Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
The Venetian
New
$5.oo
The
The
The North
With
8vo.
$1.00
Frontispiece.
G.
Crown
P.
New Yorh
Crown
8vo.
Net $1.50
PUTNAM'S SONS
London
THE
FLORENTINE PAINTERS
OF THE RENAISSANCE
WITH AN INDEX TO THEIR WORKS
BERNHARD BERENSON
(I
THE
VERSf
G. P.
PUTNAM'S SONS
LONDON
NEW YORK
37
24
be |jmclurboclur *$tm
1909
REESE
Copyright, 1896
BY
G. P.
PUTNAM'S SONS
G. P. PUTNAM'S SONS
(For revised edition)
But as most of
this
it
me
to
sense,
been spent
new
edition.
that
must
in
preparing
Indeed,
it is
time has
my
"
Draw-
has, in a
make
to that bigger
this
work
my
to
attributions.
serves.
the
first
time.
Ample
is
in
articles
de-
accounts of this
found
it
fre-
may be
rediscovery of an
all
57t>2
IV
The study
Pietro Cavallini.
S. Cecilia in
Rome, and
of his fresco at
of the other
it,
works that
has illumi-
and development.
felt
The
results will
the
his
lists
first
be noted here
in
time, of Cimabue,
immediate
the
and
and
assistants.
B. B.
Boston, November, igo8.
in
lists
of
them considerably
increased.
Botti-
Amico
di
many
under
admiration
greater
like
exposed to public
names.
Botticelli not
Botticini
to
have
in
time for a
Botticelli,
at
"
surely nothing
real author's
name.
of the
vi
Cavalcaselle's
be found
Storia
Vol. VII.
The
dealt with
fully
delta
Pittura in Italia,
and ably
my
suaded
me
Sandro
des
am happy
indebtedness to Mr.
Beaux
Botticelli,
for
in
having per-
Of Amico
di
and
to acknowledge
Home
to study Botticini.
have written
be
Mr. Herbert P.
in
CONTENTS.
PAGE
RE-
NAISSANCE
95
189
Florentine
between
painting
and
Giotto
artists
names
in
Put be-
Venetian
art,
The
difference
is
striking.
names
is
Not
left
no form
sig-
so with
The
exhausted
still
forget that
of expression untried,
They
and to none
my
meaning."
partial
Painting,
therefore,
and we
The immense
his greatest
means that
the
feel
man
as
artist.
achievement
his personality
but a
offers
it
in
any one
was but
slightly deter-
would be absurd,
art form,
therefore,
it
he
shape him.
to
the
treat
The
history of
Each man
development.
upon
his
never condescend-
it
comprehended
fitly
convey
it
of
life
to others
in
and
in this
sarily
art
inter-
IMAGINATION' OF TOUCH
est,
their value.
What
they attained,
is
they aimed
at,
lose
and what
essay.
II.
The
first
painting
entine
affords
was
Florentines exploited
Although
Giotto.
no exception to the
he
all
nowned
as architect
differed
Tuscan successors
in
an
we must come
to an
we may
art.
agreement
figure-painting,
re-
as to
what
its
the essential
in
own
for
of
Giotto,
but
no accurate sense
IMAGINATION OF TOUCH
we
are conscious of
and
in space.
make
we
learn to
of reality.
The
child
is still
He
third dimension.
Land
Later,
we
although
it
the
forget
connection,
until he
we
nise reality,
are, as a
matter of
fact,
giving
Now,
painting
is
an abiding impression of
only two dimensions.
fore,
The
artistic
reality
all
do uncon-
he can accomplish
plish ours,
by giving
impressions.
His
first
with
do consciously what we
sciously,
at giving
tactile
And
we accom-
values to retinal
business, therefore,
sense, for I
is
to
GIOTTO
illusion of
have the
inside
illusion of
my
must
figure, I
palm and
fingers corresponding to
me
it
and
let it affect
lastingly.
It
painting
ouring,
as distinguished
from the
art of col-
is
somehow
power
our
tactile imagination.
Well,
it
was
of the
tactile consciousness
ventured to
call
it,
power
make him
to stimulate the
of the essential, as
will
much
This
and
it is
is
have
that
his ever-
this
which
traces of his
story-teller, splen-
many
of
GIOTTO
who
the masters
own
person, of
modern
birth,
But
painting.
none of these masters had the power to stimulate the tactile imagination, and, consequently,
existence.
if
artistic
at
all,
as
losing
is
all
moment
the message
delivered.
only as
much power
imagination as
represented
by the
possessed
is
human figures
objects
in particular
but
conveyed a keener
themselves
anatomy
tion
in
is
We
greater,
and suppleness
short,
see
Giotto's
contemporaries,
paintings
more than
no longer
find
his
but we
still
feel
life-like
they
still
powerfully
appeal
our
to
that
tactile
all
is
it
genuinely
only
is
feel in
separated
symbols.
boundless domain of
at this point for a
are of
aesthetics,
moment
to
we must stop
make
sure that
we
phrase "
it is
it
At
And
their
artistic pleasure,"
used
What
in
is
in so far at least as
Our judgment
any given work of art
differ-
art
of
fall
into
demand
will, in short,
be
the
in
first
dramatic
rendering of
of the painting
place a
tion.
is
shall
it
its
its
good
illustra-
painting what
in
pictures
nice
people,
landscapes.
is
amusements,
refined
In
many
agreeable
containing
picture
elements
these
all
in addition
pleasure-giving
But
in
is
of vital conse-
resolutely
set
themselves to
specific
figure-painting,
problems of the
is
merit,
clear.
we
If
we wish
art of
the second-
to appreciate their
preted
situations,
and,
in
fact,
" suggestive-
Worse
still,
we must even
It
was
is
in fact
some
of their best
alone,
their efforts,
is
Now
ing give
in
what way, we
me
ask, can
How
is it
given
pleasurable
pleasure the
The
answer,
moment
I
that
source
recognition
becomes an enhanced
nature
in
whose recog-
me no pleasure,
in a picture, a
enjoyment, or
from
receive
that an object
may have
nition in nature
of
in paint-
form
it
believe,
is
transferred to art?
unwonted
fact
activity
source of most
(if
free
not
all)
of
our pleasures,
For instance
am
suddenly
If I
2.
we
shall
receive the
4,
my
mental
activity.
work
of
of art,
The
self-consciousness.
unusual intensity of 4 to
2,
overwhelms them
is
is
this
is
it
whole
their
enhancement
in question,
in
it,
Ivigher coefficient
of
in
tajce
not
but continue to
Precisely
painting:
reality to
it
the
lend s
object
accelerated
exhilarating
the observer.
psychical
sense
of
processes,
increased
and
capacity
the
in
pleasure
painted than
in
We remember that
to
in the object
itself.)
And
it
happens thus.
realise
able
Ordinarily
nal sensations.
difficulty
in
skimming
we have
consider-
these tactile
off
values,
much of their
who gives us
strength.
artist
itself
upon a more
vivid
realisation
of the object,
tactile
importance of the
tactile sense in
our physical
making us
we
feel
life
And
than
height-
this brings us
back
artist,
is
to
The
me
ment
of
my command.
entire space at
word
only, that
myself
do not mean
further
this
to imply that
On
tactile satisfaction.
much
to say nothing of
still
What
satisfies
our
from movement,
all
work
do wish to say
tactile
reality
and then
its
and
tions,
first
we
power
its
"
is
is
the
that unless
shall
an ever-height-
exhaust
its ideas,
of appealing to our
beauty
significant at the
of art
imagination, a picture
ened
get
more from
we
the contrary,
colour,
it
satis-
fied
we
must be
emo-
" will
first.
My
I
must
this
this subject at
all,
principle
is
indeed
all-important in
schools,
it
school.
Without
is
important
its
in
other
the Florentine
due appreciation
it
would
GIOTTO
We
importance
as
if
synonymous with
artistic
we should never
realise
why
importance were
historical
its
significance
what
but
artistic
idea
at a date so
early
became
it
academic.
in
what way he
fulfils
ing as an
art,
which condition,
somehow
We
shall
the
first
condition of paintas
we
agreed,
we cover with
is
if
same subject
nearly the
in
the Florence
striking,
but
it
difference of pattern
tion. In the "
and types, as
Cimabue
"
much
in
of realisa-
we patiently decipher
we conclude at last
To
men and
recognise
angels standing
these
woman
by or kneeling.
representations
we have
14
that the
effort
in con-
tion.
of relief, of rapidly
ing vitality,
scarcely have
realise
a
real
upon
Our
had time to
completely
it
the Giotto
light
the
it,
on
it
throne occupying
satisfactorily seated
tactile
imagination
ris-
Our eyes
before we
is
it.
diately.
eyes
varying constantly
way our
in short.
care
little
gift of
for
the picture
that
correspond to
my
ideal of
lated
better to
forgive
them
all,
have much
faults.
this mira-
GIOTTO
cle
rudimentary
line,
light
when we
we must
his compositions.
He
schemes
types, that
This de-
it.
of colour,
is
larger-boned,
to say,
which
his
scheme
his
sti mulus
rudimentary
utmost out of
and
in actual
he makes
even
massive,
life
in face
the possi-
all
all
light
and shade,
may be
of the strongest.
In
the lights
or undraped.
we
realise the
whether draped
its archi-
GIOTTO
functional; that
pose.
Above
reason.
tectonic
every_ line
all,
Follow any
values.
tactile
pur-
to say, chargol_with
is
is
how
left,
it
enables you to
the
feet,
and how
its
There
is
is
not
them.
The rendering
frescoes
in
of tactile values
once recog-
we
are
all
though
merits,
must
hireh
us.
nlan^-ef-Teality on
Now
what
is
back of
7
;
SYMBOLISM OF GIOTTO
reality
What
communi-
its
after
material significance?
generations
symbols,
of
to render'
is it
painter who,
mere manufacturers
and
illustrations,
allegories
of
had the
significance of the
No
what
his
theme, Giotto
When
permit.
art,
the theme
much
and
is
of
gravity,
it
of his
as the
own
sacred story,
matter,
with what
skill
it
is
what pro-
hieratic_-xlignity,
it
ment
at certain of his
But
let
symbols
in
us look a
mo-
the Arena at
"
What
and action
of a person under
Let
me
traits,
and
SYMBOLISM OF GIOTTO
shall
stancy
"
woman
as a
with a blank
call
her
face,
falling back-
man
in
It
" Injustice,"
to look at her.
a powerfully built
up
" Incon-
So he paints
and
his
hooked
lance.
He
tall
sits
farer.
are
is
one of
sternly on the
alert readiness
upon
trees,
stripping
"Avarice"
trumpets.
curls
all
is
his prey.
waving
lings
of his sword,
hilt
is
his under-
and murdering
way-
Her left
moves
as she
down on whatever
label
them
it
can grasp.
No
need to
GIOTTO
Still
19
the significan t
is
action and
ures never
fail
ly
line,
most
So with the
lookjap_._or^ down,
and the
rapid-
significant
cant
gest-
signifi-
significant
and, be
it
motion such
as
we
get
in his
Paduan
frescoes
in
Dream."
This, then,
is
appreciation as an artist
w orld
we
realise
his
representations
more quickly
realise
the things themselves, thus giving us that confirmation of our sense of capacity which
is
so
FOLLOWERS OF GIOTTO
20
III.
For a hundred
appeared
years
Giotto
after
there
in
significant.
immediate followers so
understood the
little
some thought
His
it
re-
and
colour,
line,
it
and
still
is
its
material sig-
a shapeless sack,
not functional
is
by
mere
is
itself
can at
The better of
but knew no remedy,
them
and
worked
all
busily,
and
it
change at
all
became necessary,
costs
is
at
hand
it
significant,
Let
me
came.
