bugiardini</a>, <a href="#carli" >Carli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oldenburg.
+  <ul class="IX">
+  <li>
+  <a href="#bugiardini" >Bugiardini</a>, <a href="#pontormo" >Pontormo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Orvieto.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duomo</span>: <a href="#fraangelico" >Fra Angelico</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Oxford.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Christ Church Library</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#amico" >Amico di Sandro</a>, <a href="#bacchiacca" >Bacchiacca</a>, <a href="#carli" >Carli</a>, <a href="#granacci" >Granacci</a>, <a href="#lippi" >Filippino Lippi</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">University Galleries</span>: <a href="#bronzino" >Bronzino</a>, <a href="#credi" >Credi</a>, <a href="#granacci" >Granacci</a>, <a href="#filippolippi" >Fra Filippo Lippi</a>, <a href="#mainardi" >Mainardi</a>, <a href="#uccello" >Paolo Uccello</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. T. W. Jackson</span>: <a href="#franciabigio" >Franciabigio</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Padua.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Arena Chapel</span>: <a href="#giotto" >Giotto</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Palermo.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Baron Chiaramonte Bordonaro</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#botticini" >Botticini</a>, <a href="#mainardi" >Mainardi</a>, <a href="#orcagna" >Orcagna</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#pontormo" >Pontormo</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Panshanger (Hertford).
+  <ul class="IX">
+  <li>
+  <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#granacci" >Granacci</a>, <a href="#pontormo" >Pontormo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Panzano (between Florence and Siena).
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Maria</span>: <a href="#botticini" >Botticini</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Parcieux (near Tr&eacute;voux).
+  <ul class="IX">
+  <li>
+  <span class="smcap">La Grange Blanche, M. Henri Chalandon</span>: <a href="#botticini" >Botticini</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Paris.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Louvre</span>: <a href="#albertinelli"
+    >Albertinelli</a>, <a href="#alunno" >Alunno di Domenico</a>, <a
+    href="#amico" >Amico di Sandro</a>, <a href="#andrea" >Andrea del Sarto</a>, <a
+    href="#fraangelico" >Fra Angelico</a>, <a href="#baldovinetti" >Baldovinetti</a>, <a
+    href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#benozzo" >Benozzo</a>, <a href="#botticelli" >Botticelli</a>,
+    <a href="#botticini" >Botticini</a>, <a href="#bronzino" >Bronzino</a>, <a href="#bugiardini" >Bugiardini</a>, <a
+    name="pg207" id="pg207"></a><span class="pagenum">207</span>
+    <a href="#carli" >Carli</a>,
+    <a href="#cimabue" >Cimabue</a>, <a href="#credi" >Credi</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#ghirlandajo" >Domenico</a> and <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#giottoass" >Assistant of Giotto</a>, <a href="#leonardo" >Leonardo</a>, <a href="#filippolippi" >Fra Filippo Lippi</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#mainardi" >Mainardi</a>, <a href="#michelangelo" >Michelangelo</a>, <a href="#pesellino" >Pesellino</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#pollajuoli" >Piero Pollajuolo</a>, <a href="#pontormo" >Pontormo</a>, <a href="#rosselli" >Cosimo Rosselli</a>, <a href="#rosso" >Rosso</a>, <a href="#sellajo" >Sellajo</a>, <a href="#uccello" >Paolo Uccello</a>.
+  </li>
+  <li>
+  <span class="smcap">Mus&eacute;e Des Arts Decoratifs</span>: <a href="#bugiardini" >Bugiardini</a>, <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">Baronne d&rsquo;Adelsward</span>: <a href="#benozzo" >Benozzo</a>.
+  </li>
+  <li>
+  <span class="smcap">Mme. Edouard Andr&eacute;</span>: <a href="#baldovinetti" >Baldovinetti</a>, <a href="#botticini" >Botticini</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#rosselli" >Cosimo Rosselli</a>, <a href="#uccello" >Paolo Uccello</a>.
+  </li>
+  <li>
+  <span class="smcap">Comtesse Arconati-Visconti</span>: <a href="#botticini" >Botticini</a>, <a href="#mainardi" >Mainardi</a>.
+  </li>
+  <li>
+  <span class="smcap">M. L&eacute;on Bonnat</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">M. Georges Chalandon</span>: <a href="#fraangelico" >Fra Angelico</a>.
+  </li>
+  <li>
+  <span class="smcap">M. Jean Dollfus</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#granacci" >Granacci</a>.
+  </li>
+  <li>
+  <span class="smcap">M. Gustave Dreyfus</span>: <a href="#credi" >Credi</a>, <a href="#mainardi" >Mainardi</a>, <a href="#sellajo" >Sellajo</a>, <a href="#verrocchio" >Verrocchio</a>.
+  </li>
+  <li>
+  <span class="smcap">M. Henri Heugel</span>: <a href="#botticini" >Botticini</a>, <a href="#garbo" >Garbo</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">Baron Michele Lazzaroni</span>: <a href="#carli" >Carli</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Comte Pastre</span>: <a href="#amico" >Amico di Sandro</a>.
+  </li>
+  <li>
+  <span class="smcap">M. Emile Richtemberger</span>: <a href="#carli" >Carli</a>, <a href="#granacci" >Granacci</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Baron Edouard de Rothschild</span>: <a href="#garbo" >Garbo</a>.
+  </li>
+  <li>
+  <span class="smcap">Baron Arthur Schickler</span>: <a href="#verrocchio" >Verrocchio</a>.
+  </li>
+  <li>
+  <span class="smcap">Baron Schlichting</span>: <a href="#amico" >Amico di Sandro</a>.
+  </li>
+  <li><a name="pg208" id="pg208"></a><span class="pagenum">208</span>
+  <span class="smcap">M. Joseph Spiridon</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#granacci" >Granacci</a>, <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">M. Noel Valois</span>: <a href="#fraangelico" >Fra Angelico</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Parma.
+  <ul class="IX">
+  <li>
+  <a href="#fraangelico" >Fra Angelico</a>, <a href="#garbo" >Garbo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pavia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Galleria Malaspina</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Peace Dale (Rhode Island, U. S. A.).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mrs. Bacon, The Acorns</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">P&eacute;rigueux.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#amico" >Amico di Sandro</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Perugia.
+  <ul class="IX">
+  <li>
+  <a href="#fraangelico" >Fra Angelico</a>, <a href="#benozzo" >Benozzo</a>.
+  </li>
+  <li>
+  <span class="smcap">Marchese Meniconi Bracceschi</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Petworth House (Sussex).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lord Leconfield</span>: <a href="#andrea" >Andrea del Sarto</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Philadelphia.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. John G. Johnson</span>: <a href="#amico" >Amico di Sandro</a>, <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#granacci" >Granacci</a>, <a href="#mainardi" >Mainardi</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#rosselli" >Cosimo Rosselli</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. Peter Widener</span>: <a href="#benozzo" >Benozzo</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pinerolo (Piedmont).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Villa Lamba Doria</span>: <a href="#franciabigio" >Franciabigio</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pisa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Museo Civico</span>: <a href="#fraangelico" >Fra Angelico</a>, <a href="#benozzo" >Benozzo</a>, <a href="#carli" >Carli</a>, <a href="#ghirlandajo" >Domenico Ghirlandajo</a>, <a href="#masaccio" >Masaccio</a>.
+  </li>
+  <li>
+  <span class="smcap">Campo Santo</span>: <a href="#benozzo" >Benozzo</a>.
+  </li>
+  <li>
+  <span class="smcap">Ricovero</span>: <a href="#benozzo" >Benozzo</a>.
+  </li>
+  <li>
+  <span class="smcap">Universit&agrave; dei Cappellani</span>: <a href="#benozzo" >Benozzo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Caterina</span>: <a href="#albertinelli" >Albertinelli</a>.
+  </li>
+  <li>
+  <span class="smcap">Duomo</span>: <a href="#andrea" >Andrea del Sarto</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Matteo</span>: <a href="#carli" >Carli</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Stefano</span>: <a href="#bronzino" >Bronzino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pistoia.
+  <ul class="IX">
+  <li><a name="pg209" id="pg209"></a><span class="pagenum">209</span>
+  <span class="smcap">Duomo</span>: <a href="#credi" >Credi</a>, <a href="#verrocchio" >Verrocchio</a>.
+  </li>
+  <li>
+  <span class="smcap">Madonna del Letto</span>: <a href="#credi" >Credi</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Pietro Maggiore</span>: <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Poggibonsi.
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Lucchese</span>: <a href="#carli" >Carli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Poitiers.
+  <ul class="IX">
+  <li>
+  <span class="smcap">H&ocirc;tel de Ville</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Pontormo (near Empoli).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Parish Church</span>: <a href="#pontormo" >Pontormo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Posen.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Raczynski Collection</span>: <a href="#lorenzo" >Lorenzo Monaco</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Prato.
+  <ul class="IX">
+  <li>
+  <a href="#botticini" >Botticini</a>, <a href="#carli" >Carli</a>, <a href="#lippi" >Filippino Lippi</a>, <a href="#lorenzo" >Lorenzo Monaco</a>.
+  </li>
+  <li>
+  <span class="smcap">Tabernacle in Street</span>: <a href="#lippi" >Filippino Lippi</a>.
+  </li>
+  <li>
+  <span class="smcap">Duomo</span>: <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#filippolippi" >Fra Filippo Lippi</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Reigate.
+  <ul class="IX">
+  <li>
+  <span class="smcap">The Priory, Mr. Somers Somerset</span>: <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Richmond (Surrey).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Sir Frederick Cook</span>: <a href="#bacchiacca" >Bacchiacca</a>, <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#botticini" >Botticini</a>, <a href="#filippolippi" >Fra Filippo Lippi</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Rome.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Barberini Gallery</span>: <a href="#franciabigio" >Franciabigio</a>, <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li>
+  <span class="smcap">Borghese Gallery</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#andrea" >Andrea del Sarto</a>, <a href="#bacchiacca" >Bacchiacca</a>, <a href="#bronzino" >Bronzino</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#credi" >Credi</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#granacci" >Granacci</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li>
+  <span class="smcap">Colonna Gallery</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#bronzino" >Bronzino</a>, <a href="#bugiardini" >Bugiardini</a>.
+  </li>
+  <li>
+  <span class="smcap">Corsini Gallery</span>: <a href="#fraangelico" >Fra Angelico</a>, <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#bronzino" >Bronzino</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#granacci" >Granacci</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li>
+  <span class="smcap">Doria Gallery</span>: <a href="#bronzino" >Bronzino</a>.
+  </li>
+  <li>
+  <span class="smcap">Lateran</span> (presently to be united with the Vatican): <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#benozzo" >Benozzo</a>, <a href="#filippolippi" >Fra Filippo Lippi</a>.
+  </li>
+  <li><a name="pg210" id="pg210"></a><span class="pagenum">210</span>
+  <span class="smcap">Vatican, Pinacoteca</span>: <a href="#fraangelico" >Fra Angelico</a>, <a href="#leonardo" >Leonardo</a>.
+   <ul class="IX">
+   <li>
+    <span class="smcap">Museo Cristiano</span> (presently to be united with the Pinacoteca): <a href="#fraangelico" >Fra Angelico</a>, <a href="#benozzo" >Benozzo</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#mainardi" >Mainardi</a>, <a href="#masolino" >Masolino</a>.
+   </li>
+   <li>
+    <span class="smcap">Chapel of Nicholas V</span>: <a href="#fraangelico" >Fra Angelico</a>.
+   </li>
+   <li>
+    <span class="smcap">Cappella Paolina</span>: <a href="#michelangelo" >Michelangelo</a>.
+   </li>
+   <li>
+    <span class="smcap">Sixtine Chapel</span>: <a href="#botticelli" >Botticelli</a>, <a href="#ghirlandajo" >Domenico Ghirlandajo</a>, <a href="#michelangelo" >Michelangelo</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#rosselli" >Cosimo Rosselli</a>.
+   </li>
+   </ul>
+  </li>
+  <li>
+  <span class="smcap">Prince Colonna</span>: <a href="#bugiardini" >Bugiardini</a>.
+  </li>
+  <li>
+  <span class="smcap">Prince Doria</span>: <a href="#bronzino" >Bronzino</a>, <a href="#filippolippi" >Fra Filippo Lippi</a>, <a href="#pesellino" >Pesellino</a>.
+  </li>
+  <li>
+  <span class="smcap">Miss Hertz</span>: <a href="#bacchiacca" >Bacchiacca</a>.
+  </li>
+  <li>
+  <span class="smcap">Mr. Ludwig Mond</span>: <a href="#filippolippi" >Fra Filippo Lippi</a>, <a href="#rosselli" >Cosimo Rosselli</a>.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Rondanini</span>: <a href="#michelangelo" >Michelangelo</a>.
+  </li>
+  <li>
+  <span class="smcap">Prince Rospigliosi</span>: <a href="#bronzino" >Bronzino</a>.
+  </li>
+  <li>
+  <span class="smcap">Contessa Spaletti</span>: <a href="#bugiardini" >Bugiardini</a>.
+  </li>
+  <li>
+  <span class="smcap">Count Gregori Stroganoff</span>: <a href="#amico" >Amico di Sandro</a>, <a href="#fraangelico" >Fra Angelico</a>, <a href="#mainardi" >Mainardi</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Marchese Visconti Venosta</span>: <a href="#frabartolommeo" >Fra Bartolommeo</a>.
+  </li>
+  <li>
+  <span class="smcap">Aracoeli</span>: <a href="#benozzo" >Benozzo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Clemente</span>: <a href="#masolino" >Masolino</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Giovanni Laterano</span>: <a href="#giotto" >Giotto</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Maria sopra Minerva</span>: <a href="#lippi" >Filippino Lippi</a>, <a href="#michelangelo" >Michelangelo</a>.
+  </li>
+  <li>
+  <span class="smcap">St. Peter&rsquo;s</span>: <a href="#giottoass" >Assistant of Giotto</a>, <a href="#michelangelo" >Michelangelo</a>, <a href="#pollajuoli" >Antonio Pollajuolo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Pietro in Vincoli</span>: <a href="#michelangelo" >Michelangelo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">San Gemignano.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio</span>: <a href="#benozzo" >Benozzo</a>, <a href="#mainardi" >Mainardi</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li><a name="pg211" id="pg211"></a><span class="pagenum">211</span>
+  <span class="smcap">Ospedale di S. Fina</span>: <a href="#mainardi" >Mainardi</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Giovanni</span>: <a href="#mainardi" >Mainardi</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Agostino</span>: <a href="#benozzo" >Benozzo</a>, <a href="#mainardi" >Mainardi</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Andrea</span>: <a href="#benozzo" >Benozzo</a>.
+  </li>
+  <li>
+  <span class="smcap">Cappella di Monte</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">Collegiata</span>: <a href="#benozzo" >Benozzo</a>, <a href="#ghirlandajo" >Domenico Ghirlandajo</a>, <a href="#mainardi" >Mainardi</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#pollajuoli" >Piero Pollajuolo</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Jacopo</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Lucia</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">Monte Oliveto</span>: <a href="#benozzo" >Benozzo</a>, <a href="#mainardi" >Mainardi</a>.
+  </li>
+  <li>
+  <span class="smcap">Pancole</span> (near San Gemignano), <span class="smcap">S. Maria Assunta</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">Pieve di Ulignano</span> (near San Gemignano), <span class="smcap">S. Bartolommeo</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">San Giovanni Valdarno.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Oratorio di S. M. delle Grazie</span>: <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">San Miniato al Tedesco (Val d&rsquo;Arno).
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Domenico</span>: <a href="#carli" >Carli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Scotland.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Cawder House, (Bishopbriggs) Capt. Archibald Stirling</span>: <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  <li>
+  (<span class="smcap">Glasgow</span>, Cf. under <a href="#glasgow" >G</a>.)
+  </li>
+  <li>
+  <span class="smcap">Gosford House Earl of Wemyss</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#botticini" >Botticini</a>, <a href="#masolino" >Masolino</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  <li>
+  <span class="smcap">Kier (Dunblane), Capt. Archibald Stirling</span>: <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li>
+  <span class="smcap">Langton (Duns), Hon. Mrs. Baillie-Hamilton</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#bugiardini" >Bugiardini</a>.
+  </li>
+  <li><a name="pg212" id="pg212"></a><span class="pagenum">212</span>
+  <span class="smcap">Newbattle Abbey (Dalkeith), Marquess Of Lothian</span>: <a href="#amico" >Amico di Sandro</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#pontormo" >Pontormo</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  <li>
+  <span class="smcap">Rossie Priory (Inchture, Perthshire), Lord Kinnaird</span>: <a href="#granacci" >Granacci</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Sermoneta.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Parish Church</span>: <a href="#benozzo" >Benozzo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Sheffield.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Ruskin Museum</span>: <a href="#verrocchio" >Verrocchio</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Siena.
+  <ul class="IX">
+  <li>
+  <a href="#albertinelli" >Albertinelli</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#rosso" >Rosso</a>.
+  </li>
+  <li>
+  <span class="smcap">Palazzo Saracini</span>: <a href="#bugiardini" >Bugiardini</a>, <a href="#mainardi" >Mainardi</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Maria degli Angeli</span>: <a href="#carli" >Carli</a>.
+  </li>
+  <li>
+  <span class="smcap">Monastero del Santuccio</span>: <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Sinalunga (Val di Chiana).
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Martino</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Spoleto.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Duomo</span>: <a href="#filippolippi" >Fra Filippo Lippi</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Staggia (near Siena).
+  <ul class="IX">
+  <li>
+  <span class="smcap">S. Maria Assunta</span>: <a href="#pollajuoli" >The Pollajuoli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Stockholm.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Royal Palace</span>: <a href="#botticini" >Botticini</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">St. Petersburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Hermitage</span>: <a href="#andrea" >Andrea del Sarto</a>, <a href="#fraangelico" >Fra Angelico</a>, <a href="#frabartolommeo" >Fra Bartolommeo</a>, <a href="#botticelli" >Botticelli</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#granacci" >Granacci</a>, <a href="#michelangelo" >Michelangelo</a>.
+  </li>
+  <li>
+  <span class="smcap">Palais Stroganoff</span>: <a href="#amico" >Amico di Sandro</a>, <a href="#lippi" >Filippino Lippi</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Strasburg.
+  <ul class="IX">
+  <li>
+  <span class="smcap">University Gallery</span>: <a href="#bugiardini" >Bugiardini</a>, <a href="#credi" >Credi</a>, <a href="#giottoass" >Assistant of Giotto</a>, <a href="#masaccio" >Masaccio</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#pollajuoli" >Piero Pollajuolo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Stuttgart.
+  <ul class="IX">
+  <li>
+  <a href="#albertinelli" >Albertinelli</a>, <a href="#bugiardini" >Bugiardini</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Terni.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Biblioteca</span>: <a href="#benozzo" >Benozzo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Todi.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">S. Fortunato</span>: <a href="#masolino" >Masolino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Troyes.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mus&eacute;e</span>: <a href="#bacchiacca" >Bacchiacca</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Turin.
+  <ul class="IX">
+  <li>
+  <a href="#amico" >Amico di Sandro</a>, <a href="#fraangelico" >Fra Angelico</a>, <a href="#botticini" >Botticini</a>, <a href="#bronzino" >Bronzino</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#credi" >Credi</a>, <a href="#franciabigio" >Franciabigio</a>, <a name="pg213" id="pg213"></a><span class="pagenum">213</span><a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#pollajuoli" >The Pollajuoli</a>, <a href="#pontormo" >Pontormo</a>, Cosimo Roselli.
+  </li>
+  <li>
+  <span class="smcap">Accademia Albertina</span>: <a href="#filippolippi" >Fra Filippo Lippi</a>.
+  </li>
+  <li>
+  <span class="smcap">Armeria Reale</span>: <a href="#rosso" >Rosso</a>.
+  </li>
+  <li>
+  <span class="smcap">Museo Civico</span>: <a href="#bugiardini" >Bugiardini</a>, <a href="#lorenzo" >Lorenzo Monaco</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Urbino.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Ducal Palace</span>: <a href="#uccello" >Paolo Uccello</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vallombrosa.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Pieve <a href="#carli" >Carli</a>.</span>
+  </li>
+  </ul>
+ </li>
+ <li class="place">Venice.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Academy</span>: <a href="#carli" >Carli</a>, <a href="#rosso" >Rosso</a>.
+  </li>
+  <li>
+  <span class="smcap">Querini Stampalia Gallery</span>: <a href="#credi" >Credi</a>.
+  </li>
+  <li>
+  <span class="smcap">Seminario</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#bacchiacca" >Bacchiacca</a>, <a href="#bronzino" >Bronzino</a>, <a href="#carli" >Carli</a>, <a href="#lippi" >Filippino Lippi</a>.
+  </li>
+  <li>
+  <span class="smcap">Baron Giorgio Franchetti</span>: <a href="#bugiardini" >Bugiardini</a>.
+  </li>
+  <li>
+  <span class="smcap">Prince Giovanelli</span>: <a href="#bacchiacca" >Bacchiacca</a>.
+  </li>
+  <li>
+  <span class="smcap">Lady Layard</span>: <a href="#garbo" >Garbo</a>.
+  </li>
+  <li>
+  <span class="smcap">Piazza SS. Giovanni e Paolo</span>: <a href="#verrocchio" >Verrocchio</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vercelli.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Museo Borgogna</span>: <a href="#ghirlandajo" >Domenico Ghirlandajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Vienna.
+  <ul class="IX">
+  <li>
+  <a href="#andrea" >Andrea del Sarto</a>, <a href="#frabartolommeo" >Fra Bartolommeo</a> <a href="#benozzo" >Benozzo</a>, <a href="#bronzino" >Bronzino</a>, <a href="#bugiardini" >Bugiardini</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#pontormo" >Pontormo</a>.
+  </li>
+  <li>
+  <span class="smcap">Academy</span>: <a href="#bugiardini" >Bugiardini</a>.
+  </li>
+  <li>
+  <span class="smcap">Herr Eugen von Miller Aicholz</span>: <a href="#lippi" >Filippino Lippi</a>.
+  </li>
+  <li>
+  <span class="smcap">Dr. A. Figdor</span>: <a href="#alunno" >Alunno di Domenico</a>.
+  </li>
+  <li>
+  <span class="smcap">Harrach Collection</span>: <a href="#mainardi" >Mainardi</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>.
+  </li>
+  <li>
+  <span class="smcap">Count Lanckoronski</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#granacci" >Granacci</a>, <a href="#masaccio" >Masaccio</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#rosso" >Rosso</a>, <a href="#sellajo" >Sellajo</a>, <a href="#uccello" >Paolo Uccello</a>.
+  </li>
+  <li>
+  <span class="smcap">Prince Liechtenstein</span>: <a href="#amico" >Amico di Sandro</a>, <a href="#credi" >Credi</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#mainardi" >Mainardi</a>, <a href="#pierdicosimo" >Pier di Cosimo</a>, <a href="#sellajo" >Sellajo</a>, <a href="#verrocchio" >Verrocchio</a>.
+  </li>
+  <li><a name="pg214" id="pg214"></a><span class="pagenum">214</span>
+  <span class="smcap">Baron Tucher</span>: <a href="#fraangelico" >Fra Angelico</a> <a href="#benozzo" >Benozzo</a>.
+  </li>
+  <li>
+  <span class="smcap">Herr Carl Wittgenstein</span>: <a href="#granacci" >Granacci</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Volterra.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Municipio</span>: <a href="#carli" >Carli</a>, <a href="#ghirlandajo" >Domenico Ghirlandajo</a>, <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>, <a href="#rosso" >Rosso</a>.
+  </li>
+  <li>
+  <span class="smcap">Oratorio di S. Antonio</span>: <a href="#pierffiorentino" >Pier Francesco Fiorentino</a>.
