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diff --git a/17408.txt b/17408.txt new file mode 100644 index 0000000..6ff2cef --- /dev/null +++ b/17408.txt @@ -0,0 +1,6112 @@ +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 + +*** END OF THIS PROJECT GUTENBERG EBOOK THE FLORENTINE PAINTERS *** + +***** This file should be named 17408.txt or 17408.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/7/4/0/17408/ + +Produced by Juliet Sutherland, Louise Pryor and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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