"
Why
when the
ob-
and
trivial action,
pretty
with the
FOLLOWERS OF GIOTTO
results foreseen
Crowds
still.
in S.
21
still
Pretty faces,
the "
Triumph
the idea
it
of St.
whatever?
One
pretty
am
its label-
instrument, would
ling
incarnates
woman
holds a globe
ty of empire
pretty clothes a
bow and
posed to rouse
me
war
must
to be her knee,
suffice
still
to put
heavenly music
me
this instrument
you want
to
know what
scroll.
of
the
all his
point of his
heart and
quill.
all
The same
his soul
lack of
ORCAGNA
22
significance, the
same obviousness
for the
philosopher
what more
sig-
who
as obvious as
his
Church Militant
and Triumphant."
nificant of St.
characterise
it
(with a movement,
is
And
own book ?
by the way,
Not
is
is
While
in vain
it is
and
art
were
in
the
produced.
its
close,
were
it
is
difficult to speak, as
only a
FRA A NGELICO
as
material
exist.
in
Here he
Maria Novella.
altar-piece in S.
veals himself as a
ment
23
man
of considerable
we have
Giotto,
significance
But while
tactile
re-
endowvalues,
no pe-
the frescoes
in
charm and
that
grace.
we have here
by the recent
am tempted
to believe
restorer.
is
real artistic
we
They
still
On
the
sculptured tabernacle at
Or Sammichele, where
We
is
much
sig-
lower.
come down
man.
Per-
devotion to his
performing
FRA AXCELICO
24
it,
are
profound feeling
It is true
is
difference
that Giot-
and there
no possible compensation
it
Like
the supreme
all
artists,
and presentation of
weaker personality,
ceived,
is
him.
the. significant,
realised.
Over
this
first
signifi-
the grasping
In the
vaguely per-
and not
God
it
sufficed
it
for the
was weaker,
felt,
his
is
merely
realm of
feel-
great master.
in
his
heaven
world " he
felt
's
vented him
When
all 's
from perceiving
right with
evil
it,
the
anywhere.
his imagi-
his
martyrdoms
are
and executioner
and he nearly
spoils
one of
the
FRA ANGELICO.
great
2$
San Marco
with
resources of his
a
power
art.
all
small.
the
To
true, to Giotto's,
tions of
the
But
any intervening
it is
qualifica-
facial
beauty, the
delicate colour.
What in
the
happiness on
And
all
real
kneeling
people
we know
It is true,
is
the
sig-
scarcely
him
beauty of
reality of the
where
the
iiot,
all
the composition
" Corona-
it
inspired
as a person,
FRA ANGELICO
26
He was
typical
painter of
the
The
Mediaeval to Renaissance.
feeling are in the
We
sources of his
almost modern
is
his
means
we count
against
him with
precursors
of ex-
the moderns,
from
way which
his feelings in a
transition
Yet both
made
articula-
in action
great progress
and
upon
in
his
the
first
be identified
(a
we
first
to
communicate a sense
How
Marco
readily
spring-time gaiety
me
Annun-
MASACCIO
27
IV.
Giotto born again, starting where death had
cut short his advance, instantly
making
his
own
all
demands
will
understand Masaccio.
Giotto
new
we know
already, but
aeval skies
new demands
conditions, the
spirits
enjoying.
Here new
prevailed.
The
interests
all
that helped
man
of sov-
to
know
To
It is
its ideals.
rial
purpose
it is
to
make
significance of things
field of
arts
whose
in a period
like the
MASACCIO
2$
nied
all intrinsic
significance?
In such an age
it,
not been
made
as
had
Greek days, to
power
to
own way
to
And
as this
meet
it,
each
in their combined
body
his
to the
brief
Donatello
new
career,
ideals
and
by being presented
other individuals of
Donatello was
meed
artist
in significance
in
apt, rather
the obvious
the example
of incalculable
witness
by descending
to
MASACCIO
by
Types,
this taint.
29
themselves of the
in
which makes us
realise
spiritual significance
traying;
to
and the
por-
is
this
we
de-
and
easily find
we
In later painting
significance.
shall
are, I
figure, that
to
my
thus
it
much
realise
it
tactile
would yield a
definite resistance
I feel
touch, that
that
effort to displace
walk around
my
consciousness.
it.
In
more, and
scarcely realise
it
short,
in
it,
real
that
life
could
could
scarcely
should
upon
MASACCIO
3<D
some dynamic
begun to
quality, before
at
all
to
to
we have
his old
possess
How
itself of
Whatever they do
they
is
it
is
impressive and
Compared with
world-changing.
same chapel by
those in the
his figures,
his
precursor,
fol-
without
tactile values.
Even
ond
Compare
place.
his
"
Expulsion
sec-
from
here by Masaccio.
more
correct,
powerful
a
but
less
tangible
man warding
off a
less
and
Adam
and Eve
heart-broken with
stride
fear,
Ma-
shame and
grief, hearing,
MASACCIO
perhaps, but
31
high overhead
who
directs their
exiled foot-
steps.
himself
the Giotto
propitious world
an
of
was,
as
earlier,
more
artistically
an
a great
artist,
dowed
tactile
values,
them.
and with a
skill
young
In
in
it
rendering
pursued to
Bellini.
lived as long,
he might have
laid the
of Venice.
founda-
and
As
it
far
was,
Masaccio's death
the hands of three
left
Florentine painting in
whom the
former to the
PAOLO UCCELLO
32
overwhelmingly,
older,
who, but
felt
his influence.
for Masaccio,
The
would themselves
Andrea
del Castagno
men who
a whole
for
Domenico
the younger,
in
As
these were
generation
after
we
do better
who devoted
mediaeval vision of a heaven upon earth. Nothing could have been farther from the purpose of
Different as these
common,
that in their
us, dating,
ity,
there
it is
is
true,
no touch
note of transition.
tirely to the
new
much
in
As
era,
this
two
artists
no
at the be-
PAOLO UCCELLO
3:
teaching of Masaccio.
lems.
His
it
was to
real passion
some problem
in this science,
mastery over
its
difficulties.
Accordingly he
composed
as
pictures in
many lines as
Prostrate
horses,
dead
or
fields,
dying
Noah's
cavaliers,
arks, are
colour
scheme of mathematically
converging
pink
lines.
any
dis-
sort,
we
adequate
Thus
in
action of
of stuffed figures
it
show
J)
<
^u
d*****,
^'Vi^
{A
J a S~
"
'
<
PAOLO UCCELLO
34
in
Deluge," he
and foreshorten-
home
to us the ter-
rors of a cataclysm,
and
in the neigh-
some
an object in the
we
air
decipher as a
is
figure,
human
some
difficulty,
is
meant
to represent
liberately preferred to
away from
in
about
possibility
which, after
God
all
us,
make
it
dash inward,
skill
down
as the
sake
mental
and the
or manual,
naturalists.
As
it
scarcely matters
evil,
going
35
briefly
farther,
we must,
define
before
ourselves
to
The
painting,
we
is,
by
this
means, and
this alone,
is,
we do
above
all,
in life.
an
Now
man
this
is
with
artist
rendering them.
make
The
sense,
skill in
though
it
revealed to himself,
of possessing
to the
means
it.
he
is
scarcely,
His conscious
of rendering.
if
at
all,
effort
It is of
is
aware
given
means
of
and conscious,
it is
he prides himself.
less likely
art
he
is
on
The
while he
is
but
all
the
7,6
his genius
for
makes him
it,
material and
However
skill
skill
;
significance
spiritual
his
thing but
but
feel
intimates hear
;
talk of no-
that skill
him
the
it,
forms.
of
is
and
his genius,
is
art.
times
all
art
is,
critic,
having an
indi-
them.
At Florence
these inverted
notions
was a school of
all
egging each
it
was
all
it
men of genius
in
signifi-
cance.
his
wonderfully
realised
figure of a
not
naked
man
only without
real significance,
man
like
he
of artistic significance
started with, in
weaker
may have
his
As
and knowledge.
momentum
But out of
end.
its
with which
and when
Botticelli
easier
and quicker
artistic patri-
been no man at
artistically
at all so
much
What
is
a Naturalist
ap-
to the sons of
much
all
but
for
sig-
mony
art
in
what sense
skill
$7
nobler,
whom
also
the Naturalists.
?
NATURALISM IN ART
38
following definition
for science
is
who
has taken to
gift
His purpose
art.
to us
more
rapidily
sig-
communicating them
and
we
intensely than
purpose
is
research,
and
his
his
communication
From
us take refuge
in
let
of
the Almighty in
Noah."
Uccello's
this per-
the figure
" Sacrifice
of
coming toward us
in
man whose
solemnity, as a
as Giotto,
did
Uccello seems to have been
artistic
in his "
Baptism
"
was
chief interest
in fact,
how
fall
may have
at a given
if
A figure like
no psychological
significance.
Uccello,
it
is
NATURALISM IN ART
39
phenom-
down
his
observations, but
form and
Wherein does
of art.
in
his
achievement
differ in
map of a country ? We
relief map of Cadore or
and so elaborately
Giverny on so large a
scale,
coloured, that
be an exact reproduc-
it
will
moment
side a landscape
of
it
as a
Titian or
work
should
we
of art.
Yet
Monet painting
say,
who
be-
it
relation to the
its
is
exactly that of
place
paints
What
attempts to do
is
the
is
to
If
them
as they
but
art, as
we have
and
40
numerous
his
Yet
anatomy and
made
that
inevitable
it
genius did
arise,
perspective,
when another
great
he should be a Leonardo or a
have
was the
said,
first
repre-
painting
of
art
Andrea
and
art
del Castagno,
mere
and
science
artistic
it
is
peculiar to himself
cate at
pitfalls
and even
Florentines,
was
enough
true, not
much
He
less
to save
him
which beset
all
To make
is
do
it
is
significant.
The moment
this
as
it
mere strength,
Now
spirits.
enough
his
Castagno,
or,
worse
the
still,
accompanying high
who succeeds
well
in
Cumaean
or
Sibyl
Farinata
his
if
as
degli
mere swagger,
Spano or Niccolo
di
as
Tolentino
in
his
Pipo
to
mere
or
Nuova
artist,
sonality
among
him the
in
influential per-
first
genera-
VI.
To
distinguish
nearly five
clearly,
centuries,
after the
between
lapse
Uccello
of
and
makes
is
in
The
it
difficul-
more than
difficult,
makes
it
almost im-
DOMENICO VENEZIANO
42
come
possible, to
conclusions
to accurate
re-
their
Veneziano.
was
an
innovator
may become
ing as a
craft, are
in
in
medium, we
to paint-
themselves questions of
us.
His
movement and
to the figure
artistic
in giving
expression, and to
no trace
of sacrifice
naturalism, although
it
made
is
to dexterity
clear that
we
and
he must
have been master of whatever science and whatever craft were prevalent in his day. Otherwise
where
tactile values
of character
gait
what
were perhaps
Unfizi
altar-piece,
we
time combined
and
St. Francis, at
figures express as
much
FRA FILIPPO LIPPI
quent
in
As
faces.