+  </li>
+  <li>
+  <span class="smcap">Duomo</span>: <a href="#albertinelli" >Albertinelli</a>, <a href="#benozzo" >Benozzo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Wantage.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Lockinge House, Lady Wantage</span>: <a href="#ghirlandajoR" >Ridolfo Ghirlandajo</a>, <a href="#pesellino" >Pesellino</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Warwick Castle.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Earl of Warwick</span>: <a href="#alunno" >Alunno di Domenico</a>, <a href="#granacci" >Granacci</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Washington.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Mr. Victor Fischer</span>: <a href="#carli" >Carli</a>, <a href="#lorenzo" >Lorenzo Monaco</a>, <a href="#mainardi" >Mainardi</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Weston Birt (Tetbury).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Col. G. L. Holford</span>: <a href="#carli" >Carli</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Wiesbaden.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Nassauisches Kunstverein</span>: <a href="#bacchiacca" >Bacchiacca</a>, <a href="#franciabigio" >Franciabigio</a>, <a href="#sellajo" >Sellajo</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Wigan.
+  <ul class="IX">
+  <li>
+  <span class="smcap">Haigh Hall, Earl Crawford</span>: <a href="#botticini" >Botticini</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Windsor Castle.
+  <ul class="IX">
+  <li>
+  <a href="#andrea" >Andrea del Sarto</a>, <a href="#franciabigio" >Franciabigio</a>.
+  </li>
+  </ul>
+ </li>
+ <li class="place">Worksop (Nottinghamshire).
+  <ul class="IX">
+  <li>
+  <span class="smcap">Clumber Park, Duke of Newcastle</span>: <a href="#pierdicosimo" >Pier di Cosimo</a>.
+    </li>
+  </ul>
+ </li>
+</ul>
+
+</div>
+
+
+
+
+
+
+
+<pre>
+
+
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+</body>
+</html>
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+The Project Gutenberg EBook of The Florentine Painters of the Renaissance, by
+Bernhard Berenson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Florentine Painters of the Renaissance
+       With An Index To Their Works
+
+Author: Bernhard Berenson
+
+Release Date: December 28, 2005 [EBook #17408]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE FLORENTINE PAINTERS ***
+
+
+
+
+Produced by Juliet Sutherland, Louise Pryor and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+[Illustration: _Portrait of a Lady._
+
+_From the Painting, possibly by Verrocchio, in the Poldi Museum at
+Milan._]
+
+
+
+
+THE
+FLORENTINE PAINTERS
+OF THE RENAISSANCE
+
+WITH AN INDEX TO THEIR WORKS
+
+BY
+BERNHARD BERENSON
+
+AUTHOR OF "VENETIAN PAINTERS OF THE RENAISSANCE,"
+"LORENZO LOTTO," "CENTRAL ITALIAN PAINTERS OF THE RENAISSANCE"
+
+
+THIRD EDITION, REVISED AND ENLARGED
+
+
+G. P. PUTNAM'S SONS
+NEW YORK AND LONDON
+The Knickerbocker Press
+
+
+
+
+COPYRIGHT, 1896
+BY
+G. P. PUTNAM'S SONS
+_Entered at Stationers' Hall, London_
+
+       *       *       *       *       *
+
+COPYRIGHT, 1909
+BY
+G. P. PUTNAM'S SONS
+(For revised edition)
+
+
+Made in the United States of America
+
+
+
+
+PREFACE TO THIRD EDITION
+
+
+Years have passed since the second edition of this book. But as most of
+this time has been taken up with the writing of my "Drawings of the
+Florentine Painters," it has, in a sense, been spent in preparing me to
+make this new edition. Indeed, it is to that bigger work that I must
+refer the student who may wish to have the reasons for some of my
+attributions. There, for instance, he will find the intricate Carli
+question treated quite as fully as it deserves. Jacopo del Sellajo is
+inserted here for the first time. Ample accounts of this frequently
+entertaining tenth-rate painter may be found in articles by Hans
+Makowsky, Mary Logan, and Herbert Horne.
+
+The most important event of the last ten years, in the study of Italian
+art, has been the rediscovery of an all but forgotten great master,
+Pietro Cavallini. The study of his fresco at S. Cecilia in Rome, and of
+the other works that readily group themselves with it, has illuminated
+with an unhoped-for light the problem of Giotto's origin and
+development. I felt stimulated to a fresh consideration of the subject.
+The results will be noted here in the inclusion, for the first time, of
+Cimabue, and in the lists of paintings ascribed to Giotto and his
+immediate assistants.
+
+B. B.
+
+_Boston, November, 1908._
+
+
+
+
+PREFACE TO THE SECOND EDITION
+
+
+The lists have been thoroughly revised, and some of them considerably
+increased. Botticini, Pier Francesco Fiorentino, and Amico di Sandro
+have been added, partly for the intrinsic value of their work, and
+partly because so many of their pictures are exposed to public
+admiration under greater names. Botticini sounds too much like
+Botticelli not to have been confounded with him, and Pier Francesco has
+similarly been confused with Piero della Francesca. Thus, Botticini's
+famous "Assumption," painted for Matteo Palmieri, and now in the
+National Gallery, already passed in Vasari's time for a Botticelli, and
+the attribution at Karlsruhe of the quaint and winning "Nativity" to the
+sublime, unyielding Piero della Francesca is surely nothing more than
+the echo of the real author's name.
+
+Most inadequate accounts, yet more than can be given here, of Pier
+Francesco, as well as of Botticini, will be found in the Italian edition
+of Cavalcaselle's _Storia della Pittura in Italia_, Vol. VII. The latter
+painter will doubtless be dealt with fully and ably in Mr. Herbert P.
+Horne's forthcoming book on Botticelli, and in this connection I am
+happy to acknowledge my indebtedness to Mr. Horne for having persuaded
+me to study Botticini. Of Amico di Sandro I have written at length in
+the _Gazette des Beaux Arts_, June and July, 1899.
+
+FIESOLE, November, 1899.
+
+
+
+
+CONTENTS.
+
+
+                                                    PAGE
+THE FLORENTINE PAINTERS OF THE RENAISSANCE             1
+
+INDEX TO THE WORKS OF THE PRINCIPAL
+FLORENTINE PAINTERS                                   95
+
+INDEX OF PLACES                                      189
+
+
+
+
+THE FLORENTINE PAINTERS OF THE RENAISSANCE
+
+I.
+
+
+Florentine painting between Giotto and Michelangelo contains the names
+of such artists as Orcagna, Masaccio, Fra Filippo, Pollaiuolo,
+Verrocchio, Leonardo, and Botticelli. Put beside these the greatest
+names in Venetian art, the Vivarini, the Bellini, Giorgione, Titian, and
+Tintoret. The difference is striking. The significance of the Venetian
+names is exhausted with their significance as painters. Not so with the
+Florentines. Forget that they were painters, they remain great
+sculptors; forget that they were sculptors, and still they remain
+architects, poets, and even men of science. They left no form of
+expression untried, and to none could they say, "This will perfectly
+convey my meaning." Painting, therefore, offers but a partial and not
+always the most adequate manifestation of their personality, and we feel
+the artist as greater than his work, and the man as soaring above the
+artist.
+
+[Page heading: MANYSIDEDNESS OF THE PAINTERS]
+
+The immense superiority of the artist even to his greatest achievement
+in any one art form, means that his personality was but slightly
+determined by the particular art in question, that he tended to mould it
+rather than let it shape him. It would be absurd, therefore, to treat
+the Florentine painter as a mere link between two points in a necessary
+evolution. The history of the art of Florence never can be, as that of
+Venice, the study of a placid development. Each man of genius brought to
+bear upon his art a great intellect, which, never condescending merely
+to please, was tirelessly striving to reincarnate what it comprehended
+of life in forms that would fitly convey it to others; and in this
+endeavour each man of genius was necessarily compelled to create forms
+essentially his own. But because Florentine painting was pre-eminently
+an art formed by great personalities, it grappled with problems of the
+highest interest, and offered solutions that can never lose their
+value. What they aimed at, and what they attained, is the subject of the
+following essay.
+
+
+II.
+
+The first of the great personalities in Florentine painting was Giotto.
+Although he affords no exception to the rule that the great Florentines
+exploited all the arts in the endeavour to express themselves, he,
+Giotto, renowned as architect and sculptor, reputed as wit and
+versifier, differed from most of his Tuscan successors in having
+peculiar aptitude for the essential in painting _as an art_.
+
+But before we can appreciate his real value, we must come to an
+agreement as to what in the art of figure-painting--the craft has its
+own altogether diverse laws--_is_ the essential; for figure-painting, we
+may say at once, was not only the one pre-occupation of Giotto, but the
+dominant interest of the entire Florentine school.
+
+[Page heading: IMAGINATION OF TOUCH]
+
+Psychology has ascertained that sight alone gives us no accurate sense
+of the third dimension. In our infancy, long before we are conscious of
+the process, the sense of touch, helped on by muscular sensations of
+movement, teaches us to appreciate depth, the third dimension, both in
+objects and in space.
+
+In the same unconscious years we learn to make of touch, of the third
+dimension, the test of reality. The child is still dimly aware of the
+intimate connection between touch and the third dimension. He cannot
+persuade himself of the unreality of Looking-Glass Land until he has
+touched the back of the mirror. Later, we entirely forget the
+connection, although it remains true, that every time our eyes recognise
+reality, we are, as a matter of fact, giving tactile values to retinal
+impressions.
+
+Now, painting is an art which aims at giving an abiding impression of
+artistic reality with only two dimensions. The painter must, therefore,
+do consciously what we all do unconsciously,--construct his third
+dimension. And he can accomplish his task only as we accomplish ours, by
+giving tactile values to retinal impressions. His first business,
+therefore, is to rouse the tactile sense, for I must have the illusion
+of being able to touch a figure, I must have the illusion of varying
+muscular sensations inside my palm and fingers corresponding to the
+various projections of this figure, before I shall take it for granted
+as real, and let it affect me lastingly.
+
+It follows that the essential in the art of painting--as distinguished
+from the art of colouring, I beg the reader to observe--is somehow to
+stimulate our consciousness of tactile values, so that the picture shall
+have at least as much power as the object represented, to appeal to our
+tactile imagination.
+
+[Page heading: GIOTTO]
+
+Well, it was of the power to stimulate the tactile consciousness--of the
+essential, as I have ventured to call it, in the art of painting--that
+Giotto was supreme master. This is his everlasting claim to greatness,
+and it is this which will make him a source of highest aesthetic delight
+for a period at least as long as decipherable traces of his handiwork
+remain on mouldering panel or crumbling wall. For great though he was as
+a poet, enthralling as a story-teller, splendid and majestic as a
+composer, he was in these qualities superior in degree only, to many of
+the masters who painted in various parts of Europe during the thousand
+years that intervened between the decline of antique, and the birth, in
+his own person, of modern painting. But none of these masters had the
+power to stimulate the tactile imagination, and, consequently, they
+never painted a figure which has artistic existence. Their works have
+value, if at all, as highly elaborate, very intelligible symbols,
+capable, indeed, of communicating something, but losing all higher value
+the moment the message is delivered.
+
+Giotto's paintings, on the contrary, have not only as much power of
+appealing to the tactile imagination as is possessed by the objects
+represented--human figures in particular--but actually more, with the
+necessary result that to his contemporaries they conveyed a _keener_
+sense of reality, of life-likeness than the objects themselves! We whose
+current knowledge of anatomy is greater, who expect more articulation
+and suppleness in the human figure, who, in short, see much less naively
+now than Giotto's contemporaries, no longer find his paintings more than
+life-like; but we still feel them to be intensely real in the sense
+that they still powerfully appeal to our tactile imagination, thereby
+compelling us, as do all things that stimulate our sense of touch while
+they present themselves to our eyes, to take their existence for
+granted. And it is only when we can take for granted the existence of
+the object painted that it can begin to give us pleasure that is
+genuinely artistic, as separated from the interest we feel in symbols.
+
+[Page heading: ANALYSIS OF ENJOYMENT OF PAINTING]
+
+At the risk of seeming to wander off into the boundless domain of
+aesthetics, we must stop at this point for a moment to make sure that we
+are of one mind regarding the meaning of the phrase "artistic pleasure,"
+in so far at least as it is used in connection with painting.
+
+What is the point at which ordinary pleasures pass over into the
+specific pleasures derived from each one of the arts? Our judgment about
+the merits of any given work of art depends to a large extent upon our
+answer to this question. Those who have not yet differentiated the
+specific pleasures of the art of painting from the pleasures they derive
+from the art of literature, will be likely to fall into the error of
+judging the picture by its dramatic presentation of a situation or its
+rendering of character; will, in short, demand of the painting that it
+shall be in the first place a good _illustration_. Those others who seek
+in painting what is usually sought in music, the communication of a
+pleasurable state of emotion, will prefer pictures which suggest
+pleasant associations, nice people, refined amusements, agreeable
+landscapes. In many cases this lack of clearness is of comparatively
+slight importance, the given picture containing all these
+pleasure-giving elements in addition to the qualities peculiar to the
+art of painting. But in the case of the Florentines, the distinction is
+of vital consequence, for they have been the artists in Europe who have
+most resolutely set themselves to work upon the specific problems of the
+art of figure-painting, and have neglected, more than any other school,
+to call to their aid the secondary pleasures of association. With them
+the issue is clear. If we wish to appreciate their merit, we are forced
+to disregard the desire for pretty or agreeable types, dramatically
+interpreted situations, and, in fact, "suggestiveness" of any kind.
+Worse still, we must even forego our pleasure in colour, often a
+genuinely artistic pleasure, for they never systematically exploited
+this element, and in some of their best works the colour is actually
+harsh and unpleasant. It was in fact upon form, and form alone, that the
+great Florentine masters concentrated their efforts, and we are
+consequently forced to the belief that, in their pictures at least, form
+is the principal source of our aesthetic enjoyment.
+
+Now in what way, we ask, can form in painting give me a sensation of
+pleasure which differs from the ordinary sensations I receive from form?
+How is it that an object whose recognition in nature may have given me
+no pleasure, becomes, when recognised in a picture, a source of aesthetic
+enjoyment, or that recognition pleasurable in nature becomes an enhanced
+pleasure the moment it is transferred to art? The answer, I believe,
+depends upon the fact that art stimulates to an unwonted activity
+psychical processes which are in themselves the source of most (if not
+all) of our pleasures, and which here, free from disturbing physical
+sensations, never tend to pass over into pain. For instance: I am in
+the habit of realising a given object with an intensity that we shall
+value as 2. If I suddenly realise this familiar object with an intensity
+of 4, I receive the immediate pleasure which accompanies a doubling of
+my mental activity. But the pleasure rarely stops here. Those who are
+capable of receiving direct pleasure from a work of art, are generally
+led on to the further pleasures of self-consciousness. The fact that the
+psychical process of recognition goes forward with the unusual intensity
+of 4 to 2, overwhelms them with the sense of having twice the capacity
+they had credited themselves with: their whole personality is enhanced,
+and, being aware that this enhancement is connected with the object in
+question, they for some time after take not only an increased interest
+in it, but continue to realise it with the new intensity. Precisely this
+is what form does in painting: it lends a higher coefficient of reality
+to the object represented, with the consequent enjoyment of accelerated
+psychical processes, and the exhilarating sense of increased capacity in
+the observer. (Hence, by the way, the greater pleasure we take in the
+object painted than in itself.)
+
+And it happens thus. We remember that to realise form we must give
+tactile values to retinal sensations. Ordinarily we have considerable
+difficulty in skimming off these tactile values, and by the time they
+have reached our consciousness, they have lost much of their strength.
+Obviously, the artist who gives us these values more rapidly than the
+object itself gives them, gives us the pleasures consequent upon a more
+vivid realisation of the object, and the further pleasures that come
+from the sense of greater psychical capacity.
+
+Furthermore, the stimulation of our tactile imagination awakens our
+consciousness of the importance of the tactile sense in our physical and
+mental functioning, and thus, again, by making us feel better provided
+for life than we were aware of being, gives us a heightened sense of
+capacity. And this brings us back once more to the statement that the
+chief business of the figure painter, as an artist, is to stimulate the
+tactile imagination.
+
+The proportions of this small book forbid me to develop further a
+theme, the adequate treatment of which would require more than the
+entire space at my command. I must be satisfied with the crude and
+unillumined exposition given already, allowing myself this further word
+only, that I do not mean to imply that we get no pleasure from a picture
+except the tactile satisfaction. On the contrary, we get much pleasure
+from composition, more from colour, and perhaps more still from
+movement, to say nothing of all the possible associative pleasures for
+which every work of art is the occasion. What I do wish to say is that
+_unless_ it satisfies our tactile imagination, a picture will not exert
+the fascination of an ever-heightened reality; first we shall exhaust
+its ideas, and then its power of appealing to our emotions, and its
+"beauty" will not seem more significant at the thousandth look than at
+the first.
+
+My need of dwelling upon this subject at all, I must repeat, arises from
+the fact that although this principle is important indeed in other
+schools, it is all-important in the Florentine school. Without its due
+appreciation it would be impossible to do justice to Florentine
+painting. We should lose ourselves in admiration of its "teaching," or
+perchance of its historical importance--as if historical importance were
+synonymous with artistic significance!--but we should never realise what
+artistic idea haunted the minds of its great men, and never understand
+why at a date so early it became academic.
+
+[Page heading: GIOTTO AND VALUES OF TOUCH]
+
+Let us now turn back to Giotto and see in what way he fulfils the first
+condition of painting as an art, which condition, as we agreed, is
+somehow to stimulate our tactile imagination. We shall understand this
+without difficulty if we cover with the same glance two pictures of
+nearly the same subject that hang side by side in the Florence Academy,
+one by "Cimabue," and the other by Giotto. The difference is striking,
+but it does not consist so much in a difference of pattern and types, as
+of realisation. In the "Cimabue" we patiently decipher the lines and
+colours, and we conclude at last that they were intended to represent a
+woman seated, men and angels standing by or kneeling. To recognise these
+representations we have had to make many times the effort that the
+actual objects would have required, and in consequence our feeling of
+capacity has not only not been confirmed, but actually put in question.
+With what sense of relief, of rapidly rising vitality, we turn to the
+Giotto! Our eyes scarcely have had time to light on it before we realise
+it completely--the throne occupying a real space, the Virgin
+satisfactorily seated upon it, the angels grouped in rows about it. Our
+tactile imagination is put to play immediately. Our palms and fingers
+accompany our eyes much more quickly than in presence of real objects,
+the sensations varying constantly with the various projections
+represented, as of face, torso, knees; confirming in every way our
+feeling of capacity for coping with things,--for life, in short. I care
+little that the picture endowed with the gift of evoking such feelings
+has faults, that the types represented do not correspond to my ideal of
+beauty, that the figures are too massive, and almost unarticulated; I
+forgive them all, because I have much better to do than to dwell upon
+faults.
+
+But how does Giotto accomplish this miracle? With the simplest means,
+with almost rudimentary light and shade, and functional line, he
+contrives to render, out of all the possible outlines, out of all the
+possible variations of light and shade that a given figure may have,
+only those that we must isolate for special attention when we are
+actually realising it. This determines his types, his schemes of colour,
+even his compositions. He aims at types which both in face and figure
+are simple, large-boned, and massive,--types, that is to say, which in
+actual life would furnish the most powerful stimulus to the tactile
+imagination. Obliged to get the utmost out of his rudimentary light and
+shade, he makes his scheme of colour of the lightest that his contrasts
+may be of the strongest. In his compositions, he aims at clearness of
+grouping, so that each important figure may have its desired tactile
+value. Note in the "Madonna" we have been looking at, how the shadows
+compel us to realise every concavity, and the lights every convexity,
+and how, with the play of the two, under the guidance of line, we
+realise the significant parts of each figure, whether draped or
+undraped. Nothing here but has its architectonic reason. Above all,
+every line is functional; that is to say, charged with purpose. Its
+existence, its direction, is absolutely determined by the need of
+rendering the tactile values. Follow any line here, say in the figure of
+the angel kneeling to the left, and see how it outlines and models, how
+it enables you to realise the head, the torso, the hips, the legs, the
+feet, and how its direction, its tension, is always determined by the
+action. There is not a genuine fragment of Giotto in existence but has
+these qualities, and to such a degree that the worst treatment has not
+been able to spoil them. Witness the resurrected frescoes in Santa Croce
+at Florence!
+
+[Page heading: SYMBOLISM OF GIOTTO]
+
+The rendering of tactile values once recognised as the most important
+specifically artistic quality of Giotto's work, and as his personal
+contribution to the art of painting, we are all the better fitted to
+appreciate his more obvious though less peculiar merits--merits, I must
+add, which would seem far less extraordinary if it were not for the high
+plane of reality on which Giotto keeps us. Now what is back of this
+power of raising us to a higher plane of reality but a genius for
+grasping and communicating real significance? What is it to render the
+tactile values of an object but to communicate its material
+significance? A painter who, after generations of mere manufacturers of
+symbols, illustrations, and allegories had the power to render the
+material significance of the objects he painted, must, as a man, have
+had a profound sense of the significant. No matter, then, what his
+theme, Giotto feels its real significance and communicates as much of it
+as the general limitations of his art, and of his own skill permit. When
+the theme is sacred story, it is scarcely necessary to point out with
+what processional gravity, with what hieratic dignity, with what
+sacramental intentness he endows it; the eloquence of the greatest
+critics has here found a darling subject. But let us look a moment at
+certain of his symbols in the Arena at Padua, at the "Inconstancy," the
+"Injustice," the "Avarice," for instance. "What are the significant
+traits," he seems to have asked himself, "in the appearance and action
+of a person under the exclusive domination of one of these vices? Let me
+paint the person with these traits, and I shall have a figure that
+perforce must call up the vice in question." So he paints "Inconstancy"
+as a woman with a blank face, her arms held out aimlessly, her torso
+falling backwards, her feet on the side of a wheel. It makes one giddy
+to look at her. "Injustice," is a powerfully built man in the vigour of
+his years dressed in the costume of a judge, with his left hand
+clenching the hilt of his sword, and his clawed right hand grasping a
+double hooked lance. His cruel eye is sternly on the watch, and his
+attitude is one of alert readiness to spring in all his giant force upon
+his prey. He sits enthroned on a rock, overtowering the tall waving
+trees, and below him his underlings are stripping and murdering a
+wayfarer. "Avarice" is a horned hag with ears like trumpets. A snake
+issuing from her mouth curls back and bites her forehead. Her left hand
+clutches her money-bag, as she moves forward stealthily, her right hand
+ready to shut down on whatever it can grasp. No need to label them: as
+long as these vices exist, for so long has Giotto extracted and
+presented their visible significance.
+
+[Page heading: GIOTTO]
+
+Still another exemplification of his sense for the significant is
+furnished by his treatment of action and movement. The grouping, the
+gestures never fail to be just such as will most rapidly convey the
+meaning. So with the significant line, the significant light and shade,
+the significant look up or down, and the significant gesture, with means
+technically of the simplest, and, be it remembered, with no knowledge of
+anatomy, Giotto conveys a complete sense of motion such as we get in his
+Paduan frescoes of the "Resurrection of the Blessed," of the "Ascension
+of our Lord," of the God the Father in the "Baptism," or the angel in
+"Zacharias' Dream."
+
+This, then, is Giotto's claim to everlasting appreciation as an artist:
+that his thorough-going sense for the significant in the visible world
+enabled him so to represent things that we realise his representations
+more quickly and more completely than we should realise the things
+themselves, thus giving us that confirmation of our sense of capacity
+which is so great a source of pleasure.
+
+
+III.
+
+[Page heading: FOLLOWERS OF GIOTTO]
+
+For a hundred years after Giotto there appeared in Florence no painter
+equally endowed with dominion over the significant. His immediate
+followers so little understood the essence of his power that some
+thought it resided in his massive types, others in the swiftness of his
+line, and still others in his light colour, and it never occurred to any
+of them that the massive form without its material significance, its
+tactile values, is a shapeless sack, that the line which is not
+functional is mere calligraphy, and that light colour by itself can at
+the best spot a surface prettily. The better of them felt their
+inferiority, but knew no remedy, and all worked busily, copying and
+distorting Giotto, until they and the public were heartily tired. A
+change at all costs became necessary, and it was very simple when it
+came. "Why grope about for the significant, when the obvious is at hand?
+Let me paint the obvious; the obvious always pleases," said some clever
+innovator. So he painted the obvious,--pretty clothes, pretty faces, and
+trivial action, with the results foreseen: he pleased then, and he
+pleases still. Crowds still flock to the Spanish chapel in S. Maria
+Novella to celebrate the triumph of the obvious, and non-significant.
+Pretty faces, pretty colour, pretty clothes, and trivial action! Is
+there a single figure in the fresco representing the "Triumph of St.
+Thomas" which incarnates the idea it symbolises, which, without its
+labelling instrument, would convey any meaning whatever? One pretty
+woman holds a globe and sword, and I am required to feel the majesty of
+empire; another has painted over her pretty clothes a bow and arrow,
+which are supposed to rouse me to a sense of the terrors of war; a third
+has an organ on what was intended to be her knee, and the sight of this
+instrument must suffice to put me into the ecstasies of heavenly music;
+still another pretty lady has her arm akimbo, and if you want to know
+what edification she can bring, you must read her scroll. Below these
+pretty women sit a number of men looking as worthy as clothes and beards
+can make them; one highly dignified old gentleman gazes with all his
+heart and all his soul at--the point of his quill. The same lack of
+significance, the same obviousness characterise the fresco representing
+the "Church Militant and Triumphant." What more obvious symbol for _the_
+Church than _a_ church? what more significant of St. Dominic than the
+refuted Paynim philosopher who (with a movement, by the way, as obvious
+as it is clever) tears out a leaf from his own book? And I have touched
+only on the value of these frescoes as allegories. Not to speak of the
+emptiness of the one and the confusion of the other, as compositions,
+there is not a figure in either which has tactile values,--that is to
+say, artistic existence.
+
+While I do not mean to imply that painting between Giotto and Masaccio
+existed in vain--on the contrary, considerable progress was made in the
+direction of landscape, perspective, and facial expression,--it is true
+that, excepting the works of two men, no masterpieces of art were
+produced. These two, one coming in the middle of the period we have been
+dwelling upon, and the other just at its close, were Andrea Orcagna and
+Fra Angelico.
+
+[Page heading: ORCAGNA]
+
+Of Orcagna it is difficult to speak, as only a single fairly intact
+painting of his remains, the altar-piece in S. Maria Novella. Here he
+reveals himself as a man of considerable endowment: as in Giotto, we
+have tactile values, material significance; the figures artistically
+exist. But while this painting betrays no peculiar feeling for beauty of
+face and expression, the frescoes in the same chapel, the one in
+particular representing Paradise, have faces full of charm and grace. I
+am tempted to believe that we have here a happy improvement made by the
+recent restorer. But what these mural paintings must always have had is
+real artistic existence, great dignity of slow but rhythmic movement,
+and splendid grouping. They still convince us of their high purpose. On
+the other hand, we are disappointed in Orcagna's sculptured tabernacle
+at Or Sammichele, where the feeling for both material and spiritual
+significance is much lower.
+
+[Page heading: FRA ANGELICO]
+
+We are happily far better situated toward Fra Angelico, enough of whose
+works have come down to us to reveal not only his quality as an artist,
+but his character as a man. Perfect certainty of purpose, utter devotion
+to his task, a sacramental earnestness in performing it, are what the
+quantity and quality of his work together proclaim. It is true that
+Giotto's profound feeling for either the materially or the spiritually
+significant was denied him--and there is no possible compensation for
+the difference; but although his sense for the real was weaker, it yet
+extended to fields which Giotto had not touched. Like all the supreme
+artists, Giotto had no inclination to concern himself with his attitude
+toward the significant, with his feelings about it; the grasping and
+presentation of it sufficed him. In the weaker personality, the
+significant, vaguely perceived, is converted into emotion, is merely
+felt, and not realised. Over this realm of feeling Fra Angelico was the
+first great master. "God's in his heaven--all's right with the world" he
+felt with an intensity which prevented him from perceiving evil
+anywhere. When he was obliged to portray it, his imagination failed him
+and he became a mere child; his hells are bogy-land; his martyrdoms are
+enacted by children solemnly playing at martyr and executioner; and he
+nearly spoils one of the most impressive scenes ever painted--the great
+"Crucifixion" at San Marco--with the childish violence of St. Jerome's
+tears. But upon the picturing of blitheness, of ecstatic confidence in
+God's loving care, he lavished all the resources of his art. Nor were
+they small. To a power of rendering tactile values, to a sense for the
+significant in composition, inferior, it is true, to Giotto's, but
+superior to the qualifications of any intervening painter, Fra Angelico
+added the charm of great facial beauty, the interest of vivid
+expression, the attraction of delicate colour. What in the whole world
+of art more rejuvenating than Angelico's "Coronation" (in the
+Uffizi)--the happiness on all the faces, the flower-like grace of line
+and colour, the childlike simplicity yet unqualifiable beauty of the
+composition? And all this in tactile values which compel us to grant the
+reality of the scene, although in a world where real people are
+standing, sitting, and kneeling we know not, and care not, on what. It
+is true, the significance of the event represented is scarcely touched
+upon, but then how well Angelico communicates the feeling with which it
+inspired him! Yet simple though he was as a person, simple and
+one-sided as was his message, as a product he was singularly complex. He
+was the typical painter of the transition from Mediaeval to Renaissance.
+The sources of his feeling are in the Middle Ages, but he _enjoys_ his
+feelings in a way which is almost modern; and almost modern also are his
+means of expression. We are too apt to forget this transitional
+character of his, and, ranking him with the moderns, we count against
+him every awkwardness of action, and every lack of articulation in his
+figures. Yet both in action and in articulation he made great progress
+upon his precursors--so great that, but for Masaccio, who completely
+surpassed him, we should value him as an innovator. Moreover, he was not
+only the first Italian to paint a landscape that can be identified (a
+view of Lake Trasimene from Cortona), but the first to communicate a
+sense of the pleasantness of nature. How readily we feel the freshness
+and spring-time gaiety of his gardens in the frescoes of the
+"Annunciation" and the "Noli me tangere" at San Marco!
+
+
+IV.
+
+[Page heading: MASACCIO]
+
+Giotto born again, starting where death had cut short his advance,
+instantly making his own all that had been gained during his absence,
+and profiting by the new conditions, the new demands--imagine such an
+avatar, and you will understand Masaccio.
+
+Giotto we know already, but what were the new conditions, the new
+demands? The mediaeval skies had been torn asunder and a new heaven and a
+new earth had appeared, which the abler spirits were already inhabiting
+and enjoying. Here new interests and new values prevailed. The thing of
+sovereign price was the power to subdue and to create; of sovereign
+interest all that helped man to know the world he was living in and his
+power over it. To the artist the change offered a field of the freest
+activity. It is always his business to reveal to an age its ideals. But
+what room was there for sculpture and painting,--arts whose first
+purpose it is to make us realise the material significance of things--in
+a period like the Middle Ages, when the human body was denied all
+intrinsic significance? In such an age the figure artist can thrive, as
+Giotto did, only in spite of it, and as an isolated phenomenon. In the
+Renaissance, on the contrary, the figure artist had a demand made on him
+such as had not been made since the great Greek days, to reveal to a
+generation believing in man's power to subdue and to possess the world,
+the physical types best fitted for the task. And as this demand was
+imperative and constant, not one, but a hundred Italian artists arose,
+able each in his own way to meet it,--in their combined achievement,
+rivalling the art of the Greeks.
+
+In sculpture Donatello had already given body to the new ideals when
+Masaccio began his brief career, and in the education, the awakening, of
+the younger artist the example of the elder must have been of
+incalculable force. But a type gains vastly in significance by being
+presented in some action along with other individuals of the same type;
+and here Donatello was apt, rather than to draw his meed of profit, to
+incur loss by descending to the obvious--witness his _bas-reliefs_ at
+Siena, Florence, and Padua. Masaccio was untouched by this taint.
+Types, in themselves of the manliest, he presents with a sense for the
+materially significant which makes us realise to the utmost their power
+and dignity; and the spiritual significance thus gained he uses to give
+the highest import to the event he is portraying; this import, in turn,
+gives a higher value to the types, and thus, whether we devote our
+attention to his types or to his action, Masaccio keeps us on a high
+plane of reality and significance. In later painting we shall easily
+find greater science, greater craft, and greater perfection of detail,
+but greater reality, greater significance, I venture to say, never.
+Dust-bitten and ruined though his Brancacci Chapel frescoes now are, I
+never see them without the strongest stimulation of my tactile
+consciousness. I feel that I could touch every figure, that it would
+yield a definite resistance to my touch, that I should have to expend
+thus much effort to displace it, that I could walk around it. In short,
+I scarcely could realise it more, and in real life I should scarcely
+realise it so well, the attention of each of us being too apt to
+concentrate itself upon some dynamic quality, before we have at all
+begun to realise the full material significance of the person before us.
+Then what strength to his young men, and what gravity and power to his
+old! How quickly a race like this would possess itself of the earth, and
+brook no rivals but the forces of nature! Whatever they do--simply
+because it is they--is impressive and important, and every movement,
+every gesture, is world-changing. Compared with his figures, those in
+the same chapel by his precursor, Masolino, are childish, and those by
+his follower, Filippino, unconvincing and without significance, because
+without tactile values. Even Michelangelo, where he comes in rivalry,
+has, for both reality and significance, to take a second place. Compare
+his "Expulsion from Paradise" (in the Sixtine Chapel) with the one here
+by Masaccio. Michelangelo's figures are more correct, but far less
+tangible and less powerful; and while he represents nothing but a man
+warding off a blow dealt from a sword, and a woman cringing with ignoble
+fear, Masaccio's Adam and Eve stride away from Eden heart-broken with
+shame and grief, hearing, perhaps, but not seeing, the angel hovering
+high overhead who directs their exiled footsteps.
+
+Masaccio, then, like Giotto a century earlier,--himself the Giotto of an
+artistically more propitious world--was, as an artist, a great master of
+the significant, and, as a painter, endowed to the highest degree with a
+sense of tactile values, and with a skill in rendering them. In a career
+of but few years he gave to Florentine painting the direction it pursued
+to the end. In many ways he reminds us of the young Bellini. Who knows?
+Had he but lived as long, he might have laid the foundation for a
+painting not less delightful and far more profound than that of Venice.
+As it was, his frescoes at once became, and for as long as there were
+real artists among them remained, the training-school of Florentine
+painters.
+
+
+V.
+
+Masaccio's death left Florentine painting in the hands of three men
+older, and two somewhat younger than himself, all men of great talent,
+if not of genius, each of whom--the former to the extent habits already
+formed would permit, the latter overwhelmingly, felt his influence. The
+older, who, but for Masaccio, would themselves have been the sole
+determining personalities in their art, were Fra Angelico, Paolo
+Uccello, and Andrea del Castagno; the younger, Domenico Veneziano and
+Fra Filippo. As these were the men who for a whole generation after
+Masaccio's death remained at the head of their craft, forming the taste
+of the public, and communicating their habits and aspirations to their
+pupils, we at this point can scarcely do better than try to get some
+notion of each of them and of the general art tendencies they
+represented.
+
+[Page heading: PAOLO UCCELLO]
+
+Fra Angelico we know already as the painter who devoted his life to
+picturing the departing mediaeval vision of a heaven upon earth. Nothing
+could have been farther from the purpose of Uccello and Castagno.
+Different as these two were from each other, they have this much in
+common, that in their works which remain to us, dating, it is true, from
+their years of maturity, there is no touch of mediaeval sentiment, no
+note of transition. As artists they belonged entirely to the new era,
+and they stand at the beginning of the Renaissance as types of two
+tendencies which were to prevail in Florence throughout the whole of the
+fifteenth century, partly supplementing and partly undoing the teaching
+of Masaccio.
+
+Uccello had a sense of tactile values and a feeling for colour, but in
+so far as he used these gifts at all, it was to illustrate scientific
+problems. His real passion was perspective, and painting was to him a
+mere occasion for solving some problem in this science, and displaying
+his mastery over its difficulties. Accordingly he composed pictures in
+which he contrived to get as many lines as possible leading the eye
+inward. Prostrate horses, dead or dying cavaliers, broken lances,
+ploughed fields, Noah's arks, are used by him with scarcely an attempt
+at disguise, to serve his scheme of mathematically converging lines. In
+his zeal he forgot local colour--he loved to paint his horses green or
+pink--forgot action, forgot composition, and, it need scarcely be added,
+significance. Thus in his battle-pieces, instead of adequate action of
+any sort, we get the feeling of witnessing a show of stuffed figures
+whose mechanical movements have been suddenly arrested by some clog in
+their wires; in his fresco of the "Deluge," he has so covered his space
+with demonstrations of his cleverness in perspective and foreshortening
+that, far from bringing home to us the terrors of a cataclysm, he at the
+utmost suggests the bursting of a mill-dam; and in the neighbouring
+fresco of the "Sacrifice of Noah," just as some capitally constructed
+figures are about to enable us to realise the scene, all possibility of
+artistic pleasure is destroyed by our seeing an object in the air which,
+after some difficulty, we decipher as a human being plunging downward
+from the clouds. Instead of making this figure, which, by the way, is
+meant to represent God the Father, plunge toward us, Uccello
+deliberately preferred to make it dash inward, away from us, thereby
+displaying his great skill in both perspective and foreshortening, but
+at the same time writing himself down as the founder of two families of
+painters which have flourished ever since, the artists for dexterity's
+sake--mental or manual, it scarcely matters--and the naturalists. As
+these two clans increased rapidly in Florence, and, for both good and
+evil, greatly affected the whole subsequent course of Florentine
+painting, we must, before going farther, briefly define to ourselves
+dexterity and naturalism, and their relation to art.
+
+[Page heading: ART FOR DEXTERITY'S SAKE]
+
+The essential in painting, especially in figure-painting, is, we agreed,
+the rendering of the tactile values of the forms represented, because by
+this means, and this alone, can the art make us realise forms better
+than we do in life. The great painter, then, is, above all, an artist
+with a great sense of tactile values and great skill in rendering them.
+Now this sense, though it will increase as the man is revealed to
+himself, is something which the great painter possesses at the start, so
+that he is scarcely, if at all, aware of possessing it. His conscious
+effort is given to the means of rendering. It is of means of rendering,
+therefore, that he talks to others; and, because his triumphs here are
+hard-earned and conscious, it is on his skill in rendering that he
+prides himself. The greater the painter, the less likely he is to be
+aware of aught else in his art than problems of rendering--but all the
+while he is communicating what the force of his genius makes him feel
+without his striving for it, almost without his being aware of it, the
+material and spiritual significance of forms. However--his intimates
+hear him talk of nothing but skill; he seems to think of nothing but
+skill; and naturally they, and the entire public, conclude that his
+skill is his genius, and that skill _is_ art. This, alas, has at all
+times been the too prevalent notion of what art is, divergence of
+opinion existing not on the principle, but on the kind of dexterity to
+be prized, each generation, each critic, having an individual standard,
+based always on the several peculiar problems and difficulties that
+interest them. At Florence these inverted notions about art were
+especially prevalent because it was a school of art with a score of men
+of genius and a thousand mediocrities all egging each other on to
+exhibitions of dexterity, and in their hot rivalry it was all the great
+geniuses could do to be faithful to their sense of significance. Even
+Masaccio was driven to exhibit his mere skill, the much admired and by
+itself wonderfully realised figure of a naked man trembling with cold
+being not only without real significance, but positively distracting,
+in the representation of a baptism. A weaker man like Paolo Uccello
+almost entirely sacrificed what sense of artistic significance he may
+have started with, in his eagerness to display his skill and knowledge.
+As for the rabble, their work has now the interest of prize exhibitions
+at local art schools, and their number merely helped to accelerate the
+momentum with which Florentine art rushed to its end. But out of even
+mere dexterity a certain benefit to art may come. Men without feeling
+for the significant may yet perfect a thousand matters which make
+rendering easier and quicker for the man who comes with something to
+render, and when Botticelli and Leonardo and Michelangelo appeared, they
+found their artistic patrimony increased in spite of the fact that since
+Masaccio there had been no man at all approaching their genius. This
+increase, however, was due not at all so much to the sons of dexterity,
+as to the intellectually much nobler, but artistically even inferior
+race of whom also Uccello was the ancestor--the Naturalists.
+
+[Page heading: NATURALISM IN ART]
+
+What is a Naturalist? I venture upon the following definition:--A man
+with a native gift for science who has taken to art. His purpose is not
+to extract the material and spiritual significance of objects, thus
+communicating them to us more rapidly and intensely than we should
+perceive them ourselves, and thereby giving us a sense of heightened
+vitality; his purpose is research, and his communication consists of
+nothing but facts. From this perhaps too abstract statement let us take
+refuge in an example already touched upon--the figure of the Almighty in
+Uccello's "Sacrifice of Noah." Instead of presenting this figure as
+coming toward us in an attitude and with an expression that will appeal
+to our sense of solemnity, as a man whose chief interest was artistic
+would have done--as Giotto, in fact, did in his "Baptism"--Uccello seems
+to have been possessed with nothing but the scientific intention to find
+out how a man swooping down head-foremost would have looked if at a
+given instant of his fall he had been suddenly congealed and suspended
+in space. A figure like this may have a mathematical but certainly has
+no psychological significance. Uccello, it is true, has studied every
+detail of this phenomenon and noted down his observations, but because
+his notes happen to be in form and colour, they do not therefore
+constitute a work of art. Wherein does his achievement differ in quality
+from a coloured map of a country? We can easily conceive of a relief map
+of Cadore or Giverny on so large a scale, and so elaborately coloured,
+that it will be an exact reproduction of the physical aspects of those
+regions, but never for a moment should we place it beside a landscape by
+Titian or Monet, and think of it as a work of art. Yet its relation to
+the Titian or Monet painting is exactly that of Uccello's achievement to
+Giotto's. What the scientist who paints--the naturalist, that is to
+say,--attempts to do is not to give us what art alone can give us, the
+life-enhancing qualities of objects, but a reproduction of them as they
+are. If he succeeded, he would give us the exact visual impression of
+the objects themselves, but art, as we have already agreed, must give us
+not the mere reproductions of things but a quickened sense of capacity
+for realising them. Artistically, then, the naturalists, Uccello and
+his numerous successors, accomplished nothing. Yet their efforts to
+reproduce objects as they are, their studies in anatomy and perspective,
+made it inevitable that when another great genius did arise, he should
+be a Leonardo or a Michelangelo, and not a Giotto.
+
+[Page heading: ANDREA DEL CASTAGNO]
+
+Uccello, as I have said, was the first representative of two strong
+tendencies in Florentine painting--of art for dexterity's sake, and art
+for scientific purposes. Andrea del Castagno, while also unable to
+resist the fascination of mere science and dexterity, had too much
+artistic genius to succumb to either. He was endowed with great sense
+for the significant, although, it is true, not enough to save him
+completely from the pitfalls which beset all Florentines, and even less
+from one more peculiar to himself--the tendency to communicate at any
+cost a feeling of power. To make us feel power as Masaccio and
+Michelangelo do at their best is indeed an achievement, but it requires
+the highest genius and the profoundest sense for the significant. The
+moment this sense is at all lacking, the artist will not succeed in
+conveying power, but such obvious manifestations of it as mere
+strength, or, worse still, the insolence not infrequently accompanying
+high spirits. Now Castagno, who succeeds well enough in one or two such
+single figures as his Cumaean Sibyl or his Farinata degli Uberti, which
+have great, if not the greatest, power, dignity, and even beauty,
+elsewhere condescends to mere swagger,--as in his Pipo Spano or Niccolo
+di Tolentino--or to mere strength, as in his "Last Supper," or, worse
+still, to actual brutality, as in his Santa Maria Nuova "Crucifixion."
+Nevertheless, his few remaining works lead us to suspect in him the
+greatest artist, and the most influential personality among the painters
+of the first generation after Masaccio.
+
+
+VI.
+
+[Page heading: DOMENICO VENEZIANO]
+
+To distinguish clearly, after the lapse of nearly five centuries,
+between Uccello and Castagno, and to determine the precise share each
+had in the formation of the Florentine school, is already a task fraught
+with difficulties. The scantiness of his remaining works makes it more
+than difficult, makes it almost impossible, to come to accurate
+conclusions regarding the character and influence of their somewhat
+younger contemporary, Domenico Veneziano. That he was an innovator in
+technique, in affairs of vehicle and medium, we know from Vasari; but as
+such innovations, indispensable though they may become to painting as a
+craft, are in themselves questions of theoretic and applied chemistry,
+and not of art, they do not here concern us. His artistic achievements
+seem to have consisted in giving to the figure movement and expression,
+and to the face individuality. In his existing works we find no trace of
+sacrifice made to dexterity and naturalism, although it is clear that he
+must have been master of whatever science and whatever craft were
+prevalent in his day. Otherwise he would not have been able to render a
+figure like the St. Francis in his Uffizi altar-piece, where tactile
+values and movement expressive of character--what we usually call
+individual _gait_--were perhaps for the first time combined; or to
+attain to such triumphs as his St. John and St. Francis, at Santa Croce,
+whose entire figures express as much fervour as their eloquent faces.
+As to his sense for the significant in the individual, in other words,
+his power as a portrait-painter, we have in the Pitti one or two heads
+to witness, perhaps, the first great achievements in this kind of the
+Renaissance.
+
+[Page heading: FRA FILIPPO LIPPI]
+
+No such difficulties as we have encountered in the study of Uccello,
+Castagno, and Veneziano meet us as we turn to Fra Filippo. His works are
+still copious, and many of them are admirably preserved; we therefore
+have every facility for judging him as an artist, yet nothing is harder
+than to appreciate him at his due. If attractiveness, and attractiveness
+of the best kind, sufficed to make a great artist, then Filippo would be
+one of the greatest, greater perhaps than any other Florentine before
+Leonardo. Where shall we find faces more winsome, more appealing, than
+in certain of his Madonnas--the one in the Uffizi, for instance--more
+momentarily evocative of noble feeling than in his Louvre altar-piece?
+Where in Florentine painting is there anything more fascinating than the
+playfulness of his children, more poetic than one or two of his
+landscapes, more charming than is at times his colour? And with all
+this, health, even robustness, and almost unfailing good-humour! Yet by
+themselves all these qualities constitute only a high-class illustrator,
+and such by native endowment I believe Fra Filippo to have been. That he
+became more--very much more--is due rather to Masaccio's potent
+influence than to his own genius; for he had no profound sense of either
+material or spiritual significance--the essential qualifications of the
+real artist. Working under the inspiration of Masaccio, he at times
+renders tactile values admirably, as in the Uffizi Madonna--but most
+frequently he betrays no genuine feeling for them, failing in his
+attempt to render them by the introduction of bunchy, billowy,
+calligraphic draperies. These, acquired from the late Giottesque painter
+(probably Lorenzo Monaco) who had been his first master, he seems to
+have prized as artistic elements no less than the tactile values which
+he attempted to adopt later, serenely unconscious, apparently, of their
+incompatibility. Filippo's strongest impulse was not toward the
+pre-eminently artistic one of re-creation, but rather toward expression,
+and within that field, toward the expression of the pleasant, genial,
+spiritually comfortable feelings of ordinary life. His real place is
+with the _genre_ painters; only his _genre_ was of the soul, as that of
+others--of Benozzo Gozzoli, for example--was of the body. Hence a sin of
+his own, scarcely less pernicious than that of the naturalists, and
+cloying to boot--expression at any cost.
+
+
+VII.
+
+[Page heading: NATURALISM IN FLORENTINE ART]
+
+From the brief account just given of the four dominant personalities in
+Florentine painting from about 1430 to about 1460, it results that the
+leanings of the school during this interval were not artistic and
+artistic alone, but that there were other tendencies as well, tendencies
+on the one side, toward the expression of emotion (scarcely less
+literary because in form and colour than if in words), and, on the
+other, toward the naturalistic reproduction of objects. We have also
+noted that while the former tendency was represented by Filippo alone,
+the latter had Paolo Uccello, and all of Castagno and Veneziano that the
+genius of these two men would permit them to sacrifice to naturalism
+and science. To the extent, however, that they took sides and were
+conscious of a distinct purpose, these also sided with Uccello and not
+with Filippo. It may be agreed, therefore, that the main current of
+Florentine painting for a generation after Masaccio was naturalistic,
+and that consequently the impact given to the younger painters who
+during this period were starting, was mainly toward naturalism. Later,
+in studying Botticelli, we shall see how difficult it was for any one
+young at the time to escape this tide, even if by temperament farthest
+removed from scientific interests.