43
a portrait-painter,
we have
in the Pitti
No
in
such
great
first
in this
difficulties as
we have encountered
ano meet us
works are
still
as
we
facility for
His
many
are
copious, and
admirably preserved
is
one or
we
of
them
judging him as an
artist,
yet nothing
If
attractiveness,
kind, sufficed
to
make
great
artist,
then
perhaps
than
any
Where
Leonardo.
other
shall
Florentine
we
find
faces
before
more
in certain of his
is
at
of his landscapes,
44
And
with
all this,
and
Yet by them-
That he
became more
very
rather
genius
for
own
the essential
Working under
admirably,
values
feeling for
to render
as
than the
tactile values
later,
attempt
of bunchy,
These, acquired
adopt
in his
to
artistic
elements no
which he attempted
of their incompatibility.
Filippo's
strongest
one of
sion,
Uffizi
frequently he betrays no
them, failing
less
the
in
field,
artis-
toward expres-
45
His
feelings of ordinary
life.
example
own, scarcely
any
with
naturalists,
real place is
Hence
less pernicious
a sin of his
expression
at
cost.
VII.
From
dominant personalities
in
Florentine painting
it
results that
were not
and
artistic
artistic alone,
but that
on the
one
side,
emotion (scarcely
and colour than
if
less literary
because
in words), and,
in
form
on the other,
We
by Filippo
all
alone, the
of
Castagno
to sacrifice to natural-
-N
46
To
dis-
tinct
and
It
may be
agreed,
naturalistic,
who
during this
ism.
how
difficult
it
was
for
we
perament
farthest
shall see
removed
if
from
at
by temscientific
interests.
now
of
tion.
to 1490
is
was mainly
naturalistic,
more
craft,
and even
not to
art.*
A LESS/0 BALDOVINETTI.
and
of
art
as
47
of
many
it
Galileo
was
methods
boyhood apprenticed
in early
And
artist.
as an
as
of scientific expression,
life
long to
make
and
the
vehicle
conveying
of
his
knowledge to others.
This was
among
literally
the
leaders
the
new
generation,
Alessio Baldovinetti, in whose scanty remaining works no trace of purely artistic feeling or
interest can be discerned
true of Alessio's
and
it
is
only less
far
we should
being more than men of
rocchio
if
These
also
more
art,
48
of Florentine genius,
so
little
do
striv-
which
is
time for
he
had
among
set
in
the render-
the innovators.
themselves the
much
to
be
masters.
To
we may
already said,
in
is,
Florentine
art, of
have
entirely
rocchio found
it
could attain
landscape,
it
and Ver-
its
maximum
of effectiveness:
The nude, of
movement he sug-
these.
Giotto
landscape he was
satisfied
49
and
in
with indications
himself to the
which, as
it
led
tactile values
him
also
by pre-
"Expulsion" and
movement, we have
"Man Trembling
his
But
in his
works neither
we can
Michelangelo,
who was
nude
the
until
first
that
is
Although
we come
to
to completely
we
can-
movement and
of landscape, as
it
REPRESENTATION OF MOVEMENT
50
was
in
in
movement by
and Verrocchio
Pollaiuolo,
vinetti,
by Baldo-
that
the
VIII.
mere change
it
we
just as
is
of place
movement
to
first
we find
that
we
realise
by the stimulation
realise objects,
and
an example) two
(to take
my
unless
men
strain.
see
wrestling, but
immediately
my
muscles, of resistance to
touch
me
all
over
body,
it
are
in
fact,
artistic
we
to
more,
Two
Although a wrestling
contain
many
be quite
not
wrestling."
match may,
artistic
if
weight, of
means nothing
in
perhaps, than
men
my
my
it
genuinely
can never
REPRESENTATION OF MOVEMENT
pletely realising
interest in the
it
game, but
granting the
also,
by the succession
of
even
if
Now
realisable.
if
way
movement without
the fatigue
of
the
actuality,
we should be
the
heightening of
vitality
realise
life,
we keenly
itself
would
and
precisely
what the
artist
as
succeeds
This
is
in repre-
senting
it
who
in-
enjoy at our
leisure..
allows us
is
to
REPRESENTATION OF MOVEMENT
52
His task
is,
however,
less indispensable
more
far
it
is
difficult,
although
moment
is
what
no moment
at
He
an actuality, as
ment.
is
an object, but
is
namely move-
really
in
only one
is
par-
ticular
all
other
say of
my
"
wrestler.
What
a pleasure to be
able to realise in
chest, with
is
in
him
What
he
as
is
making
a pleasure, as
his
supreme
trickle like
his nerves
by the
"
artist
a refreshing
All this
who,
in
I shall
relax,
and pressure
and
stream through
be made to enjoy
representing
effort
logical
in
any one
sequence
muscles.
It is just
spirit of
the
REPRESENTATION OF MOVEMENT
This logic of sequence
to art.
53
to be attained
is
haps as the
to
work out
artist
temperament and
we have
by
artists
by
scientists
profession
whom
Verrocchio.
We
all
the pos-
light
attention
may
figure
we must
when we
we say
instead of figure,
figure in
laiuolo rendered
movement with
line
and
light
way PoU
this differ-
we never can
This the
in
given action.
If
it.
movement,
actuality
have, he
significant of
artist
any
must construct
and
strain
and
sequences,
for, if
he would con-
line
54
and the
light
will best
render
would be
more
difficult to find
effective
Pollaiuolo's
or
two of
own
ments, where
more than
little
and
effort
re-
life-communicating
his
What
Nudes."
to
this
less
it
sheet with
creased pleasure
faces of
is
most of the
Nor
an
and
is
is
ever
in-
it is
figures
hideous bodies.
renewed,
ever
Surely
makes us return
that
it
their scarcely
the pattern as
Least of
all is
it
for most
of engraving.
in
power
to
directly
communicate
life,
vitality.
to
im-
Look
'
'
his assailant
-BA VID
"
55
stab-
See
how
the prostrate
man
his grip
less force
The significance
all
rendered that
we imagine
we cannot help
all
so
them
realising
ourselves imitating
is
the move-
and
all
If
this
all
we
should
And
on our
side.
we
this
own
effort
we
for
feel as
if
the elixir of
life,
not our
veins.
at
thantheNudes, Pollaiuolo's
suction
of
Hercules' grip
As you
"
Her-
realise the
that
VERROCCHIO
56
falls
AND LANDSCAPE
supreme
realise the
embrace
his
you
as
effort of
if
your
feet
veins.
your
through
still
movement, but
beauty as well
The young
of tactile values
and personal
now he
still
strides over
the ease of
feel as
derful
it.
we
it,
his
we
of
if
fearing
movement of
this
won-
youth
IX.
In
all
that concerns
movement, Verrocchio
proficiency.
We
his master's
AND LANDSCAPE
VERROCCHIO
$?
however
is
by
much movement
same
as harbingers of
terpieces of
Yet
movement
for
any
in
col-
intrinsic perfection,
Dolphin
as
Pollaiuolo, in the
chio,
drawing
at
all,
at
Vec-
Venice
by an over-exuber-
of
But
in
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
of
is
by the Florentines.
first
Alessio
LANDSCAPE PAINTING
58
ideal
was to note
it
down
view
darno
this
Nor can
Tuscan paradise.
it
be denied
such as
is
conveyed by
of having the
difficulty
is
only
Instead
tactile values.
we should have
in
without an
we here
effort,
and
in
see
them
perfectly and
consequence
life.
feel great
Now
if
land-
air, all of
which help to
VERROCCHiaS LANDSCAPES
make
tend
in
ure
we
and therefore
no way to heighten
capacity.
But
as a
matter of
59
our sense of
fact the pleas-
only to a
is
great extent
The
being.
This
means purely
chiefly
task
not
would do,
the conscious-
being.
is
the
visual
of well-
communication
of
by sensations non-visual
by
occasioned
feelings
is
of
such
rendering of what
art,
is
peculiar to landscape as an
Only now,
and sporadic.
in
our
own
days,
may
lem seriously
the
dawn
of an art
which
at
have to what
will
rela-
Middle Ages.
Verrocchio was,
among
Florentines at least,
VERROCCHIVS LANDSCAPES
60
the
first
the contours
of nature
is
but
lay,
art distinct
He
the figure.
ence
is
an
scarcely
knew where
in each,
ance as
vague
tactile
must
the
differ-
felt
values.
grant,
and that
much
in
import-
with
it
in full
tempted
effects
days,
the
trees
such as he
of light
at-
he deliberately
in
stand out
Tuscany, on
almost black
To
ren-
day
"
the
Elegy
"
dew
effect so matchlessly
seemed to be
ter,
and
the
Uffizi),
in
and dust
of the
given in Gray's
we feel
(in
being his
own
pupil Leonardo.
GENRE ARTISTS.
X.
a temptation to hasten on from Pollaiu-
It is
men
after
been toiling
even more
after.
difficult
it
would be
to painters of scarcely
portance as links
in a
their
even so brief as
The men
this,
in
an account,
of Florentine painting.
to-
Beno^zo Gozzoli
Although they
much
in
common.
Both were,
as artists, little
The
real attractiveness of
both
lies
art.
entirely out-
BENOZZO GOZZOLI
62
genre
And
illustration.
them ends
between
here
within
the
their
likeness
common
invention, with
the fairy
gifts
wake the
tale.
child in us,
Later
in life, his
more precious
who wants
to resist the
who had
forgotten
fres-
it is
With
a naif
these,
we
have,
it is
true,
many
in his
Pisan frescoes
And
all
it is
tale.
replaced by the
GHIRLANDAIO
and positive bad
significant detail,
London
or
63
New York
taste.
or Berlin worse to
Have
show
It
may
which
is
many
adopting so
not with
the artists of
is
And
once
in a while,
character^ or a
yet,
in
ease that
him, after
artist.
cunning
in painting
all
all
but unfor-
laiuolo's
Masaccio's
tactile
movement, Verrocchio's
and succeeded
in
so sugaring
all
appreciated
Be-
in
that industry,
values,
He
Pol-
effects of light,
down what he
GHIRLANDA10
64
now
is
faces,
good
attractive
likenesses,
as
su-
There
any of
me something
Bright
where
much
as
"
that
colour, pretty
and
delightful,
must be
it
never significant.
his
To
famous frescoes
in
in
by four
at
centuries, they
still
many
suggest so
and
in tiers.
are
paper
witness
cents," a
the
scene of
possibilities.
"
such magnificent
artistic
and
cance.
Look
John
"
;
Ginevra
grapher's
you
iron
as
stiff
behind
as
her
if
head.
An
even
larger
group of
LEONARDO
65
Florentine housewives in
all
which
off
is
further spoiled
by a bas
relief to
show
her skirts
this to
dering of movement.
"
Epiphany
show
off skill in
the ren-
Yet elsewhere,
as in his
its
in
XL
All that Giotto and Masaccio had attained
in the
all
in
that Fra
expres-
movement, or Verrocchio
in light
and shade,
which
or surpassed.
when
at their best,
LEONARDO
66
Lisa
outside Degas,
we
the unfinished
and
if
shall
movement
art of
Epiphany
"
"
Mona
as
the Ufrizi
in
behind as a
left far
Add
to all this,
Where again
manhood so po-
youth so poignantly
attractive,
the
depicted
has
child
like
world's secrets
and the
the
Who
like
Leonardo
child's joy in
being alive
of
tions,
maidenhood
the
Belle
inexhaustible
fascination
?
of
Look
and
see
whether
the
at
look at his
refine-
who
timidity, the
ment
at the
elsewhere
LEONARDO
you
of
Leonardo
whom
it
may be
()J
is
Whether
beauty.
be the
it
and
for light
and
all
with-
were dashed
off
mind
at the
moment.