+
+Meanwhile we must continue our study of the naturalists, but now of the
+second generation. Their number and importance from 1460 to 1490 is not
+alone due to the fact that art education toward the beginning of this
+epoch was mainly naturalistic, but also to the real needs of a rapidly
+advancing craft, and even more to the character of the Florentine mind,
+the dominant turn of which was to science and not to art. But as there
+were then no professions scientific in the stricter sense of the word,
+and as art of some form was the pursuit of a considerable proportion of
+the male inhabitants of Florence, it happened inevitably that many a lad
+with the natural capacities of a Galileo was in early boyhood
+apprenticed as an artist. And as he never acquired ordinary methods of
+scientific expression, and never had time for occupations not
+bread-winning, he was obliged his life long to make of his art both the
+subject of his strong instinctive interest in science, and the vehicle
+of conveying his knowledge to others.
+
+[Page heading: ALESSIO BALDOVINETTI]
+
+This was literally the case with the oldest among the leaders of the new
+generation, Alessio Baldovinetti, in whose scanty remaining works no
+trace of purely artistic feeling or interest can be discerned; and it is
+only less true of Alessio's somewhat younger, but far more gifted
+contemporaries, Antonio Pollaiuolo and Andrea Verrocchio. These also we
+should scarcely suspect of being more than men of science, if Pollaiuolo
+once or twice, and Verrocchio more frequently, did not dazzle us with
+works of almost supreme art, which, but for our readiness to believe in
+the manifold possibilities of Florentine genius, we should with
+exceeding difficulty accept as their creation--so little do they seem to
+result from their conscious striving. Alessio's attention being largely
+devoted to problems of vehicle--to the side of painting which is
+scarcely superior to cookery--he had time for little else, although that
+spare time he gave to the study of landscape, in the rendering of which
+he was among the innovators. Andrea and Antonio set themselves the much
+worthier task of increasing on every side the effectiveness of the
+figure arts, of which, sculpture no less than painting, they aimed to be
+masters.
+
+[Page heading: POLLAIUOLO AND VERROCCHIO]
+
+To confine ourselves, however, as closely as we may to painting, and
+leaving aside for the present the question of colour, which, as I have
+already said, is, in Florentine art, of entirely subordinate importance,
+there were three directions in which painting as Pollaiuolo and
+Verrocchio found it had greatly to advance before it could attain its
+maximum of effectiveness: landscape, movement, and the nude. Giotto had
+attempted none of these. The nude, of course, he scarcely touched;
+movement he suggested admirably, but never rendered; and in landscape
+he was satisfied with indications hardly more than symbolical, although
+quite adequate to his purpose, which was to confine himself to the human
+figure. In all directions Masaccio made immense progress, guided by his
+never failing sense for material significance, which, as it led him to
+render the tactile values of each figure separately, compelled him also
+to render the tactile values of groups as wholes, and of their landscape
+surroundings--by preference, hills so shaped as readily to stimulate the
+tactile imagination. For what he accomplished in the nude and in
+movement, we have his "Expulsion" and his "Man Trembling with Cold" to
+witness. But in his works neither landscape nor movement, nor the nude,
+are as yet distinct sources of artistic pleasure--that is to say, in
+themselves life-enhancing. Although we can well leave the nude until we
+come to Michelangelo, who was the first to completely realise its
+distinctly artistic possibilities, we cannot so well dispense with an
+enquiry into the sources of our aesthetic pleasure in the representation
+of movement and of landscape, as it was in these two directions--in
+movement by Pollaiuolo especially, and in landscape by Baldovinetti,
+Pollaiuolo, and Verrocchio--that the great advances of this generation
+of Florentine painters were made.
+
+
+VIII.
+
+[Page heading: REPRESENTATION OF MOVEMENT]
+
+Turning our attention first to movement--which, by the way, is not the
+same as motion, mere change of place--we find that we realise it just as
+we realise objects, by the stimulation of our tactile imagination, only
+that here touch retires to a second place before the muscular feelings
+of varying pressure and strain. I see (to take an example) two men
+wrestling, but unless my retinal impressions are immediately translated
+into images of strain and pressure in my muscles, of resistance to my
+weight, of touch all over my body, it means nothing to me in terms of
+vivid experience--not more, perhaps, than if I heard some one say "Two
+men are wrestling." Although a wrestling match may, in fact, contain
+many genuinely artistic elements, our enjoyment of it can never be quite
+artistic; we are prevented from completely realising it not only by our
+dramatic interest in the game, but also, granting the possibility of
+being devoid of dramatic interest, by the succession of movements being
+too rapid for us to realise each completely, and too fatiguing, even if
+realisable. Now if a way could be found of conveying to us the
+realisation of movement without the confusion and the fatigue of the
+actuality, we should be getting out of the wrestlers more than they
+themselves can give us--the heightening of vitality which comes to us
+whenever we keenly realise life, such as the actuality itself would give
+us, _plus_ the greater effectiveness of the heightening brought about by
+the clearer, intenser, and less fatiguing realisation. This is precisely
+what the artist who succeeds in representing movement achieves: making
+us realise it as we never can actually, he gives us a heightened sense
+of capacity, and whatever is in the actuality enjoyable, he allows us to
+enjoy at our leisure. In words already familiar to us, he _extracts the
+significance of movements_, just as, in rendering tactile values, the
+artist extracts the corporeal significance of objects. His task is,
+however, far more difficult, although less indispensable:--it is not
+enough that he should extract the values of what at any given moment is
+an actuality, as is an object, but what at no moment really is--namely
+movement. He can accomplish his task in only one way, and that is by so
+rendering the one particular movement that we shall be able to realise
+all other movements that the same figure may make. "He is grappling with
+his enemy now," I say of my wrestler. "What a pleasure to be able to
+realise in my own muscles, on my own chest, with my own arms and legs,
+the life that is in him as he is making his supreme effort! What a
+pleasure, as I look away from the representation, to realise in the same
+manner, how after the contest his muscles will relax, and rest trickle
+like a refreshing stream through his nerves!" All this I shall be made
+to enjoy by the artist who, in representing any one movement, can give
+me the logical sequence of visible strain and pressure in the parts and
+muscles.
+
+It is just here that the scientific spirit of the Florentine naturalists
+was of immense service to art. This logic of sequence is to be attained
+only by great, although not necessarily more than empiric, knowledge of
+anatomy, such perhaps as the artist pure would never be inclined to work
+out for himself, but just such as would be of absorbing interest to
+those scientists by temperament and artists by profession whom we have
+in Pollaiuolo and, to a less extent, in Verrocchio. We remember how
+Giotto contrived to render tactile values. Of all the possible outlines,
+of all the possible variations of light and shade that a figure may
+have, he selected those that we must isolate for special attention when
+we are actually realising it. If instead of figure, we say figure in
+movement, the same statement applies to the way Pollaiuolo rendered
+movement--with this difference, however, that he had to render what in
+actuality we never can perfectly isolate, the line and light and shade
+most significant of any given action. This the artist must construct
+himself out of his dramatic feeling for pressure and strain and his
+ability to articulate the figure in all its logical sequences, for, if
+he would convey a sense of movement, he must give the line and the
+light and shade which will best render not tactile values alone, but the
+sequences of articulations.
+
+[Page heading: "BATTLE OF THE NUDES"]
+
+It would be difficult to find more effective illustration of all that
+has just been said about movement than one or two of Pollaiuolo's own
+works, which, in contrast to most of his achievements, where little more
+than effort and research are visible, are really masterpieces of
+life-communicating art. Let us look first at his engraving known as the
+"Battle of the Nudes." What is it that makes us return to this sheet
+with ever renewed, ever increased pleasure? Surely it is not the hideous
+faces of most of the figures and their scarcely less hideous bodies. Nor
+is it the pattern as decorative design, which is of great beauty indeed,
+but not at all in proportion to the spell exerted upon us. Least of all
+is it--for most of us--an interest in the technique or history of
+engraving. No, the pleasure we take in these savagely battling forms
+arises from their power to directly communicate life, to immensely
+heighten our sense of vitality. Look at the combatant prostrate on the
+ground and his assailant bending over, each intent on stabbing the
+other. See how the prostrate man plants his foot on the thigh of his
+enemy, and note the tremendous energy he exerts to keep off the foe,
+who, turning as upon a pivot, with his grip on the other's head, exerts
+no less force to keep the advantage gained. The significance of all
+these muscular strains and pressures is so rendered that we cannot help
+realising them; we imagine ourselves imitating all the movements, and
+exerting the force required for them--and all without the least effort
+on our side. If all this without moving a muscle, what should we feel if
+we too had exerted ourselves! And thus while under the spell of this
+illusion--this hyperaesthesia not bought with drugs, and not paid for
+with cheques drawn on our vitality--we feel as if the elixir of life,
+not our own sluggish blood, were coursing through our veins.
+
+[Page heading: "HERCULES STRANGLING DAVID"]
+
+Let us look now at an even greater triumph of movement than the Nudes,
+Pollaiuolo's "Hercules Strangling Antaeus." As you realise the suction of
+Hercules' grip on the earth, the swelling of his calves with the pressure
+that falls on them, the violent throwing back of his chest, the stifling
+force of his embrace; as you realise the supreme effort of Antaeus, with
+one hand crushing down upon the head and the other tearing at the arm of
+Hercules, you feel as if a fountain of energy had sprung up under your
+feet and were playing through your veins. I cannot refrain from
+mentioning still another masterpiece, this time not only of movement, but
+of tactile values and personal beauty as well--Pollaiuolo's "David" at
+Berlin. The young warrior has sped his stone, cut off the giant's head,
+and now he strides over it, his graceful, slender figure still vibrating
+with the rapidity of his triumph, expectant, as if fearing the ease of
+it. What lightness, what buoyancy we feel as we realise the movement of
+this wonderful youth!
+
+
+IX.
+
+[Page heading: VERROCCHIO AND LANDSCAPE]
+
+In all that concerns movement, Verrocchio was a learner from Pollaiuolo,
+rather than an initiator, and he probably never attained his master's
+proficiency. We have unfortunately but few terms for comparison, as the
+only paintings which can be with certainty ascribed to Verrocchio are
+not pictures of action. A drawing however like that of his angel, in the
+British Museum, which attempts as much movement as the Hercules by
+Pollaiuolo, in the same collection, is of obviously inferior quality.
+Yet in sculpture, along with works which are valuable as harbingers of
+Leonardo rather than for any intrinsic perfection, he created two such
+masterpieces of movement as the "Child with the Dolphin" in the
+courtyard of the Palazzo Vecchio, and the Colleoni monument at
+Venice--the latter sinning, if at all, by an over-exuberance of
+movement, by a step and swing too suggestive of drums and trumpets. But
+in landscape Verrocchio was a decided innovator. To understand what new
+elements he introduced, we must at this point carry out our
+determination to enquire into the source of our pleasure in landscape
+painting; or rather--to avoid a subject of vast extent for which this is
+not the place--of landscape painting as practised by the Florentines.
+
+[Page heading: LANDSCAPE PAINTING]
+
+Before Verrocchio, his precursors, first Alessio Baldovinetti and then
+Pollaiuolo, had attempted to treat landscape as naturalistically as
+painting would permit. Their ideal was to note it down with absolute
+correctness from a given point of view; their subject almost invariably
+the Valdarno; their achievement, a bird's-eye view of this Tuscan
+paradise. Nor can it be denied that this gives pleasure, but the
+pleasure is only such as is conveyed by tactile values. Instead of
+having the difficulty we should have in nature to distinguish clearly
+points near the horizon's edge, we here see them perfectly and without
+an effort, and in consequence feel great confirmation of capacity for
+life. Now if landscape were, as most people vaguely believe, a pleasure
+coming through the eyes alone, then the Pollaiuolesque treatment could
+be equalled by none that has followed, and surpassed only by Rogier van
+der Weyden, or by the quaint German "Master of the Lyversberg Passion,"
+who makes us see objects miles away with as great a precision and with
+as much intensity of local colour as if we were standing off from them a
+few feet. Were landscape really this, then nothing more inartistic than
+gradation of tint, atmosphere, and _plein air_, all of which help to
+make distant objects less clear, and therefore tend in no way to
+heighten our sense of capacity. But as a matter of fact the pleasure we
+take in actual landscape is only to a limited extent an affair of the
+eye, and to a great extent one of unusually intense well-being. The
+painter's problem, therefore, is not merely to render the tactile values
+of the visible objects, but to convey, more rapidly and unfailingly than
+nature would do, _the consciousness_ of an unusually intense degree of
+well-being. This task--the communication by means purely visual of
+feelings occasioned chiefly by sensations non-visual--is of such
+difficulty that, until recently, successes in the rendering of what is
+peculiar to landscape as an art, and to landscape alone, were accidental
+and sporadic. Only now, in our own days, may painting be said to be
+grappling with this problem seriously; and perhaps we are already at the
+dawn of an art which will have to what has hitherto been called
+landscape, the relation of our music to the music of the Greeks or of
+the Middle Ages.
+
+[Page heading: VERROCCHIO'S LANDSCAPES]
+
+Verrocchio was, among Florentines at least, the first to feel that a
+faithful reproduction of the contours is not landscape, that the
+painting of nature is an art distinct from the painting of the figure.
+He scarcely knew where the difference lay, but felt that light and
+atmosphere play an entirely different part in each, and that in
+landscape these have at least as much importance as tactile values. A
+vision of _plein air_, vague I must grant, seems to have hovered before
+him, and, feeling his powerlessness to cope with it in full effects of
+light such as he attempted in his earlier pictures, he deliberately
+chose the twilight hour, when, in Tuscany, on fine days, the trees stand
+out almost black against a sky of light opalescent grey. To render this
+subduing, soothing effect of the coolness and the dew after the glare
+and dust of the day--the effect so matchlessly given in Gray's
+"Elegy"--seemed to be his first desire as a painter, and in presence of
+his "Annunciation" (in the Uffizi), we feel that he succeeded as only
+one other Tuscan succeeded after him, that other being his own pupil
+Leonardo.
+
+
+X.
+
+[Page heading: GENRE ARTISTS]
+
+It is a temptation to hasten on from Pollaiuolo and Verrocchio to
+Botticelli and Leonardo, to men of genius as artists reappearing again
+after two generations, men who accomplished with scarcely an effort what
+their precursors had been toiling after. But from these it would be even
+more difficult than at present to turn back to painters of scarcely any
+rank among the world's great artists, and of scarcely any importance as
+links in a chain of evolution, but not to be passed by, partly because
+of certain qualities they do possess, and partly because their names
+would be missed in an account, even so brief as this, of Florentine
+painting. The men I chiefly refer to, one most active toward the middle
+and the other toward the end of the fifteenth century, are Benozzo
+Gozzoli and Domenico Ghirlandaio. Although they have been rarely coupled
+together, they have much in common. Both were, as artists, little more
+than mediocrities with almost no genuine feeling for what makes painting
+a great art. The real attractiveness of both lies entirely outside the
+sphere of pure art, in the realms of _genre_ illustration. And here the
+likeness between them ends; within their common ground they differed
+widely.
+
+[Page heading: BENOZZO GOZZOLI]
+
+Benozzo was gifted with a rare facility not only of execution but of
+invention, with a spontaneity, a freshness, a liveliness in telling a
+story that wake the child in us, and the lover of the fairy tale. Later
+in life, his more precious gifts deserted him, but who wants to resist
+the fascination of his early works, painted, as they seem, by a Fra
+Angelico who had forgotten heaven and become enamoured of the earth and
+the spring-time? In his Riccardi Palace frescoes, he has sunk already to
+portraying the Florentine apprentice's dream of a holiday in the country
+on St. John's Day; but what a _naif_ ideal of luxury and splendour it
+is! With these, the glamour in which he saw the world began to fade away
+from him, and in his Pisan frescoes we have, it is true, many a quaint
+bit of _genre_ (superior to Teniers only because of superior
+associations), but never again the fairy tale. And as the better
+recedes, it is replaced by the worse, by the bane of all _genre_
+painting, non-significant detail, and positive bad taste. Have London
+or New York or Berlin worse to show us than the jumble of buildings in
+his ideal of a great city, his picture of Babylon? It may be said he
+here continues mediaeval tradition, which is quite true, but this very
+fact indicates his real place, which, in spite of his adopting so many
+of the fifteenth-century improvements, is not with the artists of the
+Renaissance, but with the story-tellers and costumed fairy-tale painters
+of the transition, with Spinello Aretino and Gentile da Fabriano, for
+instance. And yet, once in a while, he renders a head with such
+character, or a movement with such ease that we wonder whether he had
+not in him, after all, the making of a real artist.
+
+[Page heading: GHIRLANDAIO]
+
+Ghirlandaio was born to far more science and cunning in painting than
+was current in Benozzo's early years, and all that industry, all that
+love of his occupation, all that talent even, can do for a man, they did
+for him; but unfortunately he had not a spark of genius. He appreciated
+Masaccio's tactile values, Pollaiuolo's movement, Verrocchio's effects
+of light, and succeeded in so sugaring down what he adopted from these
+great masters that the superior philistine of Florence could say: "There
+now is a man who knows as much as any of the great men, but can give me
+something that I can really enjoy!" Bright colour, pretty faces, good
+likenesses, and the obvious everywhere--attractive and delightful, it
+must be granted, but, except in certain single figures, never
+significant. Let us glance a moment at his famous frescoes in Santa
+Maria Novella. To begin with, they are so undecorative that, in spite of
+the tone and surface imparted to them by four centuries, they still
+suggest so many _tableaux vivants_ pushed into the wall side by side,
+and in tiers. Then the compositions are as overfilled as the sheets of
+an illustrated newspaper--witness the "Massacre of the Innocents," a
+scene of such magnificent artistic possibilities. Finally, irrelevant
+episodes and irrelevant groups of portraits do what they can to distract
+our attention from all higher significance. Look at the "Birth of John";
+Ginevra dei Benci stands there, in the very foreground, staring out at
+you as stiff as if she had a photographer's iron behind her head. An
+even larger group of Florentine housewives in all their finery
+disfigures the "Birth of the Virgin," which is further spoiled by a _bas
+relief_ to show off the painter's acquaintance with the antique, and by
+the figure of the serving maid who pours out water, with the rush of a
+whirlwind in her skirts--this to show off skill in the rendering of
+movement. Yet elsewhere, as in his "Epiphany" in the Uffizi, Ghirlandaio
+has undeniable charm, and occasionally in portraits his talent, here at
+its highest, rises above mediocrity, in one instance, the fresco of
+Sassetti in Santa Trinita, becoming almost genius.
+
+
+XI.
+
+[Page heading: LEONARDO]
+
+All that Giotto and Masaccio had attained in the rendering of tactile
+values, all that Fra Angelico or Filippo had achieved in expression, all
+that Pollaiuolo had accomplished in movement, or Verrocchio in light and
+shade, Leonardo, without the faintest trace of that tentativeness, that
+painfulness of effort which characterised his immediate precursors,
+equalled or surpassed. Outside Velasquez, and perhaps, when at their
+best, Rembrandt and Degas, we shall seek in vain for tactile values so
+stimulating and so convincing as those of his "Mona Lisa"; outside
+Degas, we shall not find such supreme mastery over the art of movement
+as in the unfinished "Epiphany" in the Uffizi; and if Leonardo has been
+left far behind as a painter of light, no one has succeeded in conveying
+by means of light and shade a more penetrating feeling of mystery and
+awe than he in his "Virgin of the Rocks." Add to all this, a feeling for
+beauty and significance that have scarcely ever been approached. Where
+again youth so poignantly attractive, manhood so potently virile, old
+age so dignified and possessed of the world's secrets! Who like Leonardo
+has depicted the mother's happiness in her child and the child's joy in
+being alive; who like Leonardo has portrayed the timidity, the newness
+to experience, the delicacy and refinement of maidenhood; or the
+enchantress intuitions, the inexhaustible fascination of the woman in
+her years of mastery? Look at his many sketches for Madonnas, look at
+his profile drawing of Isabella d'Este, or at the _Belle Joconde_, and
+see whether elsewhere you find their equals. Leonardo is the one artist
+of whom it may be said with perfect literalness: Nothing that he touched
+but turned into a thing of eternal beauty. Whether it be the
+cross-section of a skull, the structure of a weed, or a study of
+muscles, he, with his feeling for line and for light and shade, forever
+transmuted it into life-communicating values; and all without intention,
+for most of these magical sketches were dashed off to illustrate purely
+scientific matter, which alone absorbed his mind at the moment.
+
+And just as his art is life-communicating as is that of scarcely
+another, so the contemplation of his personality is life-enhancing as
+that of scarcely any other man. Think that great though he was as a
+painter, he was no less renowned as a sculptor and architect, musician
+and improviser, and that all artistic occupations whatsoever were in his
+career but moments snatched from the pursuit of theoretical and
+practical knowledge. It would seem as if there were scarcely a field of
+modern science but he either foresaw it in vision, or clearly
+anticipated it, scarcely a realm of fruitful speculation of which he
+was not a freeman; and as if there were hardly a form of human energy
+which he did not manifest. And all that he demanded of life was the
+chance to be useful! Surely, such a man brings us the gladdest of all
+tidings--the wonderful possibilities of the human family, of whose
+chances we all partake.
+
+Painting, then, was to Leonardo so little of a preoccupation that we
+must regard it as merely a mode of expression used at moments by a man
+of universal genius, who recurred to it only when he had no more
+absorbing occupation, and only when it could express what nothing else
+could, the highest spiritual through the highest material significance.
+And great though his mastery over his craft, his feeling for
+significance was so much greater that it caused him to linger long over
+his pictures, labouring to render the significance he felt but which his
+hand could not reproduce, so that he rarely finished them. We thus have
+lost in quantity, but have we lost in quality? Could a mere painter, or
+even a mere artist, have seen and felt as Leonardo? We may well doubt.
+We are too apt to regard a universal genius as a number of ordinary
+brains somehow conjoined in one skull, and not always on the most
+neighbourly terms. We forget that genius means mental energy, and that a
+Leonardo, for the self-same reason that prevents his being merely a
+painter--the fact that it does not exhaust a hundredth part of his
+energy--will, when he does turn to painting, bring to bear a power of
+seeing, feeling, and rendering, as utterly above that of the ordinary
+painter as the "Mona Lisa" is above, let us say, Andrea del Sarto's
+"Portrait of his Wife." No, let us not join in the reproaches made to
+Leonardo for having painted so little; because he had much more to do
+than to paint, he has left all of us heirs to one or two of the
+supremest works of art ever created.
+
+
+XII.
+
+[Page heading: BOTTICELLI]
+
+Never pretty, scarcely ever charming or even attractive; rarely correct
+in drawing, and seldom satisfactory in colour; in types, ill-favoured;
+in feeling acutely intense and even dolorous--what is it then that makes
+Sandro Botticelli so irresistible that nowadays we may have no
+alternative but to worship or abhor him? The secret is this, that in
+European painting there has never again been an artist so indifferent to
+representation and so intent upon presentation. Educated in a period of
+triumphant naturalism, he plunged at first into mere representation with
+almost self-obliterating earnestness; the pupil of Fra Filippo, he was
+trained to a love of spiritual _genre_; himself gifted with strong
+instincts for the significant, he was able to create such a type of the
+thinker as in his fresco of St. Augustin; yet in his best years he left
+everything, even spiritual significance, behind him, and abandoned
+himself to the presentation of those qualities alone which in a picture
+are _directly_ life-communicating, and life-enhancing. Those of us who
+care for nothing in the work of art but what it represents, are either
+powerfully attracted or repelled by his unhackneyed types and quivering
+feeling; but if we are such as have an imagination of touch and of
+movement that it is easy to stimulate, we feel a pleasure in Botticelli
+that few, if any, other artists can give us. Long after we have
+exhausted both the intensest sympathies and the most violent
+antipathies with which the representative elements in his pictures may
+have inspired us, we are only on the verge of fully appreciating his
+real genius. This in its happiest moments is an unparalleled power of
+perfectly combining values of touch with values of movement.