And
is
life-communicating as
is
life-enhancing as that
though he was as
nowned
is
a painter,
and
as a sculptor
in
less re-
architect, musician
all artistic
his career
occupations
but moments
knowledge.
were scarcely a
either foresaw
it,
it
field
It
of
would seem
modern
as
if
there
science but he
LEONARDO
68
and
as
if
there
And
all
life
such a
man
the
wonderful possibilities
family, of
whose chances we
Painting, then,
a
demanded
that he
was
Surely,
all
tidings
partake.
Leonardo so
to
human
the
of
all
little
at
of
as
it
moments
when
it
And
though
for
his
significance
great
it
which
his
and
We
but
mere
felt
we
lost in quality
painter, or even a
felt as
We
Leonardo?
mere
artist,
We may
Could a
have seen
well doubt.
BOTTICELLI
a number of ordinary brains
in
one
skull,
69
somehow conjoined
We
bourly terms.
means
the
fact that
hundredth part of
his
it
energy
when he
will,
that of
Lisa"
and rendering,
above,
is
let
the reproaches
painted so
us say,
made
;
Andrea
No,
Wife."
little
above
as utterly
the ordinary
to
let
del Sarto's
us not join in
Leonardo
because he had
Mona
for
having
much more
left all of
us heirs to
art ever
created.
XII.
Never
dom
dolorous
and
sel-
types,
ill-
satisfactory
favoured
charming or even
attractive
in
in
colour
in
what
is
it
and even
nowadays we may
BOTTICELLI
JO
him
The
secret
that
this,
is
in
European
Educated
presentation.
representation
earnestness
into
mere
self-obliterating
to a love of
trained
first
almost
with
triumph-
in a period of
genre
spiritual
himself
years he
left
Augustin
signifi-
enhancing.
the
in
work
Those
of us
of art but
who
what
it
represents, are
we
and
we
life-
by
feeling
his
but
feel
movement
that
it is
easy to stimulate,
us.
Long
after
if
any,
we have
BOTTICELLI
have inspired
elements
us,
we
his
in
are only
on the verge of
moments
happiest
This
in its
an unparalleled power of
is
combining
perfectly
may
pictures
touch
with
"
Venus
Throughout, the
tactile
values
of
values of movement.
Look,
for
instance, at
imagination
itself
is
almost as
Botticelli's
heightening as music.
is
But
in
ment
tire
is
directly life-communicating.
of all that
is
force
wave
Realm
as
"
in
How we
makes.
"
en-
the
The
And
Venus"
the Sixtine
revel in the
in the life of
fanciful, as in the
Chapel frescoes or
"
;
in
political, as in
the
the
BOTTICELLI
J2
no
how
matter
Louvre
how
unpropitious,
movement
ways
it
Indeed, at times
there.
less artistic
al-
is
ful-
the
" Pallas,"
most intimate
and flanks
in
Botticelli
gifts.
He
the
Centaur
line,
every
in
if
they
heightened degree
may
As to
supreme
the hair
life
imag-
of line
you
yet possessed of
all
LJNEAL DECORATION
73
own
In
it
to
its
desire!
fact,
sentation
was so
general,
in
Botticelli, that
indifferent
he appears almost as
to
haunted
if
Now
way
of
as faithfully as
movement.
is
them
there
by
is
may be
For instance
translating
values of
into
we want to render
the
the roundness
is
we simply
falls
communicated
entirely in terms of
movement.
Take
give
over
it,
But
let
us go
more obvious
movements
and
to us almost
all
Venus
their
and
"
power
of
what do we have
LINEAL DECORATION
74
This kind of
tion whatever.
the
line, then,
communicating
made up
Well
life.
same
is
arts
Sandro
have something
To
in
the
element
would
was
him
for
translation into
lated
And
to this
;
but
in
to
em-
his
representative
mere
libretto
lent
called
itself
he
to
a lineal
symphony everything
tactile
into values of
same reason
his subject
what may be
and
The
permit.
symphony.
rivals in
its
East,
sacrifice
ployers
exists,
In this art of
Botticelli
and elsewhere
Europe never.
art
quintessences of
will
Japan
of
relation to representation
and
an
imagine
these
entirely of
power
and of directly
to
being
movement, and,
for the
it
POPULARISERS OF ART
rhythm
the
of
line
the
J$
backgrounds were
Colour
possible.
for
representative
its
tirely
also,
Botticelli
pelling
This
to
it
than, as
is
is
usual,
away from
line,
In
some
of his later
line,
"
and
many
in
Fortezza"
pings
so
we
have,
symphonies of
have
scarcely
rather
it.
Botticelli's masterpieces.
it is
en-
disguised
Pegasus
and
that
trap-
we
coes
is
Lemmi
fres-
Leonardo and
after them,
Botticelli, like
Michelangelo
To communicate more
POPULARISERS OF ART
76
an
artist
Botticelli
in Florence,
Leonardo's
There
were
all
Milanese,
own
own
level,
sugaring them
palate, slowing
insensitiveness for
And
them down
down
them down
what
is
to
to their
to their
own
life-communicating.
man's
art,
became popular,
man
in their
as
was
of their time,
felt
more
we
not
even on Filippino,
FRA BARTOLOMMEO
77
man
of genius
man in
and much
whom
all
that
found
moment
they were
where
fulfilment,
its
us
let
turn for a
men
of manifold talent,
have
almost
become
might
else-
Fra
masters.
and Tintoretto
being
less gifted as
permitted
to
flower
naturally,
blighted
by academic
ideals,
off
were
dex-
and uproot-
Fra Bartolommeo,
who
in
temperament was
duced to desert
his lovely
women,
was
in-
his exquisite
on a colossal
78
scale,
or
for
And
cost.
as evil
is
round
the
of
effects
any
at
and
of colour
light
ficer of a
is
almost unknown
Bartolommeo
He
posity.
arti-
physically
is
is
colossal,
spiritually
or,
insignificant
perchance, as the
altar-pieces
this
Andrea
del
being
relief.
as
Florentine,
ill
at ease in the
neighbourhood of
it is
est sense
sphere of
true, not
As an
artist
he
within the
Lady "
probably
his wife
with a Petrarch
in
her hands?
79
we
and yet so
James
Even
how
technique,
what
in his "
close
But
we already
feel
And
the
in a
work
a back St.
of scarcely less
artist,
Even
saints,
pray
is
for
the
here, he remains
donna
the best
in addition, tactile
what
"
of
and
to
is
work
in colour effect,
singularly
Venetian painting
Trinity"
existence,
in
ro-
why
all
these draperies
draperies were
in
80
As you
glance
frescoes,
in
on the whole so
in life,
to draperies.
these
Most
figures.
of
move
for
Thus by constantly
and then material
Andrea
draperies,
What
tial in art.
tion,"
significance
pose and
to
a sad spectacle
is
his
"Assump-
herself,
off
you gaze
at
showing how
number
of tailor's
men, each
PONTORMO
But
let
mind
let
us bear in
Andrea painted
it
in
and portrait-painter
rator
him
to be a deco-
What he
could
the
in
most appropriate
in Italy
what
in his
Lady with
in his portrait of
first
social position
was
insisted
which the
upon
perhaps the
as
sitter's
much
What Pontormo
as
sank
to,
we
all
dom
of Forty Saints."
Bronzino,
none of
6
Pontormo's close
follower,
had
BRONZINO
82
happily
much
of his
power as a
portrait-painter.
cance, with
no beauty of design or
it
colour, the
painter,
ter
and continued
in
But as a
it,
portraithis mas-
of portraits
all
Limbo."
their
effect
is
more to the
point,
As
art.
painting,
often timid
it is
but their
true,
passed.
we seem
example
a bust of a
hand.
and
for a
Uflfizi at
missal in her
MICHELANGELO
83
XIV.
The
we have seen,
upon
things.
ulated
them
little
it,
and
in
of
most
of
themselves from
ecclesiastical
dominion, and
men
capable of
the pupil of
felt
At
energetic.
last
appeared the
it all.
him, the
last
artistically
maining
in
most propitious,
in his stock
him Florentine
art
all
the energies
had
its
re-
in
logical culmination.
ANTHROPOMORPHISATION IN ART
84
from
Donatello,
Leonardo,
Pollaiuolo,
means that
Verrocchio
and
Add
to this
felt
of
in-
human
nude.
This
fact
is
as closely de-
We
translate
them
own
realise objects
when we perfectly
own states, our
So obviously true
feelings.
is
this,
way
we keenly
train, to
speak of
ing on
movement
of a
rail-
it
its
realise the
that
us, be-
no
less guilty of
every time
Of
we
this
same
fallacy
we
are guilty
it
Now there is
art.
in
and
that
man
is
no
we
we
directly.
nothing, then,
Hence,
realise with-
are so familiar
which
we
the
bilities as
realise
His movements,
himself.
there
85
in life, will
produce
its
are
by the
Florentines), for
it is
Now
life.
while
it
Giotto
drapery
way out
is
on the draped
figure,
yet
of a difficulty, for
we
is
feel
the
it
masking
form
under-
86
neath.
A mere
painter, one
days.
The
draped
artist,
portraits
manufactured nowa-
cance of the
the
is
most of the
as in
satisfied to
this feeling.
obvious
is
and to paint
for the
hend
who
sees,
signifi-
more convincingly
itself,
when between
its
rendering
is
manifest
and
perfect rendering
And
this perfect
only.
If draperies are a
ance of
rendering of
realise the
the
full
tactile values,
movement next
to impossible.
To
re-
we watch
for
those tautnesses of
87
strains
realise
movement.
translation,
is
fully
of the
we miss
figure
and
skin,
all
after a slow
movement
we
receive from
increased but
is
slightly.
We
art
are
whose
now
able to understand
chief preoccupation
figure
why,
also,
problem of
is it
the nude
is
itself
human
the
most absorbing
directly life-confirming
it
is
why every
human
the
is
all
Not only
is
world.
The
first
fully
was Michelangelo.
Before him,
it
art,
had been
MICHELANGELO
88
studied
for
purposes
scientific
in
itself,
and the
his art.
mous.
Here
and
an aid
He saw
was an end
as
that
it
purpose of
final
art
in
were synony-
lies
his failures.
communicated and
values
tile
others
still
alone,
Masaccio,
have had
at least as
Other
inspiring.
for
modern
example
instance
for
much
of rendering
all
sense of
it,
no other
but
times, having at
for tac-
Leonof
artist
it
as
its
full
of
all
the nude.
the achievements of
modern
Hence
art, his
tion," or
by
his
Eve
many nudes
in the "
in the
is
are
our
Adam
Tempta-
same
ceiling
MICHELANGELO
of the Sixtine Chapel,
pose, be
Nor
is
it
it
there
89
for
no other pur-
such draughts of
And
cant and
this
all
this
power
more narrowly
of conveying
it,
capacity,
artistic
to
all
Michel-
but
possible
Manliness,
its
robustness,
humanity,
like in
modern
effectiveness,
we shall encounter
among the figures
nowhere
in
else so frequently as
Michelangelo completed
in-
man
of the
who knows
the earth.
90
in a
his ideal of
life
in the
disasters,
midst of tragic
in
most creative
years,
born so
He
lived
on
in a
no more employ
him than
it
in
could understand
him.
He was
he
felt
against
most drawn by
his
own
much
impulses, he was
strongest
obliged to expend his energy upon such subjects as the " Last
all
show
Judgment."
His
later
works
first in
harmony between
his genius
"
Last
Judgment,"
or
His pas-
But what
what expression
and
for
in subjects like
the
" Crucifixion
of
the
"
subjects
imperatively
fear of
Now
patient?
ings as
unknown
before him,
to Michelangelo as to
or, for
the world's
felt
the
feel-
Dante
geniuses
creative
Even had he
the
at
any time.