+
+Look, for instance, at Botticelli's "Venus Rising from the Sea."
+Throughout, the tactile imagination is roused to a keen activity, by
+itself almost as life heightening as music. But the power of music is
+even surpassed where, as in the goddess' mane-like tresses of hair
+fluttering to the wind, not in disorderly rout but in masses yielding
+only after resistance, the movement is directly life-communicating. The
+entire picture presents us with the quintessence of all that is
+pleasurable to our imagination of touch and of movement. How we revel in
+the force and freshness of the wind, in the life of the wave! And such
+an appeal he always makes. His subject may be fanciful, as in the "Realm
+of Venus" (the "Spring"); religious, as in the Sixtine Chapel frescoes
+or in the "Coronation of the Virgin"; political, as in the recently
+discovered "Pallas Taming a Centaur"; or even crudely allegorical, as in
+the Louvre frescoes,--no matter how unpropitious, how abstract the idea,
+the vivid appeal to our tactile sense, the life-communicating movement
+is always there. Indeed, at times it seems that the less artistic the
+theme, the more artistic the fulfilment, the painter being impelled to
+give the utmost values of touch and movement to just those figures which
+are liable to be read off as mere empty symbols. Thus, on the figure
+representing political disorder--the Centaur--in the "Pallas,"
+Botticelli has lavished his most intimate gifts. He constructs the torso
+and flanks in such a way that every line, every indentation, every boss
+appeals so vividly to the sense of touch that our fingers feel as if
+they had everywhere been in contact with his body, while his face gives
+to a still heightened degree this convincing sense of reality, every
+line functioning perfectly for the osseous structure of brow, nose, and
+cheeks. As to the hair--imagine shapes having the supreme life of line
+you may see in the contours of licking flames, and yet possessed of all
+the plasticity of something which caresses the hand that models it to
+its own desire!
+
+[Page heading: LINEAL DECORATION]
+
+In fact, the mere subject, and even representation in general, was so
+indifferent to Botticelli, that he appears almost as if haunted by the
+idea of communicating the _unembodied_ values of touch and movement. Now
+there is a way of rendering even tactile values with almost no body, and
+that is by translating them as faithfully as may be into values of
+movement. For instance:--we want to render the roundness of a wrist
+without the slightest touch of either light or shade; we simply give the
+movement of the wrist's outline and the movement of the drapery as it
+falls over it, and the roundness is communicated to us almost entirely
+in terms of movement. But let us go one step further. Take this line
+that renders the roundness of the wrist, or a more obvious example, the
+lines that render the movements of the tossing hair, the fluttering
+draperies, and the dancing waves in the "Birth of Venus"--take these
+lines alone with all their power of stimulating our imagination of
+movement, and what do we have? Pure values of movement abstracted,
+unconnected with any representation whatever. This kind of line, then,
+being the quintessence of movement, has, like the essential elements in
+all the arts, a power of stimulating our imagination and of directly
+communicating life. Well! imagine an art made up entirely of these
+quintessences of movement-values, and you will have something that holds
+the same relation to representation that music holds to speech--and this
+art exists, and is called lineal decoration. In this art of arts Sandro
+Botticelli may have had rivals in Japan and elsewhere in the East, but
+in Europe never. To its demands he was ready to sacrifice everything
+that habits acquired under Filippo and Pollaiuolo,--and his
+employers!--would permit. The representative element was for him a mere
+_libretto_: he was happiest when his subject lent itself to translation
+into what may be called a lineal symphony. And to this symphony
+everything was made to yield; tactile values were translated into values
+of movement, and, for the same reason--to prevent the drawing of the eye
+inward, to permit it to devote itself to the rhythm of the line--the
+backgrounds were either entirely suppressed or kept as simple as
+possible. Colour also, with almost a contempt for its representative
+function, Botticelli entirely subordinated to his lineal scheme,
+compelling it to draw attention to the line, rather than, as is usual,
+away from it.
+
+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.
+
+
+MASOLINO.
+
+1384-after 1435.
+
+Bremen.
+    KUNSTHALLE, 164. Madonna. 1423.
+Castiglione d'Olona.
+    CHURCH. Frescoes: Life of Virgin.
+    BAPTISTERY. Frescoes: Life of Baptist.
+    PALAZZO CASTIGLIONE. Frescoes: A Landscape and Friezes.
+Empoli.
+    DUOMO, BAPTISTERY. Fresco: _Pieta_.
+    S. STEFANO. Fresco in an Arch: Madonna and Angels. Probably 1424.
+Florence.
+    CARMINE, BRANCACCI CHAPEL. Frescoes: Preaching of St. Peter;
+        Raising of Tabitha and Healing of Cripple; Fall of Adam and Eve.
+Munich.
+    1019. Madonna and Angels.
+Naples.
+    Christ receiving Virgin in Paradise.
+    Founding of S. Maria Maggiore.
+Rome.
+    VATICAN, MUSEO CRISTIANO, CASE P, V. _Predella_: Dormition (?).
+      CASE R, II. Crucifixion (in part?).
+    S. CLEMENTE. Frescoes: Episodes from Lives of SS. Ambrose and
+        Catherine of Alexandria; Crucifixion (some of these frescoes are
+        completely repainted).
+Scotland.
+    GOSFORD HOUSE, EARL OF WEMYSS. Annunciation.
+Todi.
+    S. FORTUNATO, FOURTH CHAPEL R. Fresco: Madonna with two Angels.
+
+
+MICHELANGELO BUONARROTI.
+
+1475-1564. Pupil of Ghirlandaio; influenced by the works of Jacopo della
+    Quercia, Donatello, and Signorelli.
+
+Florence.
+    UFFIZI, 1139. _Tondo_: Holy Family.
+London.
+    790. Deposition (unfinished).
+Rome.
+    VATICAN, SIXTINE CHAPEL. Frescoes: On Ceiling, 1508-1512. W. WALL.
+        Last Judgment. 1534-1541.
+      CAPPELLA PAOLINA. Frescoes: Conversion of Paul; Martyrdom of St.
+          Peter. L.
+
+SCULPTURE.
+
+Berlin.
+    Small Marble Apollo.
+Bologna.
+    S. DOMENICO. S. Petronio; An Angel (for Ark of St. Dominic). 1494.
+Bruges.
+    NOTRE DAME. Madonna. Finished before August, 1506.
+Florence.
+    ACADEMY. David. 1504. Life size model of reclining Male Figure.
+      COURT. St. Matthew. 1504.
+    BARGELLO. Bacchus. E. Bust of Brutus. _Tondo_, Relief: Madonna.
+        Apollo.
+      COURT. Victory.
+    BOBOLI GARDENS, GROTTO. Four unfinished Figures.
+    CASA BUONARROTI. Reliefs: Centaurs and Lapithae. E. Madonna. E.
+    DUOMO, BEHIND HIGH ALTAR. _Pieta_. L.
+    S. LORENZO, NEW SACRISTY. Madonna; Tombs of Lorenzo dei Medici,
+        Duke of Urbino, and Giuliano, Duke of Nemours. Left unfinished
+        1534.
+London.
+    BURLINGTON HOUSE, DIPLOMA GALLERY. _Tondo_, Relief: Madonna.
+    VICTORIA AND ALBERT MUSEUM. Cupid.
+    BEIT COLLECTION. Young Athlete (bronze).
+Milan.
+    PRINCE TRIVULZIO. Small Slave (bronze).
+Paris.
+    ROOM OF RENAISSANCE SCULPTURE. Two Slaves.
+Rome.
+    PALAZZO RONDANINI. _Pieta_ (unfinished). L.
+    S. MARIA SOPRA MINERVA. Christ with Cross. Finished 1521.
+    ST. PETER'S. _Pieta_. 1499.
+    S. PIETRO IN VINCOLI. Moses, Rachel, and Leah.
+St. Petersburg.
+    Crouching Boy.
+
+
+MONACO see LORENZO.
+
+
+ANDREA ORCAGNA AND HIS BROTHERS.
+
+Andrea, 1308(?)-1368. Pupil of Andrea Pisano; follower of Giotto;
+    influenced by Ambrogio Lorenzetti of Siena.
+
+Of the brothers, Nardo, who died in 1365, was scarcely his inferior.
+
+The only painting certainly from Andrea's hand is the altarpiece at S.
+    Maria Novella. The frescoes in the same church are probably by
+    Nardo.
+
+Budapest.
+    50. Madonna and Angels.
+Florence.
+    ACADEMY, 14. Vision of St. Bernard and Saints.
+    40. Trinity with Evangelist and St. Romuald. 1365.
+    UFFIZI, 10. St. Bartholomew and Angel (?). E.
+    29. Coronation of the Virgin.
+      THIRD TUSCAN ROOM. 20. St. Matthew Triptych. Begun in 1367.
+    MR. B. BERENSON. St. Benedict receiving a Novice.
+    BADIA, CAPPELLA BONSI. Descent of Holy Spirit.
+    S. CROCE, SACRISTY. Madonna with SS. Gregory and Job. 1365.
+    S. MARIA NOVELLA, L. TRANSEPT. Altarpiece. 1357. Frescoes:
+        Paradise; Last Judgment; Hell.
+      CLOISTER. Frescoes: Annunciation to Joachim and Anne; Meeting of
+          Same; Birth of Virgin; Presentation of Virgin in Temple; Full
+          length figures of Saints.
+    CERTOSA (near Florence), CHAPEL. Madonna.
+London.
+    569-578. Coronation and Saints, with nine smaller panels
+        representing the Trinity, Angels, and Gospel Scenes.
+New Haven (U. S. A.).
+    JARVES COLLECTION, 25. Baptist.
+    26. St. Peter.
+Palermo.
+    BARON CHIARAMONTE-BORDONARO. Madonna.
+
+SCULPTURE (by Andrea).
+
+Berlin.
+    VON KAUFMANN COLLECTION. Head of female Saint.
+Florence.
+    BARGELLO. 139. Angel playing Viol.
+    OR SAN MICHELE. Tabernacle. Finished 1359.
+
+
+FRANCESCO PESELLINO.
+
+1422-1457. Pupil possibly of his grandfather, Giuliano Pesello; follower
+    of Fra Angelico, Masaccio and Domenico Veneziano, but chiefly of Fra
+    Filippo Lippi.
+
+Altenburg.
+    LINDENAU MUSEUM, 96. SS. Jerome and Francis.
+Bergamo.
+    MORELLI, 9. Florentine arraigned before a Judge.
+    11. Story of Griselda.
+Berlin.
+    Small Crucifixion.
+Boston (U. S. A.).
+    MRS. J. L. GARDNER. Two _Cassone_ panels: Triumphs of Petrarch.
+Chantilly.
+    MUSEE CONDE, 11. Madonna and Saints.
+    12. Adoration of Magi. (?).
+Empoli.
+    OPERA DEL DUOMO, 24. Madonna and Saints.
+Florence.
+    ACADEMY, 72. _Predelle_: Nativity; Martyrdom of SS. Cosmas and
+        Damian; Miracle of St. Antony of Padua.
+Gloucester.
+    HIGHNAM COURT, SIR HUBERT PARRY, 95. Annunciation.
+London.
+    COL. G. L. HOLFORD, DORCHESTER HOUSE. Madonna and Saints.
+Milan.
+    POLDI-PEZZOLI, 436. Annunciation (early XVI century copy).
+    587. _Pieta_.
+Paris.
+    1414. _Predelle_: Miracle of SS. Cosmas and Damian; St. Francis
+        receiving the Stigmata.
+Rome.
+    PRINCE DORIA. _Predelle_: Pope Sylvester before Constantine; Pope
+        Sylvester subduing Dragon.
+Wantage.
+    LOCKINGE HOUSE, LADY WANTAGE. Two _Cassone_ panels: Story of David.
+
+
+PIER DI COSIMO.
+
+1462-1521. Pupil of Cosimo Rosselli; influenced by Verrocchio,
+    Signorelli, Filippino, Leonardo, and Credi.
+
+Berlin.
+    107. Venus, Cupid, and Mars.
+    204. Adoration of Shepherds.
+    VON KAUFMANN COLLECTION. Prometheus Myth (Cf. Strasburg).
+Borgo San Lorenzo (Mugello).
+    CHIESA DEL CROCIFISSO. Madonna with St. Thomas and Baptist.
+Chantilly.
+    MUSEE CONDE, 13. "La Bella Simonetta."
+Dresden.
+    20. Holy Family and Angels.
+Dulwich.
+    Head of Young Man.
+Fiesole.
+    S. FRANCESCO. Coronation of Virgin (in part). L.
+Florence.
+    PITTI, 370. Head of a Saint.
+    UFFIZI. Immaculate Conception.
+    82, 83, 84. Story of Perseus and Andromeda.
+    1312. Rescue of Andromeda.
+    3414. Portrait of "Caterina Sforza" (?).
+      MAGAZINE. _Tondo_: Madonna with infant John. L.
+    INNOCENTI, GALLERY. Holy Family and Saints.
+    S. LORENZO, R. TRANSEPT. Madonna and Saints adoring Child.
+Glasgow.
+    MR. WILLIAM BEATTIE. _Tondo_: Madonna with the two Holy Children
+        embracing.
+The Hague.
+    254, 255. Giuliano di Sangallo and his Father.
+Harrow-on-the-Hill.
+    REV. J. STOGDON. Large Nativity with three Saints and three Donors
+        (?). E. _Tondo_: Madonna and Angels.
+London.
+    698. Death of Procris.
+    895. Portrait of Man in Armour.
+    HERTFORD HOUSE. Triumph of Venus (?).
+    MR. ROBERT BENSON. Hylas and the Nymphs. E. Portrait of Clarissa
+        Orsini (?).
+    EARL OF PLYMOUTH. Head of Young Man.
+    MR. CHARLES RICKETTS. Combat of Centaurs and Lapithae (Cf. New
+        York).
+    MR. A. E. STREET. _Tondo_: Madonna adoring Child.
+Lyons.
+    M. EDOUARD AYNARD. _Tondo_: Madonna with Lamb.
+Milan.
+    BORROMEO. Madonna. L.
+    PRINCE TRIVULZIO. Madonna and Angels. L.
+New Haven (U. S. A.).
+    JARVES COLLECTION, 68. Lady holding Rabbit.
+Newlands Manor (Hampshire).
+    COL. CORNWALLIS WEST. Visitation.
+New York.
+    METROPOLITAN MUSEUM. The Hunt. Return from the Hunt (Cf. Mr.
+        Ricketts, London).
+Oxford.
+    CHRIST CHURCH LIBRARY, 2. _Tondo_: _Pieta_. L.
+Paris.
+    1274. The Young Baptist.
+    1416. Coronation of Virgin. L.
+    1662. Madonna.
+Philadelphia.
+    MR. JOHN G. JOHNSON. Bust of Physician. Portrait of Man. 1512.
+        Madonna (fragment).
+Rome.
+    BORGHESE. 329. Judgment of Solomon.
+    335. Holy Family L. (?).
+    343. _Tondo_: Madonna and Angels adoring Child.
+    CORSINI. Magdalen. _Pieta_.
+    VATICAN, SIXTINE CHAPEL. Fresco: Destruction of Pharaoh. 1482.
+Scotland. (Glasgow, Cf. Glasgow).
+    CAWDER HOUSE (BISHOPBRIGGS, NEAR GLASGOW), CAPT. ARCHIBALD
+        STIRLING. Madonna and infant John.
+    GOSFORD HOUSE, EARL OF WEMYSS. Bust of Man.
+    NEWBATTLE ABBEY (DALKEITH), MARQUESS OF LOTHIAN. Mythological
+        Scene.
+Siena.
+    MONASTERO DEL SANTUCCIO, ALTAR L. Nativity.
+Stockholm.
+    ROYAL GALLERY. Madonna.
+Strasburg.
+    UNIVERSITY GALLERY, 216A. Madonna.
+    216B. Prometheus Myth (Cf. Von Kaufmann Collection, Berlin).
+Vienna.
+    HARRACH COLLECTION, 136. Holy Family and Angels. L.
+    PRINCE LIECHTENSTEIN. Madonna and infant John. L. _Tondo_:
+        Landscape with Water, etc.
+Worksop (Nottinghamshire).
+    CLUMBER PARK, DUKE OF NEWCASTLE. Altarpiece with _Predelle_:
+        Madonna with St. Peter and Baptist and kneeling Ecclesiastic.
+
+
+PIER FRANCESCO FIORENTINO.
+
+Known to have been active during the last three decades of the fifteenth
+    century. Pupil possibly of Fra Angelico or Benozzo Gozzoli;
+    influenced by Neri di Bicci; eclectic imitator of Alesso
+    Baldovinetti, Fra Filippo, and Pesellino. Some of the best of the
+    following are copies of the two last and of Compagno di Pesellino.
+
+Altenburg.
+    LINDENAU MUSEUM, 97. Madonna with infant John.
+Bergamo.
+    MORELLI, 36. SS. Jerome and Francis (version of Pesellino at
+        Altenburg).
+Berlin.
+    71A. Madonna against Rose-hedge (version of M. Aynard's Compagno di
+        Pesellino).
+Brussels.
+    Madonna.
+Budapest.
+    55. Madonna and infant John.
+Cambridge (U. S. A.).
+    FOGG MUSEUM. Madonna.
+Castelnuovo di Val d'Elsa.
+    S. BARBARA, HIGH ALTAR. Madonna and Saints surrounded by Frescoes.
+      FIRST ALTAR R. Madonna and Saints.
+Certaldo.
+    PALAZZO DEI PRIORI, LOWER FLOOR. Fresco: _Pieta_. 1484. Fresco:
+        Incredulity of Thomas.
+      UPPER FLOOR. Fresco: Madonna. 1495.
+    CAPPELLA DEL PONTE D'AGLIENA. Frescoes: Tobias and Angel. St.
+        Jerome.
+Cleveland (U. S. A.).
+    HOLDEN COLLECTION, 8. Madonna adoring Child.
+Colle di Val d'Elsa.
+    PALAZZO ANTICO DEL COMUNE. Altarpiece: Madonna and four Saints,
+        _Predelle_, etc. Madonna with SS. Bernardino, Antony Abbot,
+        Magdalen, and Catherine.
+    VIA GOZZINA. Tabernacle, Fresco: Madonna and two Bishops.
+    VIA S. LUCIA. Frescoes in Tabernacle: Annunciation and various
+        fragments.
+Detroit (U. S. A.).
+    4. Madonna adoring Child.
+Dijon.
+    DONATION JULES MACIET. Madonna and infant John.
+Eastnor Castle (Ledbury).
+    LADY HENRY SOMERSET. Madonna against Rose-hedge (version of M.
+        Aynard's Compagno di Pesellino at Lyons).
+Empoli.
+    OPERA DEL DUOMO, 22. Madonna and four Saints.
+    30. Madonna.
+Englewood (New Jersey, U. S. A.).
+    MR. D. F. PLATT. Madonna with Angel and infant John.
+Florence.
+    UFFIZI, 61. Madonna and Angels (copied from Compagno di Pesellino
+        formerly in Hainauer Collection, Berlin).
+    BARGELLO, CARRAND COLLECTION, 15. Madonna with infant John.
+    CENACOLO DI S. APPOLONIA. Nativity.
+    MR. EDMUND HOUGHTON. Madonna adoring Child.
+    CONTE SERRISTORI. Madonna.
+    S. FRANCESCO DELLE STIMATE. Madonna.
+    S. GIOVANNINO DEI CAVALIERI, SACRISTY. Madonna.
+Frankfort a./M.
+    STAeDELINSTITUT, 10. Madonna and Angels.
+Frome (Somerset).
+    MELLS PARK, LADY HORNER. Madonna, Saints, and Angels.
+Gloucester.
+    HIGHNAM COURT, SIR HUBERT PARRY. 48. Madonna with infant John (Cf.
+        Herr Brachts' Compagno di Pesellino, Berlin).
+    56. Madonna, with two Angels.
+Goettingen.
+    UNIVERSITY GALLERY, 226. Copy of Fra Filippo's Annunciation (in the
+        Doria Gallery, Rome).
+Gubbio.
+    PINACOTECA, 49. Madonna and infant John.
+Hamburg.
+    WEBER COLLECTION, 22. Madonna and St. Catherine against Rose-hedge.
+Harrow-on-the-Hill.
+    REV. J. STOGDON. Madonna and infant John (after Fra Filippo).
+Hatfield.
+    WARREN WOOD, MR. CHARLES BUTLER. Two Madonnas.
+Le Mans.
+    MUSEE, 407. Madonna.
+Lille.
+    MUSEE, 21. Madonna and Angel.
+    929. Procris and Cephalus (?).
+    930. Scene in Temple (?).
+Liverpool.
+    WALKER ART GALLERY, 19. Head of Woman (possibly copy of lost
+        portrait of Lucrezia Buti by Fra Filippo).
+    23. Madonna and Angels.
+London.
+    1199. Madonna, infant John, and Angels.
+    VICTORIA AND ALBERT MUSEUM. Fresco: Baptist and St. Dorothy.
+      IONIDES BEQUEST. Madonna (version of M. Aynard's Compagno di
+          Pesellino at Lyons).
+    MR. CHARLES BUTLER. Madonna.
+    MR. WILLIAM E. GREY. Madonna and infant John (after Fra Filippo).
+    MRS. LOUISA HERBERT. Madonna in Landscape.
+    LADY HORNER. Nativity.
+Montefortino (near Amandola, Marches).
+    MUNICIPIO. Madonna with Tobias and two Archangels. 1497.
+Narbonne.
+    MUSEE, 243. _Tondo_: Madonna and Angels adoring Child.
+New Haven (U. S. A.).
+    JARVES COLLECTION. 61. Madonna; St. Catherine, and Angels (perhaps
+        after a lost Filippo).
+Palermo.
+    BARON CHIARAMONTE BORDONARO, 54. Madonna and Angels.
+Parcieux (near Trevoux).
+    LA GRANGE BLANCHE, M. HENRI CHALANDON. Madonna and two Angels.
+Paris.
+    MME. EDOUARD ANDRE. Madonna with Baptist and Angels. Painted Flower
+        background to Desideriesque gesso relief of Madonna.
+    M. LEON BONNAT. Madonna and Angels.
+    M. HENRI HEUGEL. Madonna and infant John (after Fra Filippo).
+Pavia.
+    GALLERIA MALASPINA, 25. Madonna with SS. Catherine and Antony
+        Abbot.
+Perugia.
+    MARCHESE MENICONI BRACCESCHI. Madonna and infant John (after Fra
+        Filippo).
+Philadelphia.
+    MR. JOHN G. JOHNSON. Madonna with two Angels. Madonna against
+        Rose-hedge (version of M. Aynard's Compagno di Pesellino at
+        Lyons).
+    ELKINS PARK, MR. PETER WIDENER. Madonna against Rose-hedge (version
+        of M. Aynard's Compagno di Pesellino at Lyons).
+Richmond (Surrey).
+    SIR FREDERICK COOK. Madonna.
+San Gemignano.
+    MUNICIPIO, PINACOTECA. Madonna between two kneeling Saints. 1477.
+      SALA DEL GIUDICE CONCILIATORE. Fresco: Trinity and small scenes
+          from sacred Legends. 1497.
+      TOWER. Fresco: Madonna.
+    S. AGOSTINO, FIRST ALTAR R. Madonna and Saints. 1494.
+    COLLEGIATA, NAVE. Monochrome Frescoes: Ten Disciples in medallions,
+        and two smaller Busts; decoration of _Putti_ and Garlands.
+        1474-1475.
+      OVER TRIUMPHAL ARCH. Fresco: Dead Christ. 1474-1475.
+      L. AISLE, SPANDRILS OF ARCHES. Frescoes: Abraham and six
+          Prophets.
+      L. WALL. Fresco: Adam and Eve driven forth from Paradise
+          (original fresco of Taddeo di Bartolo restored by Pier
+          Francesco).
+      CLOISTER. Fresco: Dead Christ. 1477.
+    S. JACOPO, PILLAR R. Fresco: St. James.