And
ment
do
feel,
who, being
in
in spite of his
but
nudes
it is
no wise
of terror, not
of
submission.
different
to be
announciyig rather than willing what the bystanders, his fellows, could not unwill.
representation of the
moment
As
the
Gods
huddling
the
"
to-
Last
vive
it,
no, not
even
God.
Michelangelo
and could
not
but
fail.
But
where
92
in
else
receive
whole world
the
such
this giant's
or,
and life-enhancing.
death, these
and
will,
from
as
nightmare?
a failure.
tions
you
if
we
shall
art
energy
of
blasts
dream,
of
If
it
and
treats of pain
as manifesta-
and energetically.
What
chance
is
there,
ment,
in
the representation of a
man
crucified
Michelangelo could
wonder he
failed here
What
a tragedy,
by
none
but
" Bathers,"
last
genuinely
artistic
treatment, his
traces
suffice to
enable the
this
com-
modern
times.
As he got
undeniable.
lacking
faults
older,
of
and
93
own
his
his genius,
its
and thicken, he
fell
into exaggerations
ex-
was
No
doubt he
tion as Botticelli
is
is
such a
no such thing as
without representation.
Yet he
tactile values
many drawings
hence his
unheeded.
rest
passion
for
Still
tactile
values.
have
already
tended
Michelangelo
touch.
exaggerations, to
to
similar
make thus
tile
imagination.
farther,
arts,
Indeed,
tac-
venture to go even
94
self-same predilection
for salient
them
of the
genuinely
is
ethical, will in
what
not
in
merely
even
and
artistic
projections.
as,
In closing,
let
namely
although no Florentine
that,
same
for the
all,
from
first
There
cause.
to last, fought
no opposition
is
of the last,
first,
The
and of
best
all
the
values,
or of
successful
and
of
movement,
or
Now
both.
movement
is
at the
bottom of
ence.
of
tactile
its
many
fact,
faults,
most serious
is,
all
the
Florentine
after
Greek
The
following
lists
make no
With
known
knows
is
for
in-
Richter.
J. P.
as well as paintings.
and churches
last.
The
first,
is
means
Paris, Louvre,
always
Thus,
Gallery, etc.
An
title
of a picture indi-
painter
marked E.
is
doubtful.
or L.
not based on
them.
95
WORKS OF
96
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).
Bergamo.
Lochis, 203.
Morelli,
dalen.
Cambridge.
Chartres.
Crucifixion.
32.
St.
E.
Florence.
E.
Saints.
Annunciation.
15 10.
Pitti, 365.
Holy Family.
Uffizi, 71
Last Judgment
169.
(begun in
1499 by Fra Bartolommeo).
Visitation, with Predella. 1503.
1259.
Corsini, 160.
Holy Family (in part).
iS".
Certosa (near
Florence).
Crucifixion.
1505-
Geneva.
Musee.
Gloucester.
Highnam Court,
Annunciation.
151 1.
Sir Hubert Parry,
7.
Nativity.
24.
The Hague.
306.
Madrid.
Milan,
Duke of Alba.
Munich.
Madonna.
Samuel
Mr.
York.
97
Untermeyer.
Female
Saint.
Paris.
1 1
14.
Filippino,
in
1506.
Pisa.
S.
Rome.
toon).
151
1.
Scotland.
Head of Christ.
Gosford House, Earl of Wemyss. Ma-
Siena.
564.
St. Catherine.
565.
The Magdalen.
421.
donna.
Stuttgart.
15 12.
1512.
Fra Bartolommeo's
piece at Besancon).
altar-
15 12
Venice.
Volterra.
ALUNNO
DI DOMENICO.
Descriptive
Musee.
Madonna and
infant
John
adoring Child.
Arezzo.
Museo, Sala
dalen and
II,
St.
4.
Tabernacle: Mag-
Antony
at foot of Cross.
WORKS OF
98
Dresden.
17
and
Tondi:
18.
and
Michael
SS.
Raphael.
Florence.
Academy,
67.
Pieta
and
of
Stories
Saints.
268.
St.
Thomas Aquinas,
Gabriel,
and a
Prophet.
269.
280.
Entombment.
Tondo: Madonna and infant
St. Benedict and two
Uffizi, 85.
1208.
John.
Monks.
Museo
di
tory.
Andrew, the
Magdalen,
and two
other Saints.
MarcheseManelli Riccardi.
Pieta.
Seven
which he painted
the "Massacre of
also
the Innocents."
1488.
Horsmonden
(Kent).
Two
Cassone-ironts:
Lapithas.
Liverpool.
17.
Martyrdom
of St. Sebastian.
is.
London.
Woman.
Taking
Sir
Stories
of Troy.
99
Two
Marquess of Bath.
Longleat (Warminster).
Cassone-ironts:
Lovere
(Lago d'Iseo).
Milan.
Narni.
of the
SS. Francis
and Jerome.
i486.
New Haven
(U. S. A.).
Jarves Collection,
47.
St.
Jerome.
Oxford.
Palermo.
Baron Chiaramonte-Bordonaro,
St.
Paris.
14 1 6 a.
Jerome.
Marriage
of
22.
Madonna
Peleus
118.
and
Thetis.
14 1 6b.
Triumph
of Venus.
Rome.
Colonna,
Scotland.
Rape of Sabines.
Langton (near Duns),
11.
Romans and
Reconciliation
1483.
between
Sabines.
14.
Baillie-Hamilton.
Vienna.
Warwick
Hon.
Mrs.
Casso ne-iront
Story of Io.
Dr. A. Figdor.
WORKS OF
100
AMICO DI SANDRO.
An
artistic personality
between
Botticelli
and
Filip-
pino Lippi.
Altenburg.
Linden au Museum,
ioo.
Por-
Profile
Bergamo.
Berlin.
Man.
Budapest.
Madonna
52.
in
Landscape with
St.
Musee Conde.
Cassone-iront:
Story of
Esther.
Florence.
Pitti, 336.
"La
Bella Simonetta"
Death of Lucretia.
353.
Uffizi, 23. Madonna and three Angels
(from S. Maria Nuova). E.
Madonna adoring Child.
Cenacolo di Foligno (Via Faenza),
1547.
100.
Madonna and
adoring Child.
Corsini Gallery, 340.
infant
John
The Five
Vir-
tues.
Horsmonden
(Kent).
London.
1124.
Bandinelli.
E.
101
Meiningen.
Milan.
Naples.
Oxford.
Paris.
Nativity.
Portrait
5.
Two
1663.
Portrait of
Comte Pastre:
Young Man.
Cassone-iront: Story of
Esther.
Mr. John G.
Man.
Rome.
Scotland.
Johnson.
Portrait
of
Two
Virgin (lunette).
St.
Petersburg.
Turin.
Vienna.
Story of Esther.
ANDREA
1486-
(Vanucci)
DEL SARTO.
Berlin.
Dresden.
240.
246.
Madonna and
Saints.
76.
Marriage of
77.
Sacrifice of Isaac.
1528.
St. Catherine.
E.
WORKS OF
102
Florence.
Academy,
6i.
Fresco:
75.
Two
Dead
76.
Four
77.
Predelle to 76.
Pitti, 58.
Angels.
1528.
Christ.
Saints.
1528.
Deposition.
1524.
Young Man.
66.
Portrait of
81.
Holy Family.
1516.
87,88. Life of Joseph.
Annunciation.
124.
Dispute over the Trinity.
172.
Portrait of
191.
225.
Assumption.
Assumption.
272.
The
7.
1531.
1526.
Baptist.
Madonna.
476.
" Noli
Uffizi, 93.
me
Tangere."
188.
280.
E.
"
1112.
1 1
151
Young Man.
184.
Madonna
dell'
Arpie.
I'
1517.
Portrait of Himself.
76.
Portrait of Lady.
1230.
James.
Corsini Gallery.
1254.
St.
E.
Monochrome
1 7.
Faith,
Baptist
1520.
made
Prisoner, 151 7.
Salome,
of
Dance
Annunciation to Zacharias,
Decapitation of Baptist, 1523.
Feast of Herod, 1523. Hope, 1523.
Birth of Baptist,
Visitation, 1524.
1522.
1522.
1526.
103
Birth
1.
of Virgin, 15 14.
Chapel to
L. of
Head
Entrance.
of
Christ.
"Madonna
Salvi.
S.
5 15.
del Sacco."
1525.
Four Evangelists.
Fresco: Last Supper, begun
Fresco:
in 1510.
Poggio a Cajano
Tribute.
Fresco:
Florence).
1521
(finished
by A.
Al-
lori).
London.
Portrait of a Sculptor.
690.
L.
383.
385.
387.
Naples.
Paris.
Copy
of Raphael's
1514.
Charity.
1515.
Holy Family.
Madonna
1529.
Leo X.
1518.
Rome.
Borghese,
John.
St.
Petersburg.
24.
(?).
336.
E.
Madonna and
infant
E.
Madonna with
Catherine.
15 19.
SS. Elizabeth
and
104
10$
Trinity above).
243.
(in part).
246.
Entombment.
250.
Crucifixion.
251.
Coronation of Virgin.
Sixteen scenes from Life of
Christ and Virgin, except the " Legge
d'Amore." 1448.
252-254.
258.
Martyrdom
Damian.
of
Madonna with
265.
SS.
Cosmas and
six Saints
and two
Angels.
266.
Last Judgment (not the Damned
nor the Inferno).
Madonna and eight Saints and eight
281
Angels.
1438 (ruined).
L.
Predella: Pieta and Saints.
283.
.
(ruined).
Uffizi,
Triptych:
17.
Saints
and Angels;
Madonna with
Predella.
No. 1290:
Predella to
1433.
of
Birth
162.
168.
184.
1290.
Coronation of Virgin.
Tabernacle Madonna, Saints, and
John.
1294.
Angels.
Museo
di
1443-
San Marco.
Frescoes,
all
no
later
Cloister.
inic
than 1445.
St. Peter Martyr;
at foot of Cross;
(ruined);
Pieta; Christ
St.
as
St.
Dom-
Dominic
Pilgrim
WORKS OF
I06
Florence. (Con.)
2.
107
Frankfort, a/M.
Madonna
London.
Lyons.
Madrid.
Munich.
Paradise.
663.
Entombment.
Duomo, Chapel of
992.
Orvieto.
Paris.
S. Brizio.
Ceiling
Frescoes: Christ as Judge; Prophets
(assisted by Benozzo Gozzoli). 1447.
1290.
Coronation of Virgin.
1293.
1294.
Fresco: Crucifixion.
L.
Madonna and
Parma.
429.
Perugia.
Pisa.
Rome.
24.
four Saints.
Ascension..
WORKS OF
108
Rome.
Q. V. St.
Francis receiving Stigmata.
Chapel of Nicholas V. Frescoes:
Lives of SS. Stephen and Lawrence.
{Con.)
1447-1449.
Count
Gregori
Stroganoff.
Small
Tabernacle
St.
Petersburg.
Turin.
Vienna.
Hermitage,
1674.
Fresco:
BACCHIACCA
Madonna
Thomas
(in part).
(Francesco Ubertini).
Bergamo.
with
Berlin.
267 a.
St. Elizabeth.
Portrait of
(Magazine.)
Herr Eugen
Boston (U.
S. A.).
Swan.
Mrs.
Young Woman.
Decapitation of Baptist.
Schweizer. Leda and the
J.
L.
Gardner.
Head
of
Woman.
Brocklesby
Budapest.
Cassel.