+    S. LUCIA, BEHIND HIGH ALTAR. Fresco: Crucifixion. E.
+    CAPPELLA DI MONTE (near San Gemignano). Madonna with SS. Antony
+        Abbot and Bartholomew. 1490.
+    S. MARIA ASSUNTA A PANCOLE (near San Gemignano). Madonna.
+    PIEVE DI ULIGNANO (near San Gemignano). Madonna with SS. Stephen
+        and Bartholomew.
+Siena.
+    149-152. Triumphs of Petrarch.
+    209. Nativity.
+Sinalunga (Val di Chiana).
+    S. MARTINO, SACRISTY. _Tondo_: Madonna and infant John.
+Todi.
+    PINACOTECA. Madonna.
+Vienna.
+    FANITEUM (UeBER ST. VEIT). Fresco: Madonna with Bishop and St.
+        Christina. 1485.
+    COUNT LANCKORONSKI. Madonna against Rose-hedge.
+Volterra.
+    MUNICIPIO. Fresco: Crucifixion.
+    ORATORIO DI S. ANTONIO. Nativity.
+
+
+THE POLLAJUOLI.
+
+Antonio. 1429-1498. Pupil of Donatello and Andrea del Castagno; strongly
+    influenced by Baldovinetti. Sculptor as well as painter.
+
+Piero. 1443-1496. Pupil of Baldovinetti; worked mainly on his brother's
+    designs. (Where the execution can be clearly distinguished as of
+    either of the brothers separately, the fact is indicated).
+
+Berlin.
+    73. Annunciation (Piero).
+    73A. David (Antonio).
+Boston (U. S. A.).
+    MRS. J. L. GARDNER. Profile of Lady (Antonio).
+Florence.
+    UFFIZI, 30. Portrait of Galeazzo Sforza.
+    69. Hope.
+    70. Justice.
+    71. Temperance. (The execution of these three was perhaps largely
+        the work of pupils.)
+    72. Faith (Piero).
+    73. Cartoon for "Charity" (on back of picture, the execution of
+        which is studio work). (Antonio). 1469.
+    1153. Hercules and the Hydra; Hercules and Antaeus (Antonio).
+    1301. SS. Eustace, James, and Vincent (Piero). 1467.
+    1306. Prudence (Piero). 1470.
+    3358. Miniature Profile of Lady (Piero).
+    TORRE DI GALLO (ARCETRI). Fresco (discovered in 1897 and since then
+        entirely repainted): Dance of Nudes (Antonio).
+    S. MINIATO, PORTUGUESE CHAPEL. Fresco (around Window): Flying
+        Angels (executed probably 1466). (Antonio).
+    S. NICCOLO. Fresco: Assumption of Virgin (Piero). E.
+London.
+    292. St. Sebastian (Antonio). 1475.
+    928. Apollo and Daphne (Antonio).
+New Haven (U. S. A.).
+    JARVES COLLECTION, 64. Hercules and Nessus (Antonio).
+New York.
+    METROPOLITAN MUSEUM, 85. Fresco; St. Christopher (Piero).
+Paris.
+    1367A. Madonna (Piero) (?).
+San Gemignano.
+    COLLEGIATA, CHOIR. Coronation of Virgin (Piero). 1483.
+Staggia (near Siena).
+    S. MARIA ASSUNTA, R. TRANSEPT. St. Mary of Egypt upborne by Angels
+        (design Antonio, execution Piero).
+Strasburg.
+    212A. Madonna enthroned (Piero).
+Turin.
+    117. Tobias and the Angel.
+
+SCULPTURE, ETC.
+
+Assisi.
+    S. FRANCESCO. Altar-frontal embroidered probably from designs by
+        Piero.
+Florence.
+    BARGELLO. Bust of Young Warrior (Terra-cotta). Hercules and Antaeus
+        (Bronze).
+    OPERA DEL DUOMO. Enamels in Pedestal of Silver Crucifix. Finished
+        1459. Birth of Baptist (Relief in Silver). Twenty-seven Scenes
+        from Life of Baptist (embroideries after Antonio's designs).
+        1466-1473.
+London.
+    VICTORIA AND ALBERT MUSEUM. "Discord" (Relief in Gesso).
+Rome.
+    ST. PETER'S, CHAPEL OF SACRAMENT. Tomb of Sixtus IV (Bronze).
+        Finished 1493.
+      L. AISLE. Tomb of Innocent VIII (Bronze). Finished 1498.
+
+
+PONTORMO (Jacopo Carucci).
+
+1494-1556. Pupil of Andrea del Sarto; influenced by Michelangelo.
+
+Bergamo.
+    MORELLI, 59. Portrait of Baccio Bandinelli.
+Berlin.
+    Portrait of Andrea del Sarto (not exhibited).
+    HERR VON DIRKSEN. Portrait of a Lady seated.
+Borgo San Sepolcro.
+    MUNICIPIO. St. Quentin in the Pillory (in part).
+Carmignano (near Florence).
+    PARISH CHURCH. Visitation.
+Dzikow (Poland).
+    M. ZANISLAS TARNOWSKI. Full face bust of oldish Lady in velvet,
+        lace, and pearls.
+Florence.
+    ACADEMY, 183. _Pieta_. L.
+    190. Christ at Emmaus. 1528.
+    Fresco (behind the Giotto): Hospital of S. Matteo, E.
+    PITTI, 149. Portrait of Man in Armour with Dog (?).
+    182. Martyrdom of forty Saints.
+    233. St. Antony. L.
+    249. Portrait of Man.
+    379. Adoration of Magi.
+    UFFIZI, 1177. Madonna with SS. Francis and Jerome.
+    1187. Martyrdom of S. Maurizio.
+    1198. Birth Plate: Birth of St. John.
+    1220. Portrait of Man.
+    1267. Cosimo del Medici.
+    1270. Cosimo I, Duke of Florence.
+    1284. Venus and Cupid (designed by Michelangelo).
+    COLLEGIO MILITARE, POPE'S CHAPEL. Frescoes. 1513.
+    MUSEO DI S. MARCO, ROOM 38. Portrait of Cosimo dei Medici.
+    PALAZZO CAPPONI, MARCHESE FARINOLA. Madonna and infant John.
+    CORSINI GALLERY, 141. Madonna and infant John.
+    185. Madonna and infant John.
+    SS. ANNUNZIATA, CLOISTER R. Fresco: Visitation. 1516.
+      CAPPELLA DI S. LUCA. Fresco: Madonna and Saints. E.
+    S. FELICITA, CHAPEL R. Altarpiece: Deposition. Frescoes:
+        Annunciation; Medallions of Prophets.
+    S. MICHELE VISDOMINI. Holy Family and Saints. 1518.
+    CERTOSA (near Florence). CLOISTER. Fresco: Christ before Pilate.
+        1523.
+    POGGIO A CAJANO (Royal Villa near Florence). Decorative fresco
+        around window: Vertumnus, Pomona, Diana, and other figures.
+        1521.
+Frankfort a./M.
+    STAeDELINSTITUT, 14A. Portrait of Lady with Dog.
+Genoa.
+    PALAZZO BIANCO. Portrait of Youth.
+    PALAZZO BRIGNOLE-SALE. Man in Red with Sword.
+Hatfield.
+    WARREN WOOD, MR. CHARLES BUTLER. Birth Plate.
+London.
+    1131. Joseph and his Kindred in Egypt. E.
+    MR. LUDWIG MOND. A Conversation.
+    EARL OF PLYMOUTH. Portrait of Youth.
+Lucca.
+    SALA I, 5. Portrait of Youth.
+Milan.
+    PRINCE TRIVULZIO. Portrait of Rinuccini Lady. Portrait of Youth
+        holding Book.
+New Haven (U. S. A.).
+    JARVES COLLECTION, 100. Cosimo dei Medici. L.
+    104. Bust of Lady. L.
+Oldenburg.
+    19. Portrait of Lady.
+Palermo.
+    406. Judith. L.
+Panshanger (Hertford).
+    Portrait of Youth. Two panels with Story of Joseph. E.
+Paris.
+    1240. Holy Family and Saints. 1543.
+    1241. Portrait of Engraver of Precious Stones.
+Pontormo (near Empoli).
+    PARISH CHURCH. SS. John the Evangelist and Michael. E.
+Rome.
+    BARBERINI GALLERY, 83. Pygmalion and Galatea.
+    BORGHESE GALLERY, 75. Lucretia (?).
+    173. Tobias and Angel. L.
+    408. Portrait of Cardinal.
+    CORSINI GALLERY, 577. Bust of Man.
+Scotland.
+    KEIR (DUNBLANE), CAPTAIN ARCHIBALD STIRLING. Portrait of
+        Bartolommeo Compagni.
+    NEWBATTLE ABBEY (DALKEITH), MARQUESS OF LOTHIAN. Portrait of Youth.
+Turin.
+    122. Portrait of Lady.
+Vienna.
+    45. Portrait of Lady. L.
+    48. Portrait of Lady. L.
+    50. Young Man with Letter (?).
+
+
+COSIMO ROSSELLI.
+
+1439-1507. Pupil of Neri di Bicci; influenced by Benozzo Gozzoli and
+    Alesso Baldovinetti.
+
+Agram (Croatia).
+    STROSSMAYER COLLECTION. Madonna and two Angels.
+Amsterdam.
+    DR. OTTO LANZ. Madonna with St. Joseph and two Angels adoring
+        Child.
+Berlin.
+    59. Madonna, Saints, and Angels. L.
+    59A. Glory of St. Anne. 1471.
+    (MAGAZINE.) 71. Entombment.
+Breslau.
+    SCHLESISCHES MUSEUM. 171. Madonna and infant John.
+Cambridge.
+    FITZWILLIAM MUSEUM, 556. Madonna and four Saints. 1493.
+Cologne.
+    518. Madonna, Saints, and Innocents. E.
+Cortona.
+    SIGNOR COLONNESI. Madonna with SS. Jerome and Antony of Padua.
+Duesseldorf.
+    AKADEMIE, 110. Madonna adoring Child (?).
+Eastnor Castle (Ledbury).
+    LADY HENRY SOMERSET. Madonna with SS. Sebastian and Michael.
+Empoli.
+    OPERA DEL DUOMO, 32. Holy Family and infant John.
+Fiesole.
+    DUOMO, SALUTATI CHAPEL. Frescoes: Various Saints.
+Florence.
+    ACADEMY, 52. SS. Barbara, John, and Matthew. E.
+    160. Nativity.
+    275. Moses and Abraham.
+    276. David and Noah.
+    UFFIZI, 50. Coronation of Virgin.
+    59. Madonna adored by two Angels.
+    65. Adoration of Magi. E.
+    65. (From S. M. Nuova). Madonna in Clouds.
+    1280 bis. Madonna, Saints, and Angels. 1492.
+    VIA RICASOLI. Fresco in shrine: Madonna enthroned and two Angels.
+    MR. B. BERENSON. Madonna.
+    CORSINI GALLERY, 339. _Tondo_: Madonna and Angels adoring Child.
+    MME. FINALI, VILLA LANDAU. Preaching of St. Bernardino.
+    SIGNOR ANGELO ORVIETO. Nativity.
+    S. AMBROGIO, THIRD ALTAR L. Assumption and _Predella_. 1498.
+      CHAPEL OF SACRAMENT. Frescoes: Miraculous Chalice, etc. 1486.
+    SS. ANNUNZIATA, L. CLOISTER. Fresco: St. Filippo Benizzi taking
+        Servite Habit. 1476.
+    S. CROCE, CAPPELLA MEDICEA, OVER DOOR. Lunette: God and Cherubim
+        (?)
+    S. MARIA MADDALENA DEI PAZZI. Coronation of Virgin. 1505.
+Genoa.
+    PALAZZO ADORNO. Small Triumphs.
+Lille.
+    667. St. Mary of Egypt.
+Liverpool.
+    WALKER ART GALLERY, 15. St. Lawrence.
+London.
+    1196. Combat of Love and Chastity.
+    MR. CHARLES BUTLER. St. Catherine of Siena instituting her Order.
+        Madonna and Cherubs.
+Lucca.
+    DUOMO, WALL L. OF ENTRANCE. Fresco: Story of True Cross.
+    S FRANCESCO. Frescoes: Presentation of Virgin, etc.
+Milan.
+    CONTE CASATTI. Nativity.
+Muenster i./W.
+    KUNSTVEREIN, 33. Madonna with Gabriel and infant John.
+Paris.
+    1656. Annunciation and Saints. 1471.
+    MUSEE DES ARTS DECORATIFS. LEGS M. PEYRE, 253. Madonna and two
+        Angels.
+    MME. EDOUARD ANDRE. Madonna and Angels adoring Child.
+    M. JOSEPH SPIRIDON. Portrait of Man.
+Philadelphia.
+    MR. JOHN G. JOHNSON. Madonna with Child holding Bird and
+        Pomegranate. E.
+Reigate.
+    THE PRIORY, Mr. Somers Somerset. Small Descent from Cross.
+Rome.
+    VATICAN, SIXTINE CHAPEL. Frescoes: Christ Preaching. Moses
+        destroying the Tables of the Law. Last Supper (but not the
+        scenes visible through painted windows). All 1482.
+    MR. LUDWIG MOND. Madonna and Angel adoring Child.
+Turin.
+    106. Triumph of Chastity.
+
+
+ROSSO FIORENTINO.
+
+1494-1541. Pupil of Andrea del Sarto; influenced by Pontormo and
+    Michelangelo.
+
+Arezzo.
+    SALA II, 6. Christ bearing Cross.
+Borgo San Sepolcro.
+    ORFANELLE. Deposition.
+Citta di Castello.
+    DUOMO. Transfiguration. Finished 1528.
+Dijon.
+    68. Bust of Baptist.
+Florence.
+    PITTI, 113. Three Fates.
+    237. Madonna and Saints.
+    UFFIZI, 1241. Angel playing Guitar. Madonna and four Saints with
+        two _Putti_ reading, 1517.
+    BARGELLO, DELLA ROBBIA ROOM. Fresco: Justice.
+    SS. ANNUNZIATA, R. CLOISTER. Fresco: Assumption.
+    S. LORENZO. _Sposalizio_.
+Frankfort a./M.
+    STAeDELINSTITUT, 14. Madonna.
+Paris.
+    1485. _Pieta_.
+    1486. Challenge of the Pierides.
+Siena.
+    Portrait of Young Man.
+Turin.
+    ARMERIA REALE, F. 3. Designs for Buckler with Wars of Jugurtha and
+        Marius.
+Venice.
+    ACADEMY, 46. Profile bust of Man in red Cloak and Hat.
+Vienna.
+    COUNT LANCKORONSKI. Madonna. E. Two naked _Putti_.
+Volterra.
+    MUNICIPIO. Deposition. 1521.
+
+
+SARTO _see_ ANDREA.
+
+
+JACOPO DEL SELLAJO.
+
+1441 or 2-1493. Pupil of Fra Filippo; influenced slightly by Castagno's
+    works; imitated most of his Florentine contemporaries, especially
+    Botticelli, Ghirlandajo, and Amico di Sandro.
+
+Altenburg.
+    LINDENAU MUSEUM, 99. Adoration of Magi.
+    105. Madonna with Tobias and John.
+    150. St. Jerome.
+Arezzo.
+    SALA II, 9. Madonna against Rose-hedge.
+Bergamo.
+    CARRARA, 167. Bust of Christ holding head of Lance.
+Berlin.
+    94. Meeting of young Christ and Baptist.
+    1055. _Pieta_. 1483.
+    1132, 1133. Death of Julius Caesar.
+    HERR EUGEN SCHWEIZER. Nativity with infant John.
+Bonn.
+    UNIVERSITY GALLERY, 1139. St. Jerome.
+Bordeaux.
+    MUSEE, 48. Ecce Homo.
+Brandenburg a./H.
+    WREDOWSCHE ZEICHNENSCHULE, 65. Adoration.
+Breslau.
+    SCHLESISCHES MUSEUM, 189. St. Jerome.
+Budapest.
+    56. Esther before Ahasuerus.
+    (MAGAZINE) 1221. St. Jerome.
+      1369. St. Jerome.
+Caen.
+    MUSEE, 58. Madonna with infant John and Angel.
+Castiglione Fiorentino.
+    PINACOTECA, 14. Pool of Bethesda.
+Chantilly.
+    MUSEE CONDE, 14. Madonna in Landscape.
+Dijon.
+    MUSEE, Donation Maciet. Small Adoration of Magi, with SS. Andrew
+        and Catherine (?).
+Eastnor Castle (Ledbury).
+    LADY HENRY SOMERSET. Madonna and Saints.
+Empoli.
+    OPERA DEL DUOMO, 29. Madonna and infant John.
+    33. Madonna in Glory with SS. Peter Martyr and Nicholas.
+Englewood (New Jersey, U. S. A.).
+    MR. D. F. PLATT. St. Jerome.
+Fiesole.
+    S. ANSANO (to be transferred to Museo). Four Triumphs of Petrarch.
+Florence.
+    ACADEMY, 150. _Pieta_.
+    PITTI, 364. Madonna and infant John adoring Child.
+    UFFIZI, 66-68. Story of Esther.
+    1573. _Pieta_.
+    BIGALLO. _Tondo_: Madonna, Saints, and Angels.
+    CENACOLO DI S. APPOLONIA. Entombment. Adoration of Magi.
+    MUSEO DI SAN MARCO, OSPIZIO, 21. Annunciation.
+    MR. HERBERT P. HORNE. St. Jerome.
+    S. FREDIANO, SACRISTY. Christ on Cross and Saints.
+    S. JACOPO SOPRA ARNO, SACRISTY. _Pieta_.
+    S. LUCIA DE' MAGNOLI ("TRA LE ROVINATE"), FIRST ALTAR L.
+        Annunciation.
+    LA QUIETE. Adoration of Magi, with Trinity and Angels above.
+    S. SPIRITO. Antependium: St. Lawrence.
+    GANGALANDI (between Florence and Signa), S. MARTINO, R. WALL.
+        Madonna, with Eternal in lunette.
+Gloucester.
+    HIGHNAM COURT, SIR HUBERT PARRY. 23. Madonna and St. Peter Martyr
+        adoring Child.
+    32. Head of Angel.
+Goettingen.
+    UNIVERSITY GALLERY, 237. Meeting of Young Christ and John.
+Hanover.
+    PROVINZIALMUSEUM. _Pieta_ and other Scenes.
+Ince Blundell Hall (Blundellsands, Lancashire).
+    MR. CHARLES WELD BLUNDELL. Nativity.
+Lille.
+    MUSEE, 995. Madonna.
+Liverpool.
+    WALKER ART GALLERY, 21. Adventures of Ulysses.
+London.
+    916. Venus and Cupids.
+    MR. BRINSLEY MARLAY. _Cassone_-front: Cupid and Psyche.
+    MR. CHARLES BUTLER. _Cassone_-front: Cupid and Psyche.
+    EARL CRAWFORD. Brutus and Portia. St. Mary of Egypt. St. Jerome.
+        Baptist.
+    EARL OF ILCHESTER. Ecce Homo. Madonna.
+    MR. CHARLES RICKETTS. Madonna and infant John.
+    MR. GEORGE SALTING. _Tondo_: Madonna and Angels adoring Child.
+    MR. VERNON WATNEY. Marriage Feast of Nastagio degli Onesti. 1483.
+Lyons.
+    MUSEE, 62. Deposition.
+    M. EDOUARD AYNARD. Epiphany. _Pieta_.
+Marseilles.
+    MUSEE. Madonna and Angels (copy of lost Amico di Sandro).
+Milan.
+    CONTI BAGATI VALSECCHI. _Cassone_-front: Story of Griselda.
+    PRINCE TRIVULZIO. Young Baptist. Madonna in Niche (?).
+Munich.
+    1002. St. Sebastian.
+    1004. Adoration of Magi.
+    1007. Annunciation. E.
+Muenster i./W.
+    KUNSTVEREIN, 1377. Tobias and the Angel.
+Nantes.
+    MUSEE DES BEAUX ARTS, 220. Madonna (?).
+    273. Madonna.
+    MUSEE DOBRET, 384. Crucifixion.
+New Haven (U. S. A.).
+    JARVES COLLECTION, 41. Madonna adoring Child.
+    52. St. Jerome.
+    72. Madonna in Clouds with Cherubim (version of picture by Rosselli
+        in Uffizi).
+    80. St. Sebastian. 1479.
+    82. Diana and Actaeon.
+    85. Creation of Adam and Eve.
+New York.
+    JAMES COLLECTION. _Cassone_-front: Story of Actaeon.
+    MR. STANLEY MORTIMER. Madonna adoring Child.
+Oxford.
+    CHRIST CHURCH LIBRARY, 1. Madonna adoring Child.
+    MR. T. W. JACKSON. Madonna and infant John.
+Palermo.
+    BARON CHIARAMONTE BORDONARO, 62. _Tondo_: Nativity.
+Paris.
+    1299. Venus and Cupids.
+    1300A. Madonna and two Angels (copy of lost Amico di Sandro; Cf.
+        Marseilles).
+    1658. St. Jerome. Story of Esther.
+    M. LEON BONNAT. Madonna and infant John.
+    M. GUSTAVE DREYFUS. Madonna and infant John (?).
+    BARON MICHELE LAZZARONI. _Pieta_. Panel for Story of Esther.
+    M. EUGENE RICHTEMBERGER. Nativity.
+Peace Dale (Rhode Island, U. S. A.).
+    MRS. BACON, THE ACORNS. Madonna adoring Child.
+Philadelphia.
+    MR. JOHN G. JOHNSON. Battle Piece. Madonna and Angels against hedge
+        of Pinks. Story of Nastagio degli Onesti. Madonna adoring Child.
+        David.
+Poitiers.
+    HOTEL DE VILLE, 102. Madonna.
+Rome.
+    COUNT GREGORI STROGANOFF. Head of Virgin.
+San Giovanni Valdarno.
+    ORATORIO DI S. MARIA DELLE GRAZIE. Annunciation. 1472.
+Scotland.
+    NEWBATTLE ABBEY. (DALKEITH), MARQUESS OF LOTHIAN. Entombment.
+Vienna.
+    COUNT LANCKORONSKI. Orpheus. St. Sigismund and kneeling Youth. E.
+    PRINCE LIECHTENSTEIN. _Tondo_: Madonna and Angels.
+Wiesbaden.
+    NASSAUISCHES KUNSTVEREIN, 6. Adoration of Magi.
+
+
+PAOLO UCCELLO.
+
+1397-1475. Influenced by Donatello.
+
+Florence.
+    UFFIZI, 52. Battle of S. Romano.
+    DUOMO, WALL ABOVE ENTRANCE. Fresco; Four Heads of Prophets.
+      WALL L. OF ENTRANCE. Fresco: Equestrian portrait of Sir John
+          Hawkwood. 1437.
+      WINDOWS IN DRUM OF CUPOLA (from his designs). Resurrection;
+          Nativity; Ascension; Annunciation. 1443.
+    S. MARIA NOVELLA, CLOISTER. Frescoes: Creation of Adam; Creation of
+        Animals; Creation and Temptation of Eve. E.
+    The Flood; Sacrifice of Noah.
+London.
+    583. Battle of S. Romano.
+    758. Profile of Lady (?).
+New York.
+    METROPOLITAN MUSEUM, MARQUAND COLLECTION. Profiles of Woman and Man
+        of Portinari Family.
+Oxford.
+    UNIVERSITY MUSEUM, 28. A Hunt.
+Paris.
+    1272. Portraits of Giotto, Uccello, Donatello, Brunelleschi, and
+        Antonio Manetti. L.
+    1273. Battle of S. Romano.
+    MME. EDOUARD ANDRE. St. George and the Dragon.
+Urbino.
+    DUCAL PALACE, 89. Story of the Jew and the Host. 1468.
+Vienna.
+    COUNT LANCKORONSKI. St. George and the Dragon.
+
+
+DOMENICO VENEZIANO.
+
+About 1400-1461. Probably acquired his rudiments at Venice; formed under
+    the influence of Donatello, Masaccio, and Fra Angelico.
+
+Berlin.