Dijon.
Earl of Yarborough.
Madonna and St. Anne.
(Lincolnshire).
Preaching of Baptist.
Old Man Seated.
Muse, Donation Jules Maciet.
70.
484.
rection.
Dresden.
80.
Legendary Subject.
1523.
Resur-
Pitti, 102.
109
The Magdalen.
206.
Man.
in-
1540.
Conte Niccolini (Via dei Servi). Madonna with St. Anne and infant
John.
St.
44.
London.
1218,1219.
Milan.
Marcus Curtius.
Mr. Charles Butler. Portrait of Young
Man.
Mr. Frederick A. White. Birth Plate.
Comm. Benigno Crespi. Adoration of
Magi; Madonna.
Dr. Gustavo Frizzoni. Adam and Eve.
Madonna and infant John.
1077.
Christ Church Library, 55. "Noli me
Story of Joseph.
1304.
Munich.
Oxford.
Tangere."
Resurrection of Lazarus.
Holy
(Surrey).
Sir Frederick Cook.
Family; Last Supper; Crucifixion.
Two Grisailles: Apollo and Cupid Apollo
57.
Richmond
Rome.
and Daphne.
Borghese, 338. Madonna.
Life of Joseph.
425, 426, 440, 442, 463.
Miss Hertz. Bust of Magdalen.
Troyes.
Venice.
Musee.
no
WORK'S OF
Moses
Striking
Rock.
Wiesbaden.
Nassauisches Kunstverein,
donna and infant John.
114.
Ma-
ALESSO BALDOVINETTI.
1425-1499. Pupil of Domenico Veneziano; influenced
by Paolo Uccello.
Bergamo.
Morelli,
self
Florence).
Berlin.
16
Florence.
Academy,
14.
233
Young Woman.
Profile of
159.
Trinity.
figuration.
Uffizi, 56.
1448.
Annunciation.
Madonna and
60.
(?)
1471.
Saints.
Annunziata,
Entrance
Fresco: Nativity.
Duomo, Sacristy.
Court.
1460-1462.
Circum-
cision.
S.
S.
S. Antonino.
Miniato, Portuguese Chapel.
nunciation.
An-
1466.
Frescoes in
Prophets.
S.
1467.
III
dow
Andrew.
Choir.
Frescoes: begun
Ceiling. Noah; Moses;
Abraham; David.
Lunettes: Fragment of Sacrifice of
Isaac; slight fragment of Moses receiving the Tables of the Law.
1300A. Madonna in Landscape.
E.
Trinita,
S.
in
Paris.
Mme.
1471:
Edouard Andre.
Madonna
in
Landscape.
FRA BARTOLOMMEO
1475 -1 517.
Earl Brownlow,
Ashridge Park (Berkhampstead).
Madonna. L.
Assumption (upper part by AlberBerlin.
249.
tinelli).
Probably, 1508.
Cathedral. Madonna in Glory, Saints,
Besangon.
and Ferry Carondolet as Donor.
1512.
Cambridge (U.
S.
A.).
Fogg Museum.
Sacrifice of
Abel.
Florence.
Academy,
58.
St.
Vincent Ferrer.
97.
Fresco Madonna
173.
Deposition.
Pitti, 64.
:
125.
St.
Mark.
1514.
WORKS OF
112
Florence. (Con.) 159.
Christ
1516.
208.
Madonna and
256.
Holy Family.
Saints.
15 12.
gun
1
126.
1130.
1
1499, finished
Isaiah.
by
Albertinelli.
Job.
Small Diptych. E.
Altarpiece
Underpainting
for
(from his cartoons).
15 10-13.
16 1.
1265.
Museo
di
Emmaus.
Marco, 2D Altar R.
Saints.
Madonna and
1509.
15 15;
"Noli
me
Tangere."
1517-
Grenoble.
Musee,
London.
in Landscape.
Col. G. L. Holford, Dorchester House.
1694.
374.
Madonna.
Madonna
Madonna
(in part).
Lucca.
Naples.
by
Holy Family
Albertinelli).
1 5 1
I I
Annunciation.
153.
15 15.
1154.
Philadelphia.
(unfinished).
Richmond
Rome.
(Surrey).
1516.
Lateran,
St.
73.
Peter
(finished
by
Raphael).
75. St. Paul.
Madonna and
Petersburg.
Vienna.
34.
38.
three Angels.
Madonna and
Albertinelli).
41.
15 15.
Madonna.
Saints (assisted
by
15 10.
Circumcision.
15 16.
BENOZZO GOZZOLI.
1420-1497. Pupil possibly of Giuliano Pesello, and
of the Bicci assistant and follower of Fra Angel;
Berlin.
Beziers.
Musee,
Cambridge (U.
S.
193.
A.).
St.
ara.
Fogg Museum.
Madonna.
Cappella di S. Chi-
great part).
(in
WORKS OF
114
Castelfiorentino. (Con.)
way
to Castelnuovo)
great part).
(on
Frescoes (in
1484.
Certaldo.
Cologne.
Florence.
520.
Madonna and
Saints.
1465.
1473.
Academy,
Conversion of
Mr. Herbert
P.
St.
Paul.
Horne.
E.
Large Cruci-
L.
fixion.
fixion.
London.
Meiningen.
Milan.
Brera, 475.
Montefalco.
283.
Angels.
to Life.
St.
St. Ursula.
146 1.
1452.
Choir.
St.
S.
Frescoes:
Francis, etc.
Angel,
1450.
Second Altar
Narni.
Paris.
R.
Fresco:
S.
For-
tunato enthroned.
1450.
Municipio. Annunciation.
1319-
Baronne
1471.
tion.
1468-1484.
and Saints;
Frescoes:
Dominic
and two Angels (in part). L.
Universita dei Cappellani (Piazza del
Duomo). Madonna, Saints, and DoCrucifixion
nors.
Rome.
Lateran,
St.
1470.
60.
Polyptych.
1450.
Memmi's
Fresco,
R. added, 1467.
S.
by
assistants).
1465.
WORKS OF
i6
Second Altar
Sebastian.
Andrea
S.
Madonna.
Fresco:
L.
1464.
town).
of
1466.
Collegiata,
Madonna
Choir.
and
1466.
Saints.
Entrance Wall.
St.
other Frescoes.
Monte Oliveto.
Sebastian and
1465.
Fresco:
Crucifixion.
1466.
Sermoneta.
Madonna and
Parish Church.
Angels.
E.
Terni.
Biblioteca.
five Saints.
1466.
Vienna.
26.
Volterra.
bim.
di
Gesu.
BOTTICELLI
Bergamo.
Morelli,
Berlin.
106.
1
Story of Virginia.
25.
Madonna and
128.
Saints.
St. Sebastian.
1474.
Boston (U.
S. A.).
Child.
9.
Judith
(in
L.
Death
Dresden.
L.
1485.
E.
of Lucretia.
L.
S.
Zanobi.
L.
Academy,
73.
Coronation.
117
(Virgin
and
inferior hand).
Probably, 1490.
Predelle to above.
80.
"Primavera."
85.
Madonna,
Saints,
Christ;
Death
and Angels.
Predelle to 85:
of
St.
Dead
Ignatius;
Sa-
Calumny. L.
Tondo: "Magnificat."
182.
1267
bis.
Adoration of Magi.
Tondo:
Madonna and Angels
("Madonna of the Pomegranate").
1286.
1289.
1487
"Fortezza."
1299.
1470.
3436.
by
Botticelli).
Palazzo
Communion
of St. Jerome.
Pitti.
taur.
Ognissanti. Fresco
Corbignano.
(near
St.
Augustine. 1480.
Florence,
London.
592.
work)
626.
towards
Cappella Vanella.
Repainted Fresco: Madonna. E.
Adoration of Magi (earliest extant
Settignano),
Portrait of
Young Man.
WORKS OF
Il8
London. {Con.)
915.
1033.
Tondo:
1034.
Nativity.
Mr.
P.
J.
Adoration of Magi.
E.
1501.
Heseltine.
Madonna and
in-
Ambrosiana,
Milan.
145.
Angels.
Madonna.
Giovanna Tornabuoni
with Venus and the Graces, i486.
Fresco: Lorenzo Tornabuoni in1298.
Poldi-Pezzoli, 156.
Paris.
297-
Fresco:
troduced
Sciences,
Rome.
into
the
Circle
of
the
i486.
1481-2.
on Roof of Temple.
Among
Petersburg.
1481-2.
Hermitage, 3. Adoration
Probably 1482.
of Magi.
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.
Crucifixion
70 a.
Boston (U.
Mrs.
A.)
S.
and
Saints,
1475.
72.
J. L.
Gardner.
E.
Madonna
in
Landscape.
Chicago (U.
Cleveland (U.
Adoration of Magi.
Holden Collection,
A.).
donna adoring Child (?).
S.
13.
Empoli.
S. A.)
Tondo:
3.
Ma-
Madonna.
25.
Annunciation.
Towards 1473.
Tabernacle
for
Sacrament, with
St.
Towards
Academy, 30.
1473.
59.
St.
Martyrdom
Andrew.
Madonna, infant John, and
of St.
Pitti, 347.
Madonna.
Two Cassone-panels:
di Brindisi.
Story of Virginia.
Marchese Pio Strozzi. Madonna with
Duca
SS.
WORKS OF
120
Altarpiece
Florence. (Con.) S. Spirito, R. Transept.
with Predelle: St. Monica and Nuns.
1483.
S. Andrea,
Madonna and Saints.
Wall.
R.
1480.
the Father,
Gottingen.
London.
Assumption
26.
of
Virgin.
Before
1475-
Earl of Ashburnham.
Madonna
ador-
ing Child.
Tondo: Madonna
Landscape.
Madonna with four rose-crowned
Angels and two Cherubim.
Mr.
C.
Brinsley Marlay.
Madonna
adoring Child.
Modena.
Child.
Municipio.
Montefortino (near Amandola, Abruzzi).
Madonna adoring Child.
Baron Chiaramonte Bordonaro. SS.
Palermo.
Nicholas and Roch.
S. Maria, third Altar L.
Angels and Saints around old Pic-
La Grange Blanche, M.
Henri Chalandon. Nativity.
Madonna in Glory, and Saints.
1482.
Saints;
Filippo's Uffizi
121
Madonna and
Version
Madonna
of
Fra
Pietd with
and
Louis.
Comtesse Arconati-Visconti.
Tondo:
Madonna and
Prato.
Richmond
Scotland.
Youth.
Bust of Youth.
Coronation of Virgin.
119.
Haigh Hall, Earl Crawford. Madonna, enthroned with St. Francis,
Donor, Tobias, and Angel.
Profile
Stockholm.
Turin.
Wigan.
of
Royal Palace.
BRONZINO
i502(?)-i572.
Pupil
Michelangelo.
Bergamo.
four Saints.
(Surrey).
Morelli,
(Angelo Allori).
of
Pontormo;
65.
Portrait
influenced
of
by
Alessandro
de' Medici.
Berlin.
338.
338 a.
338B.
Portrait of Youth.
Portrait of Ugolino Martelli.
Bearded Man.
Musee, 57. Deposition.
Portrait
of
WORKS OF
22
Boston. (Con.)
Mrs.
L.
J.
Gardner.
Portrait of a
Medici Princess.
Budapest.
Cassel.
Florence.
190.
191.
Adoration of Shepherds.
(in part).
403.
Portrait of
434.
Portrait
Duke Cosimo
of
the
I.
Architect
Luca
Martini.
158-
Lucrezia Panciatichi.
Descent from Cross. 1545.
Uffizi, 154.
159-
Bartolommeo
172.
198.
Portrait of
Panciatichi.
Young Woman.
"55-
Don
1164.
Maria
1166.
Man
1209.
Dead
1211.
Allegory of Happiness.
Garzia.
de' Medici.
in
Armour.
Christ.
1266.
Portrait of Sculptor.
1271.
Christ in Limbo.
1272.
Don
1275-
Maria
1552.
Ferdinand.
de' Medici.
855.
857.
853.
854.
Magazine. Annunciation.
Palazzo Vecchio, Chapel of Eleonora
da Toledo. Frescoes. 1564.
Fresco: MarS. Lorenzo, L. Wall.
tyrdom of St. Lawrence.
3.
London.
651.
123
Portrait of Lady.
Allegory.
1323.
Lucca.
Don Ferdinand.
Don Garzia.
Milan.
Brera,
il
Gottoso.
Portrait of
565.
Andrea Doria
as Neptune.
New
York.
Mrs. Gould.
Woman
Portrait of
and
Child.
Havemeyer Collection.
Youth
Pisa.
Black.
" Noli me Tangere."
1 183.
1 184.
Portrait of Sculptor.
Nativity.
S. Stefano.
1564.
Rome.
Borghese Gallery,
Paris.
444.
St.
in
John the
Baptist.
Colonna Gallery,
and Satyr.
Corsini Gallery,
2 171.
Stefano Colonna.
Prince Doria.
Venus, Cupid,
4.
Portrait
of
1548.
Portrait of Giannottino
Doria.
Portrait of Giovanni delle
Nere.
Turin.
128.
Venice.
Seminario,
Vienna.
44.
Portrait of
49.
Holy Family.
16.
Bande
Portrait of Child.
Man.
L.
BUGIARDINI.
1475-1554. Pupil of Ghirlandajo and Pier di Cosinfluenced by
imo; assistant of Albertinelli
Francesco Francia,
Perugino, Michelangelo,
;
and Franciabigio.
WORKS OF
124
Agram.
Madonna
Gallery.
Strossmayer
Berlin.
Madonna and
283.
Saints.
Museum
St.
25-
John
in Desert.
26.
John.
Bonn.
Madonna.
Gallery, 285.
Tondo:
745-
University
Madonna
Bowood Park
Marquess of Lansdowne.
Perugino's Madonna in
(Calne).
Copy
of
Budapest.
92.
Dijon.
Musee.
Madonna and
1.
S.
Madonna with
Altar.
Paul, Francis,
Florence.
(?).
infant John.
SS. Peter,
and Jerome.
Pitti, 140.
Portrait of Lady.
Uffizi, 89.
Tondo: Madonna and infant John (?).
E.
213.
Madonna.
3451.
Museo
S.
5.
Madonna and
infant John.
1520.
Marco, Anticamera of
Refectory, 6. Madonna adored
by St. Francis and the Magdalen.
Croce, Refectory, 3. St. Nicholas.
The Baptist.
di
S.
43.
42.
12$
St. Paul.
Jerome.
S.
London.
(Michelangelo's suggestion).
Baptist in Des-
Earl of Northbrook.
ert drinking.
S.
Angel.
New
York.
Oldenburg.
28.
Paris.
1644.
St. Sebastian.
Bust of Youth.
Bust of
Woman
with Prayer-
Book.
Philadelphia.
Rome.
Madonna and
Colonna Gallery,
136.
John (?).
Madonna.
Corsini Gallery,
580.
Madonna
443.
infant
(?)
1509584.
WORKS OF
126
Rome.
Prince Colonna.
(Con.)
infant John.
Scotland,
Palazzo Saracini,
Siena.
1420.
Holy Family
in Landscape.
St.
Petersburg.
asleep.
University Gallery,
Strasburg.
286.
Presenta-
tion.
Stuttgart.
250.
Turin.
infant
John.
Baron
Venice.
Giorgio Franchetti.
and Cupid.
Venus
asleep
Rape
Academy,
Vienna.
36.
infant
of Dinah.
1134.
1531.
tion).
(or Croli).
1470-after 1526.
Started under influence of Ghirlandajo and Credi, later became almost Umbrian,
and
at one time
whom
Berlin.
was
may have
he
Three
Dresden.
Saints.
127
Diisseldorf. 120.
Tondo: Madonna, with Child blessing.
Eastnor Castle (Ledbury). Lady Henry Somerset.
Altarpiece
Esher.
Mr. Herbert
F.
Cook, Copseham.
ites crossing
Red
Sea.
Israel-
The Golden
Calf.
Florence.
Madonna appearing
Uffizi, 90.
to four
to Spinello Aretino)
(?).
Magazine. Annunciation.
Mr. B. Berenson.
Christ
between Mary and John.
in
Duca
of Marine
di Brindisi.
Combat
Tomb
Deities.
Corsini Gallery.
tare.
Fresco:
Miracle
of
Loaves
S.
Pazzi.
St.
St. Ignatius.
Procolo. Altar R.
Saints and Angels.
Visitation with
WORKS OF
128
Fresco in lunette:
R. Wall.
Albert and Sigismund.
Le Mans.
Musee, 19.
Locko Park (near Derby).
SS.
Madonna.
Mr. Drury Lowe. Deposi-
The Baptist.
Robert Benson.
tion.
London.
Mr.
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.
*303-
M. Eugene Richtemberger.
Madonna and two Angels.
Pisa.
Museo
Resurrec-
Civico, 238.
Tondo:
L.
Madonna and
four
Saints.
S.
THE FLORENTINE PAINTERS
Poggibonsi.
S.
Lucchese, R. Wall.
" Noli
29
me Tan-
gere."
Prato.
Municipio,
San Miniato
dei Tedeschi.
with
6.
Madonna and
infant John.
Domenico. Madonna
Andrew and Baptist (?).
S.
St.
i57Siena.
S.
Vallombrosa.
Academy,
Venice.
55.
Saints,
E.
Municipio, Anticamera.
donna.
Volterra.
Museo.
Madonna,
Fresco:
Saints,
Ma-
and Angels.
E.
Weston
Birt
(Tetbury).
Captain G.
L.
Holford.
Nativity.
Influenced
by Donatello
Uffizi,
co: Crucifixion
S.
Boccaccio;
(Nine Figures)
1434.
Petrarch; Dante; Queen Thomyris;
Cumaean Sibyl; Niccolo Acciajuoli;
Farinati degli Uberti; Filippo Scolari
("Pippo Spano"); Esther.
L.
Frieze of Putti with Garlands.
WORK'S OF
130
Angels.
Hospital
(33
Fresco: Crucifixion.
SS. Annunziata, first Altar L. Fresco:
(InvisiChrist and St. Julian.
L.
ble.)
Second
with
Altar
St.
L.
Fresco:
Trinity
Saints.
L.
(Invisible.)
Fresco:
Window
in
his design).
1456.
Drum
of Cupola (from
Deposition.
1444.
David
1138.
Mr.
J.
Small Crucifixion.
Pierpont Morgan.
Bust of Man.
CIMABUE.
About 1240-about
30 1.
Assisi.
'
S.
Lower
Church, R. Transept.
Fresco: Madonna and Angels with
St. Francis.
Florence.
Academy,
102.
four Prophets.
Paris.
1260.
Madonna and
Angels.
131
PIER DI COSIMO.
see
LORENZO DI CREDI.
145 6- 1537.
Berlin.
Woman
Bust of Young
80.
E.
(?).
Madonna.
100.
Cambridge.
Pupil of Verrocchio.
Sebas-
St.
Carlsruhe.
Madonna and
409.
infant
John adoring
Child.
Castiglione Fiorentino.
Cleveland (U.
S.
donna.
Dresden.
Florence.
13.
Madonna and
14.
15.
Madonna and
Academy,
92.
Nativity
94.
infant John.
E.
Saints.
Adoration of Shepherds.
(in great part).
Uffizi, 24.
Tondo: Madonna (in part).
Portrait of Young Man.
34.
1
Annunciation.
160.
E.
1163.
Portrait of Verrocchio.
1168.
Madonna and
Evangelist.
"Noli me Tangere."
Annunciation.
*3*3Annunciation.
Venus. E.
3452Tondo.
Madonna and Angel
1311.
adoring
Domenico
R.
Baptism.
Altar
WORKS OF
132
Florence. {Con.)
Duomo. Sacristy.
Or San Michele,
Forli.
Glasgow.
Hamburg.
Hanover.
London.
1523.
Bar-
1488.
Madonna adoring
648.
St.
tholomew.
Madonna with St.
S. Spirito, Apse.
Jerome and an Apostle. E.
Scandicci (near Florence), Comtesse de
Turenne. Portrait of Youth.
Portrait of Lady.
E.
130.
Mr. William Beattie. Portrait of
the Artist.
Gottingen.
Michael.
St.
Pillar.
Child.
Madonna.
St.
George.
Marquess of Bath.
(Warminster).
donna.
Ma-
Milan.
Madonna. E.
105.
ConteCasatti. Madonna and infant John.
Munich.
1040 a.
Mayence.
Madonna
(?)
(done in Verroc-
chio's studio).
Naples.
Oxford.
Paris.
Nativity.
L.
" Noli
me
Tangere."
M. Gustave Dreyfus.
Madonna (done
in Verrocchio's studio).
Pistoia.
Ma-
in Verroc-
1478-1485).
III
1510.
Madonna and
Rome.
Borghese, 433.
Scotland.
John.
(Cf. Glasgow.)
Strasburg.
University Gallery,
infant
Madonna.
215.
E.
Turin.
115.
Madonna.
118.
Madonna
E.
(in part).
Venice.
DOMENICO,
see
Ma-
4.
VENEZIANO.
see
LIPPI.
FRANCIABIGIO.
Pupil of Pier di Cosimo and Albertinelli
worked with and was influenced by Andrea del
1482-1525.
Sarto.
Barnard Castle.
Bowes Museum,
235.
Bustof Young
Man.
Berlin.
235.
Portrait of Man.
245.
Portrait of
Man
writing.
Youth
1522.
in
Landscape.
Schweizer.
Madonna
245A.
Portrait of
Herr
Eugen
Cracow.
Dijon.
Madonna.
Leda and her Children.
Musee de la Ville. Profile of Old Man.
Musee Conde, 41. Bust of Man.
Potocki Collection. Madonna with
infant John (?).
Musee, Donation Jules Maciet. Bust
294.
478.
of
Youth.
WORKS OF
134
Bathsheba.
Dresden.
75.
Florence.
Pitti, 43.
1523.
Portrait of Man.
Calumny. E.
427.
Uffizi, 92.
Tondo:
fant John.
15 14.
Madonna and
in-
E.
1223.
Temple
1224.
of Hercules.
John.
SS.
Sposalizio.
15 13.
La Calza.
(Porta Romana).
Fresco:
Last Supper.
Poggio a Cajano (Royal Villa near
Florence).
Fresco: Triumph of Caesar.
Hamburg.
1521.
Weber Collection,
119.
Bust of Young
Man.
London.
Modena.
223.
New
Jeweller.
York.
Nimes.
15 16.
Birth of Baptist.
E.
Oxford.
T.
W. Jackson.
135
Legend
of
Saint.
Paris.
Philadelphia.
65 1 a.
Blessing (?).
Pinerolo (Piedmont). Villa Lamba Doria.
of
Portrait
Young Man.
Rome.
infant John.
E.
Madonna
hold-
Portrait of
Man
Turin.
112.
Vienna.
46.
52.
with Book.
Annunciation.
Holy Family.