+    64. Martyrdom of St. Lucy.
+Florence.
+    UFFIZI, 1305. Madonna and four Saints.
+    S. CROCE, R. WALL. Fresco: The Baptist and St. Francis. L.
+London.
+    766, 767. Frescoes: Heads of Monks.
+    1215. Fresco transferred to canvas: Madonna enthroned.
+
+
+ANDREA VERROCCHIO.
+
+1435-1488. Pupil of Donatello and Alesso Baldovinetti, influenced by
+    Pesellino.
+
+Berlin.
+    104A. Madonna and Angel. E.
+Florence.
+    ACADEMY, 71. Baptism (in great part).
+    UFFIZI, 1204. Profile of Lady (?).
+    3450. Annunciation (possibly with assistance of Credi).
+London.
+    296. Madonna and two Angels (designed and superintended by
+        Verrocchio). E.
+Milan.
+    POLDI-PEZZOLI, 157. Profile of Young Woman (?). E.
+Paris.
+    BARON ARTHUR SCHICKLER. Madonna (designed and superintended by
+        Verrocchio).
+Sheffield.
+    RUSKIN MUSEUM. Madonna adoring Child (designed by Verrocchio).
+Vienna.
+    PRINCE LIECHTENSTEIN, 32. Portrait of Lady.
+
+SCULPTURES.
+
+Berlin.
+    93. Sleeping Youth (terra-cotta).
+    97A. Entombment (terra-cotta).
+Florence.
+    BARGELLO. David (bronze). Bust of Woman (marble).
+    OPERA DEL DUOMO. Decapitation of Baptist (silver relief). 1480.
+    UFFIZI. Madonna and Child (terra-cotta).
+    PALAZZO VECCHIO, COURTYARD. Boy with Dolphin (bronze).
+    S. LORENZO, SACRISTY. Tomb of Cosimo de' Medici (bronze). 1472.
+      INNER SACRISTY. Lavabo (marble) (in part).
+    OR SAN MICHELE, OUTSIDE: Christ and St. Thomas (bronze). Finished
+        1483.
+Paris.
+    M. GUSTAVE DREYFUS. Bust of Lady (marble).
+Venice.
+    PIAZZA SS. GIOVANNI E PAOLO. Equestrian Monument of Bartolommeo
+        Colleoni (bronze). Left unfinished at death.
+
+
+VINCI see LEONARDO
+
+
+
+
+INDEX OF PLACES.
+
+Agram (Croatia).
+    STROSSMAYER COLLECTION: Albertinelli, Fra Angelico, Bugiardini,
+        Cosimo Rosselli.
+Aix-en-Provence.
+    MUSEE: Alunno di Domenico.
+Altenburg.
+    LINDENAU MUSEUM: Amico di Sandro, Fra Angelico, Lorenzo Monaco,
+        Mainardi, Pesellino, Pier Francesco Fiorentino, Sellajo.
+Amsterdam.
+    DR. OTTO LANZ: Cosimo Rosselli.
+Arezzo.
+    Alunno di Domenico, Rosso, Sellajo.
+Ashridge Park (Berkhampstead).
+    EARL BROWNLOW: Fra Bartolommeo, Fra Filippo.
+Asolo.
+    CANONICA DELLA PARROCCHIA: Bacchiacca.
+Assisi.
+    S. FRANCESCO: Cimabue, Giotto and Assistants, Pollajuolo.
+Barnard Castle.
+    BOWES MUSEUM: Franciabigio.
+Bergamo.
+    CARRARA: Sellajo.
+    LOCHIS: Albertinelli.
+    MORELLI: Albertinelli, Amico di Sandro, Bacchiacca, Baldovinetti,
+        Botticelli, Botticini, Bronzino, Ridolfo Ghirlandajo, Lorenzo
+        Monaco, Pesellino, Pier Francesco Fiorentino, Pontormo.
+Berlin.
+    Amico di Sandro, Andrea del Sarto, Fra Angelico, Bacchiacca,
+        Baldovinetti, Fra Bartolommeo, Benozzo, Botticelli, Botticini,
+        Bronzino, Bugiardini, Carli, Credi, Franciabigio, Garbo, Ridolfo
+        Ghirlandajo, Assistant of Giotto, Granacci, Filippino Lippi, Fra
+        Filippo Lippi, Lorenzo Monaco, Mainardi, Masaccio, Michelangelo,
+        Pesellino, Pier di Cosimo, Pier Francesco Fiorentino, The
+        Pollajuoli, Pontormo, Cosimo Rosselli, Sellajo, Domenico
+        Veneziano, Verrocchio.
+      SIMON COLLECTION: Amico di Sandro, Bronzino, Garbo.
+    MUSEUM OF INDUSTRIAL ART: Bugiardini.
+    PALACE OF EMPEROR WILLIAM I: Bugiardini.
+    HERR VON DIRKSEN: Pontormo.
+    VON KAUFMANN COLLECTION: Botticelli, Carli, Lorenzo Monaco,
+        Orcagna, Pier di Cosimo.
+    HERR EUGEN SCHWEIZER: Bacchiacca, Franciabigio, Sellajo.
+    HERR EDWARD SIMON: Amico di Sandro.
+Besancon.
+    MUSEE: Bronzino.
+    CATHEDRAL: Fra Bartolommeo.
+Beziers.
+    MUSEE: Benozzo.
+Bologna.
+    Bugiardini, Franciabigio, Assistant of Giotto.
+    S. DOMENICO: Filippino Lippi, Michelangelo.
+Bonn.
+    UNIVERSITY GALLERY: Bugiardini, Sellajo.
+Bordeaux.
+    MUSEE: Sellajo.
+Borgo San Lorenzo (Mugello).
+    CHIESA DEL CROCIFISSO: Pier di Cosimo.
+Borgo San Sepolcro.
+    MUNICIPIO: Pontormo.
+    ORFANELLE: Rosso.
+Boston (U. S. A.).
+    MRS. J. L. GARDNER: Fra Angelico, Bacchiacca, Botticelli,
+        Botticini, Bronzino, Giotto, Masaccio, Pesellino, Antonio
+        Pollajuolo.
+    MRS. QUINCY A. SHAW: Mainardi.
+Bowood Park (Calne).
+    MARQUESS OF LANSDOWNE: Bugiardini.
+Brandenburg a./H.
+    WREDOWSCHE ZEICHNENSCHULE: Sellajo.
+Brant Broughton (Lincolnshire).
+    REV. ARTHUR F. SUTTON: Fra Angelico, Lorenzo Monaco, Masaccio.
+Bremen.
+    KUNSTHALLE: Masolino.
+Breslau.
+    SCHLESISCHES MUSEUM: Cosimo Rosselli, Sellajo.
+Brocklesby (Lincolnshire).
+    EARL OF YARBOROUGH: Bacchiacca.
+Bruges.
+    NOTRE DAME. Michelangelo.
+Brunswick.
+    Lorenzo Monaco.
+Brussels.
+    Franciabigio, Pier Francesco Fiorentino.
+    MUSEE DE LA VILLE: Franciabigio.
+Budapest.
+    Amico di Sandro, Bacchiacca, Bronzino, Bugiardini, Ridolfo
+        Ghirlandajo, Granacci, Orcagna, Pier Francesco Fiorentino.
+Caen.
+    MUSEE: Sellajo.
+Cambridge.
+    FITZWILLIAM MUSEUM: Albertinelli, Credi, Lorenzo Monaco, Cosimo
+        Rosselli.
+Cambridge (U. S. A.).
+    FOGG MUSEUM: Fra Bartolommeo, Benozzo, Pier Francesco Fiorentino.
+Carlsruhe.
+    Credi.
+Carmignano (near Florence).
+    PARISH CHURCH. Pontormo.
+Cassel.
+    Bacchiacca, Bronzino, Granacci, Lorenzo Monaco.
+Castel Fiorentino.
+    CAPPELLA DI S. CHIARA: Benozzo.
+    MADONNA DELLA TOSSE: Benozzo.
+Castelnuovo di Val d'Elsa.
+    S. BARBARA: Pier Francesco Fiorentino.
+Castiglione d'Olona (Varesotto).
+    PALAZZO CASTIGLIONE: Masolino.
+    CHURCH: Masolino.
+    BAPTISTERY: Masolino.
+Castiglione Fiorentino.
+    PINACOTECA: Sellajo.
+    COLLEGIATA: Credi.
+Certaldo.
+    PALAZZO DEI PRIORI: Pier Francesco Fiorentino.
+    CAPPELLA DEL PONTE D'AGLIENA: Benozzo, Pier Francesco Fiorentino.
+Chantilly.
+    MUSEE CONDE: Amico di Sandro, Franciabigio, Granacci, Pesellino,
+        Pier di Cosimo, Sellajo.
+Chartres.
+    MUSEE: Albertinelli.
+Chatsworth.
+    DUKE OF DEVONSHIRE: Ridolfo Ghirlandajo.
+Chicago.
+    MR. MARTIN RYERSON: Botticini.
+Citta di Castello.
+    Granacci.
+    DUOMO: Rosso.
+Cleveland (U. S. A.).
+    HOLDEN COLLECTION: Botticini, Credi, Pier Francesco Fiorentino.
+Colle di Val d'Elsa.
+    PALAZZO ANTICO DEL COMUNE: Pier Francesco Fiorentino.
+    VIA GOZZINO: Pier Francesco Fiorentino.
+    VIA S. LUCIA: Pier Francesco Fiorentino.
+    S. AGOSTINO: Ridolfo Ghirlandajo.
+Cologne.
+    Benozzo, Mainardi, Cosimo Rosselli.
+Copenhagen.
+    THORWALDSEN MUSEUM: Filippino Lippi, Lorenzo Monaco.
+Cortona.
+    SIGNOR COLONNESI: Cosimo Rosselli.
+    S. DOMENICO: Fra Angelico.
+    GESU: Fra Angelico.
+Cracow.
+    POTOCKI COLLECTION: Franciabigio.
+Darmstadt.
+    Granacci.
+Detroit (U. S. A.).
+    Pier Francesco Fiorentino.
+Dijon.
+    MUSEE: Bacchiacca, Bugiardini, Franciabigio, Pier Francesco
+        Fiorentino, Rosso, Sellajo.
+Dresden.
+    Alunno di Domenico, Andrea del Sarto, Bacchiacca, Botticelli,
+        Carli, Credi, Franciabigio, Garbo, Mainardi, Pier di Cosimo.
+Dublin.
+    NATIONAL GALLERY: Granacci.
+Dulwich (near London).
+    Pier di Cosimo.
+Duesseldorf.
+    ACADEMY: Fra Angelico, Carli, Cosimo Rosselli.
+Dzikow (Poland).
+    M. ZANISLAS TARNOWSKI: Pontormo.
+Eastnor Castle (Ledbury).
+    LADY HENRY SOMERSET: Carli, Pier Francesco Fiorentino, Cosimo
+        Rosselli, Sellajo.
+Empoli.
+    OPERA DEL DUOMO: Botticini, Lorenzo Monaco, Pesellino, Pier
+        Francesco Fiorentino, Cosimo Rosselli, Sellajo.
+    BAPTISTERY: Masolino.
+    S. STEFANO: Masolino.
+Englewood (New Jersey, U. S. A.).
+    MR. DANIEL FELLOWS PLATT: Pier Francesco Fiorentino, Sellajo.
+Esher.
+    MR. HERBERT F. COOK: Carli.
+Fiesole.
+    S. ANSANO (to be transferred to Museo): Lorenzo Monaco, Sellajo.
+    DUOMO: Cosimo Rosselli.
+    S. FRANCESCO: Pier di Cosimo.
+Figline (Val d'Arno Superiore).
+    S. PIERO AL TERRENO: Bugiardini.
+Florence.
+    ACADEMY: Albertinelli, Alunno di Domenico, Andrea del Sarto, Fra
+        Angelico, Baldovinetti, Fra Bartolommeo, Benozzo, Botticelli,
+        Botticini, Cimabue, Credi, Franciabigio, Garbo, Domenico and
+        Ridolfo Ghirlandajo, Giotto, Granacci, Filippino Lippi, Fra
+        Filippo Lippi, Lorenzo Monaco, Masaccio, Michelangelo, Orcagna,
+        Pesellino, Pontormo, Cosimo Rosselli, Sellajo, Verrocchio.
+    BARGELLO: Assistant of Giotto, Lorenzo Monaco, Mainardi,
+        Michelangelo, Orcagna, Pier Francesco Fiorentino, Antonio
+        Pollajuolo, Rosso, Verrocchio.
+    PITTI: Albertinelli, Amico di Sandro, Andrea del Sarto, Bacchiacca,
+        Fra Bartolommeo, Botticini, Bronzino, Bugiardini, Franciabigio,
+        Ridolfo Ghirlandajo, Granacci, Filippino Lippi, Fra Filippo
+        Lippi, Pier di Cosimo, Pontormo, Rosso, Sellajo.
+    UFFIZI: Albertinelli, Alunno di Domenico, Andrea del Sarto, Fra
+        Angelico, Baldovinetti, Fra Bartolommeo, Benozzo, Botticelli,
+        Botticini, Bronzino, Bugiardini, Carli, Castagno, Credi,
+        Franciabigio, Domenico and Ridolfo Ghirlandajo, Assistant of
+        Giotto, Granacci, Leonardo, Filippino Lippi, Fra Filippo Lippi,
+        Lorenzo Monaco, Mainardi, Michelangelo, Orcagna, Pier di Cosimo,
+        Pier Francesco Fiorentino, The Pollajuoli, Pontormo, Cosimo
+        Rosselli, Rosso, Sellajo, Paolo Uccello, Domenico Veneziano,
+        Verrocchio.
+    BIBLIOTECA LAURENZIANA: Lorenzo Monaco.
+    BIGALLO: Ridolfo Ghirlandajo, Sellajo.
+    BOBOLI GARDENS: Michelangelo.
+    CASA BUONARROTI: Michelangelo.
+    CENACOLO DI S. APPOLONIA: Botticini, Castagno, Pier Francesco
+        Fiorentino, Sellajo.
+    CENACOLO DI FOLIGNO: Amico di Sandro.
+    CHIOSTRO DELLO SCALZO: Andrea del Sarto, Franciabigio.
+    COLLEGIO MILITARE: Pontormo.
+    HOSPITAL: Castagno, Lorenzo Monaco.
+    INNOCENTI, GALLERY: Alunno di Domenico, Pier di Cosimo.
+    ISTITUTO DEI MINORENNI CORRIGENDI: Granacci.
+    SAN LORENZO, NEW SACRISTY: Michelangelo.
+    MUSEO DI SAN MARCO: Alunno di Domenico, Fra Angelico, Fra
+        Bartolommeo, Bugiardini, Domenico Ghirlandajo, Lorenzo Monaco,
+        Pontormo, Sellajo.
+    OPERA DEL DUOMO: Antonio Pollajuolo, Verrocchio.
+    PALAZZO RICCARDI: Benozzo, Fra Filippo Lippi.
+    PALAZZO VECCHIO: Bronzino, Domenico and Ridolfo Ghirlandajo,
+        Verrocchio.
+    (PITTI, see above).
+    SAN SALVI: Andrea del Sarto.
+    SCUOLE ELEMENTARE (Via della Colonna): Carli.
+    (UFFIZI, see above).
+    VIA CONSERVATORIO CAPPONI, No. ii.: Carli.
+    VIA RICASOLI: Cosimo Rosselli.
+    PALAZZO ALESSANDRI: Benozzo, Fra Filippo Lippi.
+    MR. B. BERENSON: Baldovinetti, Bronzino, Carli, Orcagna, Cosimo
+        Rosselli.
+    DUCA DI BRINDISI: Botticini, Carli.
+    MR. HENRY WHITE CANNON, Villa Doccia: Carli.
+    PALAZZO CAPPONI, Marchese Farinola: Botticelli, Pontormo.
+    PALAZZO CORSINI: Albertinelli, Amico di Sandro, Andrea del Sarto,
+        Bacchiacca, Carli, Ridolfo Ghirlandajo, Filippino Lippi,
+        Pontormo, Cosimo Rosselli.
+    MME. FINALI, Villa Landau: Cosimo Rosselli.
+    MR. HERBERT P. HORNE: Benozzo, Filippino Lippi, Pier di Cosimo,
+        Sellajo.
+    MR. EDMUND HOUGHTON: Pier Francesco Fiorentino.
+    CONTESSA LARDAREL: Botticini.
+    MR. CHARLES LOESER: Lorenzo Monaco.
+    CONTE NICCOLINI: Bacchiacca.
+    CONTE FERNANDO DEI NOBILI: Pier Francesco Fiorentino, Sellajo.
+    SIGNOR ANGELO ORVIETO: Cosimo Rosselli.
+    PALAZZO PITTI: Botticelli.
+    PALAZZO PUCCI: Credi.
+    MARCHESE MANELLI RICCARDI: Alunno di Domenico.
+    MRS. ROSS, POGGIO GHERARDO: Carli.
+    CONTE SERRISTORI: Bacchiacca, Pier Francesco Fiorentino.
+    MARCHESE PIO STROZZI: Botticini.
+    PALAZZO TORRIGIANI: Ridolfo Ghirlandajo, Filippino Lippi, Mainardi.
+    TORRE DEL GALLO (VILLINO): Antonio Pollajuolo.
+    S. AMBROGIO: Baldovinetti, Carli, Filippino Lippi, Cosimo Rosselli.
+    SS. ANNUNZIATA: Andrea del Sarto, Baldovinetti, Castagno,
+        Franciabigio, Pontormo, Cosimo Rosselli, Rosso.
+    BADIA: Filippino Lippi, Orcagna.
+    LA CALZA (PORTA ROMANA): Franciabigio.
+    CARMINE: Filippino Lippi, Masaccio, Masolino.
+    S. CROCE: Bugiardini, Giotto and Assistants, Lorenzo Monaco,
+        Mainardi, Orcagna, Cosimo Rosselli, Domenico Veneziano.
+    S. DOMENICO DI FIESOLE: Fra Angelico, Credi.
+    DUOMO: Baldovinetti, Castagno, Credi, Domenico Ghirlandajo,
+        Michelangelo, Paolo Uccello.
+    S. FELICE: Assistant of Giotto.
+    S. FELICITA: Pontormo.
+    S. FRANCESCO DELLE STIMMATE: Pier Francesco Fiorentino.
+    S. FREDIANO: Sellajo.
+    S. GIOVANNINO DEI CAVALIERI: Lorenzo Monaco, Pier Francesco
+        Fiorentino, Sellajo.
+    S. GIUSEPPE: Lorenzo Monaco.
+    INNOCENTI (CHURCH): Alunno di Domenico, Domenico Ghirlandajo,
+    S. JACOPO SOPRA ARNO: Sellajo.
+    S. LORENZO: Bronzino, Fra Filippo Lippi, Pier di Cosimo, Rosso,
+        Verrocchio.
+    S. LUCIA DE' MAGNOLI (TRA LE ROVINATE): Sellajo.
+    S. MARCO: Baldovinetti, Fra Bartolommeo.
+    S. M. MADDALENA DEI PAZZI: Carli, Cosimo Rosselli.
+    S. M. NOVELLA: Bugiardini, Domenico Ghirlandajo, Filippino Lippi,
+        Masaccio, Orcagna, Paolo Uccello.
+    S. MARGHERITA A MONTICI: Assistant of Giotto.
+    S. MICHELE VISDOMINI: Pontormo.
+    S. MINIATO: Baldovinetti, Assistant of Giotto, Antonio Pollajuolo.
+    S. NICCOLO: Piero Pollajuolo.
+    CHIOSTRO DEGLI OBLATI (25 VIA S. EGIDIO): Lorenzo Monaco.
+    OGNISSANTI: Botticelli, Domenico Ghirlandajo.
+    CHIESA DI ORBETELLO: Mainardi.
+    OR SAN MICHELE: Credi, Orcagna, Verrocchio.
+    S. PANCRAZIO: Baldovinetti.
+    PAZZI CHAPEL: Baldovinetti.
+    S. PROCOLO: Carli.
+    LA QUIETE: Ridolfo Ghirlandajo, Sellajo.
+    S. SPIRITO: Botticini, Carli, Credi, Filippino Lippi, Sellajo.
+    S. TRINITA: Baldovinetti, Domenico Ghirlandajo, Lorenzo Monaco.
+Places near Florence:
+    BROZZI, FATTORIA ORSINI: Mainardi.
+      S. ANDREA: Botticini, Carli.
+    CERTOSA: Albertinelli, Orcagna, Pontormo.
+    CORBIGNANO (NEAR SETTIGNANO), CAPPELLA VANELLA: Botticelli.
+    GANGALANDI (BETWEEN FLORENCE AND SIGNA), S. MARTINO: Sellajo.
+    BADIA DI PASSIGNANO (TAVERNELLE), REFECTORY: Domenico Ghirlandajo.
+    PIAN DI MUGNONE, S. M. MADDALENA: Fra Bartolommeo.
+    POGGIO A CAJANO (ROYAL VILLA): Andrea del Sarto, Franciabigio,
+        Filippino Lippi, Pontormo.
+    QUINTOLE, S. PIETRO: Granacci.
+    SCANDICCI, COMTESSE DE TURENNE: Credi.
+    VILLAMAGNA, S. DONNINO: Granacci.
+Forli.
+    Credi.
+Frankfort a./M.
+    STAeDELINSTITUT: Pier Francesco Fiorentino, Pontormo, Rosso.
+Frome (Somerset).
+    LADY HORNER, MELLS PARK: Pier Francesco Fiorentino.
+Geneva.
+    MUSEE: Albertinelli.
+Genoa.
+    PALAZZO ADORNO: Cosimo Rosselli.
+    PALAZZO BIANCO: Filippino Lippi, Pontormo.
+    PALAZZO BRIGNOLE-SALE: Pontormo.
+Glasgow.
+    CORPORATION GALLERY: Garbo.
+    MR. WILLIAM BEATTIE: Credi, Ridolfo Ghirlandajo, Pier di Cosimo.
+    MR. JAMES MANN: Granacci.
+Gloucester.
+     HIGHNAM COURT, SIR HUBERT PARRY: Albertinelli, Credi, Lorenzo
+        Monaco, Pesellino, Pier Francesco Fiorentino, Sellajo.
+Goettingen.
+    UNIVERSITY GALLERY: Botticini, Credi, Pier Francesco Fiorentino,
+        Sellajo.
+Grenoble.
+    MUSEE: Fra Bartolommeo.
+Gubbio.
+    Pier Francesco Fiorentino.
+The Hague.
+    Albertinelli, Bronzino, Pier di Cosimo.
+Hamburg.
+    WEBER COLLECTION: Credi, Franciabigio, Mainardi, Pier Francesco
+        Fiorentino.
+Hanover.
+    KESTNER MUSEUM: Credi.
+    PROVINZIALMUSEUM: Sellajo.
+Harrow-on-the-Hill.
+    REV. J. STOGDON: Pier di Cosimo, Pier Francesco Fiorentino.
+Hatfield.
+    MR. CHARLES BUTLER, WARREN WOOD: Pier Francesco Fiorentino,
+        Pontormo.
+Hildesheim.
+    Mainardi.
+Horsmonden (Kent).
+    MRS. AUSTEN, CAPEL MANOR: Alunno di Domenico, Amico di Sandro.
+Ince Blundell Hall (Lancashire).
+    MR. CHARLES WELD BLUNDELL: Sellajo.
+Kiel.
+    PROF. MARTIUS: Filippino Lippi.
+Le Mans.
+    MUSEE: Carli, Pier Francesco Fiorentino.
+Lewes.
+    MR. E. P. WARREN, LEWES HOUSE: Filippino Lippi.
+Lille.
+    MUSEE: Pier Francesco Fiorentino, Sellajo.
+Liverpool.
+    WALKER ART GALLERY: Alunno di Domenico, Pier Francesco Fiorentino,
+        Cosimo Rosselli, Sellajo.
+Locko Park (near Derby).
+    MR. CHARLES DRURY-LOWE: Bacchiacca, Benozzo, Carli, Castagno,
+        Mainardi.
+London.
+    Amico di Sandro, Andrea del Sarto, Fra Angelico, Bacchiacca, Fra
+        Bartolommeo, Benozzo, Botticelli, Botticini, Bronzino,
+        Bugiardini, Castagno, Credi, Franciabigio, Domenico and Ridolfo
+        Ghirlandajo, Filippino and Fra Filippo Lippi, Lorenzo Monaco,
+        Mainardi, Michelangelo, Orcagna, Pier di Cosimo, Pier Francesco
+        Fiorentino, Antonio Pollajuolo, Pontormo, Cosimo Rosselli,
+        Sellajo, Paolo Uccello, Domenico Veneziano, Verrocchio.
+    H. M. THE KING, BUCKINGHAM PALACE: Benozzo.
+    BURLINGTON HOUSE, DIPLOMA GALLERY: Leonardo, Michelangelo.
+    HERTFORD HOUSE: Andrea del Sarto, Pier di Cosimo.
+    VICTORIA AND ALBERT MUSEUM: Amico di Sandro, Benozzo, Granacci,
+        Michelangelo, Pier Francesco Fiorentino, Antonio Pollajuolo.
+    BEIT COLLECTION: Michelangelo.
+    MR. ROBERT BENSON: Amico di Sandro, Andrea del Sarto, Botticini,
+        Carli, Franciabigio, Garbo, Domenico Ghirlandajo, Granacci,
+        Filippino Lippi, Pier di Cosimo.
+    MR. CHARLES BRINSLEY MARLAY: Alunno di Domenico, Botticini,
+        Sellajo.
+    DUKE OF BUCCLEUGH: Granacci.
+    MR. CHARLES BUTLER: Bacchiacca, Botticini, Credi, Pier Francesco
+        Fiorentino, Cosimo Rosselli, Sellajo.
+    EARL CRAWFORD: Sellajo.
+    MR. WILLIAM E. GREY: Pier Francesco Fiorentino.
+    MRS. LOUISA HERBERT: Pier Francesco Fiorentino.
+    MR. J. P. HESELTINE: Botticelli.
+    COL. G. L. HOLFORD, DORCHESTER HOUSE: Fra Bartolommeo, Garbo,
+        Pesellino.
+    LADY HORNER: Pier Francesco Fiorentino.
+    SIR H. HOWORTH: Mainardi.
+    EARL OF ILCHESTER, HOLLAND HOUSE: Sellajo.
+    SIR KENNETH MUIR MACKENZIE: Alunno di Domenico.
+    MR. LUDWIG MOND: Fra Bartolommeo, Botticelli, Domenico Ghirlandajo,
+        Pontormo.
+    MR. J. PIERPONT MORGAN: Castagno, Domenico Ghirlandajo.
+    EARL OF NORTHBROOK: Fra Bartolommeo, Bugiardini, Franciabigio.
+    EARL OF PLYMOUTH: Pier di Cosimo, Pontormo.
+    MR. CHARLES RICKETTS: Garbo, Pier di Cosimo, Sellajo.
+    MR. C. N. ROBINSON: Benozzo.
+    EARL OF ROSEBERY: Credi.
+    MR. LEOPOLD DE ROTHSCHILD: Andrea del Sarto.
+    MR. GEORGE SALTING: Domenico and Ridolfo Ghirlandajo, Mainardi,
+        Sellajo.
+    SIR HENRY SAMUELSON: Garbo, Filippino Lippi.
+    MR. A. E. STREET: Pier di Cosimo.
+    MRS. J. E. TAYLOR: Fra Angelico.
+    MR. T. VASEL: Franciabigio.
+    MR. HENRY WAGNER: Lorenzo Monaco, Pier Francesco Fiorentino.
+    MR. VERNON WATNEY: Sellajo.
+    SIR JULIUS WERNHER: Filippino Lippi.
+    MR. FREDERICK A. WHITE: Bacchiacca.
+    EARL OF YARBOROUGH: Franciabigio.
+Longleat (Warminster).
+    MARQUESS OF BATH: Alunno di Domenico, Credi, Mainardi.
+Lovere.
+    GALLERIA TADINI: Alunno di Domenico.
+Lucardo (near Certaldo).
+    PARISH CHURCH: Ridolfo Ghirlandajo.
+Lucca.
+    Fra Bartolommeo, Bronzino, Carli, Pontormo.
+    MARCHESE MANSI (S. M. FORISPORTAM): Granacci.
+    DUOMO: Fra Bartolommeo, Domenico Ghirlandajo, Cosimo Rosselli.
+    S. FRANCESCO: Cosimo Rosselli.
+    S. MICHELE: Filippino Lippi.
+Lyons.
+    MUSEE: Sellajo.
+    M. EDOUARD AYNARD: Fra Angelico, Garbo, Fra Filippo Lippi,
+        Mainardi, Pier di Cosimo, Sellajo.
+Madrid.
+    MUSEE DEL PRADO: Andrea del Sarto, Fra Angelico.
+    DUKE OF ALBA: Albertinelli, Fra Angelico.
+Marseilles.
+    MUSEE: Sellajo.
+Mayence.
+    Credi.
+Meiningen.
+    GRAND DUCAL PALACE: Amico di Sandro, Benozzo.
+Milan.
+    AMBROSIANA: Botticelli.
+    BORROMEO: Alunno di Domenico, Pier di Cosimo.
+    BRERA: Benozzo, Bronzino.
+    POLDI-PEZZOLI: Albertinelli, Alunno di Domenico, Botticelli, Carli,
+        Pesellino, Sellajo, Verrocchio.
+    CONTI BAGATI VALSECCHI: Sellajo.
+    CONTE CASATTI: Credi, Cosimo Rosselli.
+    COMM. BENIGNO CRESPI: Bacchiacca, Ridolfo Ghirlandajo, Granacci,
+        Lorenzo Monaco, Mainardi.
+    DR. GUSTAVO FRIZZONI: Bacchiacca.
+    CAV. ALDO NOSEDA: Lorenzo Monaco.
+    PRINCE TRIVULZIO: Amico di Sandro, Michelangelo, Pier di Cosimo,
+        Pontormo, Sellajo.
+    S. MARIA DELLE GRAZIE: Bugiardini, Leonardo.
+Modena.
+    Botticini, Bugiardini, Franciabigio.
+Mombello (near Milan).
+    PRINCE PIO DI SAVOIA: Bugiardini.
+Montefalco.
+    PINACOTECA (S. FRANCESCO): Benozzo.
+    S. FORTUNATO: Benozzo.
+Montefortino (near Amandola, Marches).
+    MUNICIPIO: Botticini, Pier Francesco Fiorentino.
+Montemarciano (Val d'Arno Superiore).
+    Masaccio.
+Montepulciano.
+    Carli.
+Munich.
+    ALTE PINAKOTEK: Albertinelli, Fra Angelico, Bacchiacca, Credi,
+        Garbo, Giotto and Assistant, Granacci, Fra Filippo Lippi,
+        Mainardi, Masolino, Sellajo.
+    LOTZBECK COLLECTION: Lorenzo Monaco.
+Muenster i./W.
+    KUNSTVEREIN: Mainardi, Cosimo Rosselli, Sellajo.
+Nantes.
+    MUSEE DES BEAUX ARTS: Sellajo.
+    MUSEE DOBRET: Sellajo.
+Naples.
+    Amico di Sandro, Andrea del Sarto, Fra Bartolommeo, Garbo,
+        Filippino Lippi, Masaccio, Masolino.
+    MUSEO FILANGIERI: Amico di Sandro.
+Narbonne.
+    MUSEE: Pier Francesco Fiorentino.
+Narni.
+    MUNICIPIO: Alunno di Domenico, Benozzo, Domenico Ghirlandajo.
+New Haven (Conn., U. S. A.).
+    JARVES COLLECTION: Alunno di Domenico, Domenico and Ridolfo
+        Ghirlandajo, Granacci, Filippino Lippi, Lorenzo Monaco, Orcagna,
+        Pier di Cosimo, Pier Francesco Fiorentino, Antonio Pollajuolo,
+        Pontormo, Sellajo.
+Newlands Manor (Hampshire).
+    COL. CORNWALLIS WEST: Pier di Cosimo.
+Newport. (U. S. A.).
+    MR. THEODORE M. DAVIS, THE REEF: Bugiardini.
+New York.
+    METROPOLITAN MUSEUM: Bugiardini, Pier di Cosimo, Piero Pollajuolo,
+        Paolo Uccello.
+    MRS. GOULD: Bronzino.
+    HAVEMEYER COLLECTION: Bronzino.
+    JAMES COLLECTION: Sellajo.
+    MR. STANLEY MORTIMER: Sellajo.
+    MR. RUTHERFORD STUYVESANT: Franciabigio.
+    MR. SAMUEL UNTERMEYER: Albertinelli.
+Nimes.
+    GOWER COLLECTION: Franciabigio.
+Olantigh Towers (Wye).
+    MR. ERLE-DRAX: Bugiardini, Carli.
+Oldenburg.
+    Bugiardini, Pontormo.
+Orvieto.
+    DUOMO: Fra Angelico.
+Oxford.
+    CHRIST CHURCH LIBRARY: Alunno di Domenico, Amico di Sandro,
+        Bacchiacca, Carli, Granacci, Filippino Lippi, Pier di Cosimo,
+        Sellajo.
+    UNIVERSITY GALLERIES: Bronzino, Credi, Granacci, Fra Filippo Lippi,
+        Mainardi, Paolo Uccello.
+    MR. T. W. JACKSON: Franciabigio, Sellajo.
+Padua.
+    ARENA CHAPEL: Giotto.
+Palermo.
+    BARON CHIARAMONTE BORDONARO: Alunno di Domenico, Botticini,
+        Mainardi, Orcagna, Pier Francesco Fiorentino, Pontormo, Sellajo.
+Panshanger (Hertford).
+    Fra Bartolommeo, Granacci, Pontormo.
+Panzano (between Florence and Siena).
+    S. MARIA: Botticini.
+Parcieux (near Trevoux).
+    LA GRANGE BLANCHE, M. HENRI CHALANDON: Botticini, Lorenzo Monaco,
+        Pier Francesco Fiorentino.
+Paris.
+    LOUVRE: Albertinelli, Alunno di Domenico, Amico di Sandro, Andrea
+        del Sarto, Fra Angelico, Baldovinetti, Fra Bartolommeo, Benozzo,
+        Botticelli, Botticini, Bronzino, Bugiardini, Carli, Cimabue,
+        Credi, Franciabigio, Domenico and Ridolfo Ghirlandajo, Assistant
+        of Giotto, Leonardo, Fra Filippo Lippi, Lorenzo Monaco,
+        Mainardi, Michelangelo, Pesellino, Pier di Cosimo, Piero
+        Pollajuolo, Pontormo, Cosimo Rosselli, Rosso, Sellajo, Paolo
+        Uccello.
+    MUSEE DES ARTS DECORATIFS: Bugiardini, Cosimo Rosselli.
+    BARONNE D'ADELSWARD: Benozzo.
+    MME. EDOUARD ANDRE: Baldovinetti, Botticini, Bugiardini, Pier
+        Francesco Fiorentino, Cosimo Rosselli, Paolo Uccello.
+    COMTESSE ARCONATI-VISCONTI: Botticini, Mainardi.
+    M. LEON BONNAT: Pier Francesco Fiorentino, Sellajo.
+    M. GEORGES CHALANDON: Fra Angelico.
+    M. JEAN DOLLFUS: Alunno di Domenico, Granacci.
+    M. GUSTAVE DREYFUS: Credi, Mainardi, Sellajo, Verrocchio.
+    M. HENRI HEUGEL: Botticini, Garbo, Pier Francesco Fiorentino.
+    BARON MICHELE LAZZARONI: Carli, Sellajo.
+    COMTE PASTRE: Amico di Sandro.
+    M. EMILE RICHTEMBERGER: Carli, Granacci, Sellajo.
+    BARON EDOUARD DE ROTHSCHILD: Garbo.
+    BARON ARTHUR SCHICKLER: Verrocchio.
+    BARON SCHLICHTING: Amico di Sandro.
+    M. JOSEPH SPIRIDON: Alunno di Domenico, Granacci, Cosimo Rosselli.
+    M. NOEL VALOIS: Fra Angelico.
+Parma.
+    Fra Angelico, Garbo.
+Pavia.
+    GALLERIA MALASPINA: Pier Francesco Fiorentino.
+Peace Dale (Rhode Island, U. S. A.).
+    MRS. BACON, THE ACORNS: Sellajo.
+Perigueux.
+    MUSEE: Amico di Sandro.
+Perugia.
+    Fra Angelico, Benozzo.
+    MARCHESE MENICONI BRACCESCHI: Pier Francesco Fiorentino.
+Petworth House (Sussex).
+    LORD LECONFIELD: Andrea del Sarto.
+Philadelphia.
+    MR. JOHN G. JOHNSON: Amico di Sandro, Fra Bartolommeo,
+        Franciabigio, Granacci, Mainardi, Pier di Cosimo, Pier Francesco
+        Fiorentino, Cosimo Rosselli, Sellajo.
+    MR. PETER WIDENER: Benozzo, Bugiardini, Ridolfo Ghirlandajo, Pier
+        Francesco Fiorentino.
+Pinerolo (Piedmont).
+    VILLA LAMBA DORIA: Franciabigio.
+Pisa.
+    MUSEO CIVICO: Fra Angelico, Benozzo, Carli, Domenico Ghirlandajo,
+        Masaccio.
+    CAMPO SANTO: Benozzo.
+    RICOVERO: Benozzo.
+    UNIVERSITA DEI CAPPELLANI: Benozzo.
+    S. CATERINA: Albertinelli.
+    DUOMO: Andrea del Sarto.
+    S. MATTEO: Carli.
+    S. STEFANO: Bronzino.
+Pistoia.
+    DUOMO: Credi, Verrocchio.
+    MADONNA DEL LETTO: Credi.
+    S. PIETRO MAGGIORE: Ridolfo Ghirlandajo.
+Poggibonsi.
+    S. LUCCHESE: Carli.
+Poitiers.
+    HOTEL DE VILLE: Sellajo.
+Pontormo (near Empoli).
+    PARISH CHURCH: Pontormo.
+Posen.
+    RACZYNSKI COLLECTION: Lorenzo Monaco.
+Prato.
+    Botticini, Carli, Filippino Lippi, Lorenzo Monaco.
+    TABERNACLE IN STREET: Filippino Lippi.
+    DUOMO: Ridolfo Ghirlandajo, Fra Filippo Lippi.
+Reigate.
+    THE PRIORY, MR. SOMERS SOMERSET: Ridolfo Ghirlandajo, Cosimo
+        Rosselli.
+Richmond (Surrey).
+    SIR FREDERICK COOK: Bacchiacca, Fra Bartolommeo, Botticini, Fra
+        Filippo Lippi, Lorenzo Monaco, Pier Francesco Fiorentino.
+Rome.
+    BARBERINI GALLERY: Franciabigio, Pontormo.
+    BORGHESE GALLERY: Albertinelli, Andrea del Sarto, Bacchiacca,
+        Bronzino, Bugiardini, Credi, Franciabigio, Granacci, Pier di
+        Cosimo, Pontormo.
+    COLONNA GALLERY: Alunno di Domenico, Bronzino, Bugiardini.
+    CORSINI GALLERY: Fra Angelico, Fra Bartolommeo, Bronzino,
+        Bugiardini, Franciabigio, Granacci, Pier di Cosimo, Pontormo.
+    DORIA GALLERY: Bronzino.
+    LATERAN (presently to be united with the Vatican): Fra Bartolommeo,
+        Benozzo, Fra Filippo Lippi.
+    VATICAN, PINACOTECA: Fra Angelico, Leonardo.
+      MUSEO CRISTIANO (presently to be united with the Pinacoteca): Fra
+          Angelico, Benozzo, Lorenzo Monaco, Mainardi, Masolino.
+      CHAPEL OF NICHOLAS V: Fra Angelico.
+      CAPPELLA PAOLINA: Michelangelo.
+      SIXTINE CHAPEL: Botticelli, Domenico Ghirlandajo, Michelangelo,
+          Pier di Cosimo, Cosimo Rosselli.
+    PRINCE COLONNA: Bugiardini.
+    PRINCE DORIA: Bronzino, Fra Filippo Lippi, Pesellino.
+    MISS HERTZ: Bacchiacca.
+    MR. LUDWIG MOND: Fra Filippo Lippi, Cosimo Rosselli.
+    PALAZZO RONDANINI: Michelangelo.
+    PRINCE ROSPIGLIOSI: Bronzino.
+    CONTESSA SPALETTI: Bugiardini.
+    COUNT GREGORI STROGANOFF: Amico di Sandro, Fra Angelico, Mainardi,
+        Sellajo.
+    MARCHESE VISCONTI VENOSTA: Fra Bartolommeo.
+    ARACOELI: Benozzo.
+    S. CLEMENTE: Masolino.
+    S. GIOVANNI LATERANO: Giotto.
+    S. MARIA SOPRA MINERVA: Filippino Lippi, Michelangelo.
+    ST. PETER'S: Assistant of Giotto, Michelangelo, Antonio Pollajuolo.
+    S. PIETRO IN VINCOLI: Michelangelo.
+San Gemignano.
+    MUNICIPIO: Benozzo, Mainardi, Pier Francesco Fiorentino.
+    OSPEDALE DI S. FINA: Mainardi.
+    S. GIOVANNI: Mainardi.
+    S. AGOSTINO: Benozzo, Mainardi, Pier Francesco Fiorentino.
+    S. ANDREA: Benozzo.
+    CAPPELLA DI MONTE: Pier Francesco Fiorentino.
+    COLLEGIATA: Benozzo, Domenico Ghirlandajo, Mainardi, Pier Francesco
+        Fiorentino, Piero Pollajuolo.
+    S. JACOPO: Pier Francesco Fiorentino.
+    S. LUCIA: Pier Francesco Fiorentino.
+    MONTE OLIVETO: Benozzo, Mainardi.
+    PANCOLE (near San Gemignano), S. MARIA ASSUNTA: Pier Francesco
+        Fiorentino.
+    PIEVE DI ULIGNANO (near San Gemignano), S. BARTOLOMMEO: Pier
+        Francesco Fiorentino.
+San Giovanni Valdarno.
+    ORATORIO DI S. M. DELLE GRAZIE: Sellajo.
+San Miniato al Tedesco (Val d'Arno).
+    S. DOMENICO: Carli.
+Scotland.
+    CAWDER HOUSE, (BISHOPBRIGGS) CAPT. ARCHIBALD STIRLING: Pier di
+        Cosimo.
+    (GLASGOW, Cf. under G.)
+    GOSFORD HOUSE EARL OF WEMYSS: Albertinelli, Botticini, Masolino,
+        Pier di Cosimo.
+    KIER (DUNBLANE), CAPT. ARCHIBALD STIRLING: Pontormo.
+    LANGTON (DUNS), HON. MRS. BAILLIE-HAMILTON: Alunno di Domenico,
+        Bugiardini.
+    NEWBATTLE ABBEY (DALKEITH), MARQUESS OF LOTHIAN: Amico di Sandro,
+        Pier di Cosimo, Pontormo, Sellajo.
+    ROSSIE PRIORY (INCHTURE, PERTHSHIRE), LORD KINNAIRD: Granacci.
+Sermoneta.
+    PARISH CHURCH: Benozzo.
+Sheffield.
+    RUSKIN MUSEUM: Verrocchio.
+Siena.
+    Albertinelli, Lorenzo Monaco, Pier Francesco Fiorentino, Rosso.
+    PALAZZO SARACINI: Bugiardini, Mainardi.
+    S. MARIA DEGLI ANGELI: Carli.
+    MONASTERO DEL SANTUCCIO: Pier di Cosimo.
+Sinalunga (Val di Chiana).
+    S. MARTINO: Pier Francesco Fiorentino.
+Spoleto.
+    DUOMO: Fra Filippo Lippi.
+Staggia (near Siena).
+    S. MARIA ASSUNTA: The Pollajuoli.
+Stockholm.
+    ROYAL PALACE: Botticini, Pier di Cosimo.
+St. Petersburg.
+    HERMITAGE: Andrea del Sarto, Fra Angelico, Fra Bartolommeo,
+        Botticelli, Bugiardini, Ridolfo Ghirlandajo, Granacci,
+        Michelangelo.
+    PALAIS STROGANOFF: Amico di Sandro, Filippino Lippi.
+Strasburg.
+    UNIVERSITY GALLERY: Bugiardini, Credi, Assistant of Giotto,
+        Masaccio, Pier di Cosimo, Piero Pollajuolo.
+Stuttgart.
+    Albertinelli, Bugiardini.
+Terni.
+    BIBLIOTECA: Benozzo.
+Todi.
+    MUNICIPIO: Pier Francesco Fiorentino.
+    S. FORTUNATO: Masolino.
+Troyes.
+    MUSEE: Bacchiacca.
+Turin.
+    Amico di Sandro, Fra Angelico, Botticini, Bronzino, Bugiardini,
+        Credi, Franciabigio, Pier Francesco Fiorentino, The Pollajuoli,
+        Pontormo, Cosimo Roselli.
+    ACCADEMIA ALBERTINA: Fra Filippo Lippi.
+    ARMERIA REALE: Rosso.
+    MUSEO CIVICO: Bugiardini, Lorenzo Monaco.
+Urbino.
+    DUCAL PALACE: Paolo Uccello.
+Vallombrosa.
+    PIEVE CARLI.
+Venice.
+    ACADEMY: Carli, Rosso.
+    QUERINI STAMPALIA GALLERY: Credi.
+    SEMINARIO: Albertinelli, Bacchiacca, Bronzino, Carli, Filippino
+        Lippi.
+    BARON GIORGIO FRANCHETTI: Bugiardini.
+    PRINCE GIOVANELLI: Bacchiacca.
+    LADY LAYARD: Garbo.
+    PIAZZA SS. GIOVANNI E PAOLO: Verrocchio.
+Vercelli.
+    MUSEO BORGOGNA: Domenico Ghirlandajo.
+Vienna.
+    Andrea del Sarto, Fra Bartolommeo Benozzo, Bronzino, Bugiardini,
+        Franciabigio, Pontormo.
+    ACADEMY: Bugiardini.
+    HERR EUGEN VON MILLER AICHOLZ: Filippino Lippi.
+    DR. A. FIGDOR: Alunno di Domenico.
+    HARRACH COLLECTION: Mainardi, Pier di Cosimo.
+    COUNT LANCKORONSKI: Alunno di Domenico, Franciabigio, Granacci,
+        Masaccio, Pier Francesco Fiorentino, Rosso, Sellajo, Paolo
+        Uccello.
+    PRINCE LIECHTENSTEIN: Amico di Sandro, Credi, Franciabigio,
+        Mainardi, Pier di Cosimo, Sellajo, Verrocchio.
+    BARON TUCHER: Fra Angelico Benozzo.
+    HERR CARL WITTGENSTEIN: Granacci.
+Volterra.
+    MUNICIPIO: Carli, Domenico Ghirlandajo, Pier Francesco Fiorentino,
+        Rosso.
+    ORATORIO DI S. ANTONIO: Pier Francesco Fiorentino.
+    DUOMO: Albertinelli, Benozzo.
+Wantage.
+    LOCKINGE HOUSE, LADY WANTAGE: Ridolfo Ghirlandajo, Pesellino.
+Warwick Castle.
+    EARL OF WARWICK: Alunno di Domenico, Granacci.
+Washington.
+    MR. VICTOR FISCHER: Carli, Lorenzo Monaco, Mainardi.
+Weston Birt (Tetbury).
+    COL. G. L. HOLFORD: Carli.
+Wiesbaden.
+    NASSAUISCHES KUNSTVEREIN: Bacchiacca, Franciabigio, Sellajo.
+Wigan.
+    HAIGH HALL, EARL CRAWFORD: Botticini.
+Windsor Castle.
+    Andrea del Sarto, Franciabigio.
+Worksop (Nottinghamshire).
+    CLUMBER PARK, DUKE OF NEWCASTLE: Pier di Cosimo.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Florentine Painters of the
+Renaissance, by Bernhard Berenson
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