Madonna and
E.
infant
John
in
Land-
scape.
Man
Count Lanckoronski.
and
Feathers.
L.
with Cap
saving
Christ
Wiesbaden.
Nassauisches Kunstverein,
118.
Cas-
sone picture.
Windsor
Castle.
Portrait of
Man
("
Gardener of Pier
").
(?).
Pupil
Lippi; influenced
Berlin.
Bust of Man.
WORKS OF
136
Berlin. (Con.) 81.
Profile of
Young Woman.
90.
Dresden.
22.
Florence.
Glasgow.
infant John.
London.
Landscape.
Henry Samuelson.
Sir
donna
with
Tondo: Ma-
and
Magdalen
St.
Catherine.
M. Edouard Aynard.
Lyons.
Profile
Bust of
Baptist.
Munich.
1009.
Naples.
Paris.
Parma.
Venice.
Thomas.
Lady Layard.
Pieth.
E.
Portrait of
Profile
to
St.
Man.
DOMENICO GHIRLANDAJO.
1449-1494.
by
Florence.
Botticelli
Academy,
66.
Madonna and
Saints.
37
Adoration of Shepherds.
Florence. (Con.) 195.
1485.
Madonna and Saints.
Uffizi, 19.
Portrait of Giovanni Bicci de Medici
43
.
'
1295.
Adoration of Magi.
1297.
Museo
tory.
1490.
Ognissanti, L. Wall.
gustine.
Altar R.
1480.
Fresco
Madonna
Refectory.
della Mis-
E.
Fresco:
Last
Supper.
of
Choir.
1483-
1480.
S.
Trinita.
Chapel
R.
Over Arch.
Fresco:
Augustus and
Same
date.
1477.
WORKS OF
138
London.
Portrait
1299.
painted).
Man
Young
of
(re-
Madonna and
Lucca.
Duomo, Sacristy.
Narni.
A.).
S.
Fresco
Virgin
(in
Jarves Collection,
73.
i486.
part),
New Haven
Saints,
Head
of
Woman
(Cf
woman
to extreme L. in "Visitation" at S.
Maria Novella, Florence).
Paris.
Pisa.
132 1.
1322.
Old
Museo
Man and
Boy.
SS. Sebas-
tian
Rome.
Vatican,
Sixtine
Calling of Peter
Chapel. Frescoes:
and Andrew. 1482.
San Gemignano.
and
Anacletus,
1482.
Pius.
Collegiata, Chapel of
S.
Fina.
About
1475Vercelli.
Museo Borgogna.
Infant.
Volterra.
Madonna adoring
E.
Municipio.
1492.
39
RIDOLFO GHIRLANDAJO.
Pupil of Granacci, and eclectic imitator
1483 to 1 56 1.
of most of his important contemporaries.
Bergamo.
Morelli,
Berlin.
Budapest.
Chatsworth.
Duke
Bust of Man.
51.
Nativity.
58.
Nativity.
15 10.
of Devonshire.
Bust of
Man
(?).
L.
Colle di Val d'Elsa.
S.
Pieta.
Florence.
Academy,
Panels
87.
Angels each.
Pitti, 207.
three
Portrait of a Goldsmith.
Portrait of a Lady.
224.
with
E.
E.
1509.
Miracles of S. Zan-
1510.
obi.
Bigallo.
Predelle.
15 15.
15 14.
Gallery,
Corsini
129.
Portrait
Man.
Palazzo Torrigiani. Portrait
of
of Ardin-
ghelli.
Glasgow.
Mr.
London.
Man(?).
Procession to Calvary.
E.
1143Mr. George Salting. Portrait of Giro-
Portrait
of
lamo Beniviene.
Madonna
Lucardo (near Certaldo). High Altar.
with SS. Peter, Martin, Justus, and
the Baptist.
Milan.
Comm.
E.
Benigno Crespi.
tych.
Small
Nativity and Saints.
Trip-
WORKS OF
140
New Haven
(U.
S.
Paris.
Collection,
Jarves
A.).
Madonna and
Coronation of Virgin.
3?4-
97.
Saints.
1503.
Philadelphia.
E.
Pistoia.
Pietro
S.
Maggiore.
Saints.
Madonna
Duomo.
Prato.
Thomas.
Madonna and
1508.
15 14.
Reigate (Surrey).
set.
Portrait
of
Girolamo
Beni-
viene.
St.
Petersburg.
Wantage.
40.
Portrait of Old
Lockinge House,
Youngish Man
Man.
Lady
looking
Wantage.
up
from
Letter.
GIOTTO.
1
76-1336.
Assisi.
S.
in the
(?).
Upper Church.
II-XIX
of frescoes
S. A.).
Mrs.
J. L.
Gardner: Presentation
of Christ in the
Florence.
Academy,
103.
141
Temple.
L.
Angels.
Croce,
S.
Life
of
Bardi
St.
Chapel.
Francis,
etc.
Frescoes:
(Little
Munich.
Padua.
Rome.
983.
1300.
GIOTTO'S ASSISTANTS.
[An attempt to distinguish in the mass of work usually
ascribed to Giotto
Assisi.
S.
fol-
WORKS OF
142
Assisi. (Con.)
SS.
Francis
1316.
Uffizi, 20.
S.
E.
Gallo).
Madonna. E. Altarpiece with St. Margaret.
E.
S. Miniato Altarpiece with S. Miniato. E.
del
B.
Assisi.
S.
Francesco,
Tomb
of
gories
of
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).
S.
H3
Baroncelli
of
Virgin,
Assisi.
S.
Berlin.
Florence.
(Cf.
under
also
(?).
assistance
for
rendered by C.)
VARIOUS.
Polyptych Madonna
Bologna.
Pinacoteca, 102.
and Saints.
Florence.
S.
Munich.
981.
Paris.
Felice.
Rome.
Strasburg.
Painted Crucifix.
Crucifixion
12.
1 5
(?).
St.
Crucifixion.
203.
GOZZOLI,
see
BENOZZO.
FRANCESCO GRANACCI.
of Credi, and then of Ghirhe assisted; influenced by Botticelli,
Michelangelo Fra Bartolommeo, and
Pontormo.
1477-1543.
Pupil
landajo,
Berlin.
first
whom
74
and
(in
76.
SS.
Ghirlandajo's studio).
1494.
Soon after
WORKS OF
144
Berlin. {Con.) 88.
Madonna and
figures
and landscape
his
own
car-
97.
229.
Budapest.
Cassel.
The
E.
Trinity.
John at Patmos.
54.
St.
78.
480.
on Parapet.
Crucifixion.
482.
Chantilly.
Musee
Conde,
95.
Madonna
Ghirlandajo's studio)
Citta di Castello.
(from
(?).
(in
studio).
Darmstadt
Dublin.
Florence.
Small Crucifixion. L.
Holy Family.
78.
of Virgin.
Stories of Saints.
L.
Holy Family.
Pitti, 345.
Life of Joseph.
Uffizi, 1249, 1282.
Portrait of Lucrezia del Fede.
Andrea.
Florence).
S.
Wall. Frescoes: Baptism, Madonna enthroned between SS. Dominic and Sebastian (Ghirlandajo's
Brozzi
L.
designs).
Pietd.
145
S.
Pie-
L.
Duke
of Buccleugh,
io.
Madonna and
infant John.
Lucca.
Milan.
Munich.
Marchese Mansi
(S.
Maria Forispor-
tam).
Tondo: Madonna and two
Angels.
Entry of
Comm. Benigno Crespi.
Charles VIII into Florence.
ion. Madonna in Glory and four Saints
Soon after
(Ghirlandajo's design).
1494.
1061-1064.
each.
1065.
New Haven
(U.
S.
with
Saint
Holy Family.
A.).
Jarves Collection,
Pieta.
Oxford.
Panels
in
L.
86.
L.
St.
Francis.
St.
Antony
(?).
WORKS OF
146
scape
Reigate (Surrey).
Rome.
E.
(?).
Borghese, 371.
Strozzi as
St. Catherine.
Scotland.
L.
Petersburg.
Vienna.
St.
Stephen.
Woman
Warwick
Castle.
Earl of Warwick.
Virgin,
and four
LEONARDO DA
1452-1519.
Bust of
in Green. (?).
Assumption of
Saints.
L.
VINCI.
Pupil of Verrocchio.
Florence.
Uffizi,
London.
Begun in 1481.
Burlington House, Diploma Gallery.
Large Cartoon for Madonna with
Milan.
S.
1252.
finished).
St.
Anne.
Last Supper.
1265.
Annunciation.
1598.
Madonna with
47
E.
St.
Anne
(un-
finished).
1599.
60 1.
Rome.
Vatican,
Jerome,
St.
(unfinished).
artist
tine Painters."
FILIPPINO LIPPI.
Pupil of Botticelli; influenced by Amico
Sandro, and very slightly by Piero di Cosimo.
Berlin.
Allegory of Music. L.
with Virgin
78 a.
96.
Francis.
Bologna.
and
Crucifixion
St.
L.
10 1.
Madonna.
Fragment of Fresco: Head of Youth in
black cap, with brown curls.
S. Domenico, Chapel R. of High Altar.
93.
The
98.
Pitti,
Baptist.
336.
Uffizi, 286.
E.
Allegorical
Subject.
WORKS OF
I48
1257.
1268.
Madonna and
Florence. (Con.)
1167.
Palazzo Corsini.
Angels.
Mr.
Saints,
i486.
E.
Herbert
P.
Horne.
Christ
on
L.
Cross.
Badia.
di
Soon
Carmine,
after 1480.
Brancacci
Chapel.
Com1484.
Angel delivering
St. Peter;
S.
Porch.
Fragment
of
Fresco.
Genoa.
Kiel.
Madonna
149
Tondo: Holy
Mr. E. P. Warren.
Family and St. Margaret.
Madonna with SS. Jerome and
293.
(Sussex).
London.
927.
Dominic.
Angel adoring.
Sir
Calf.
Wernher. Madonna. L.
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
Sir Julius
Lucca.
Prato.
Rome.
S.
sopra Minerva,
Chapel. Annunciation.
Triumph
St.
tion.
Strasburg.
Venice.
St.
Thomas
Frescoes:
Aquinas;
489-1 493.
Annuncia-
L.
Vienna.
of
Assumption of Virgin.
Stroganoff Collection.
Petersburg.
Caraffa
Maria
itan Woman.
" Noli me Tangere."
on Cross.
Aicholz.
WORKS OF
150
FRA FILIPPO
LIPPI.
Earl Brownlow.
Madonna.
Madonna.
58.
69.
95-
95B.
Florence.
Academy,
62.
55.
Madonna and
Coronation of Virgin.
Virgin adoring Child.
79.
Saints
1441.
82.
Nativity.
86.
E.
ing the
'
263.
Madonna and
264.
Pitti, 343.
donna.
S.
London.
Lorenzo,
Martelli Chapel.
Seven Saints.
E.
1447.
An-
Aynard.
Lyons.
M.
Munich.
151
Predella:
St.
Paris.
Madonna.
1006.
University Galleries, 12. Meeting
Joachim and Anne.
Madonna and Angels. 1437.
1344-
Prato.
Duomo, Choir.
Oxford.
of
Lateran,
Rome.
Saints
65.
Triptych:
and Donors
Coronation,
Spoleto.
unfinished at death.
Accademia Albertina,
Turin.
140,
141.
The
LORENZO MONACO.
About
70-142 5.
Sienese.
Altenburg.
Lindenau Museum,
23.
Crucifixion with
WORKS OF
152
Altenburg. {Con.) SS.
Benedict, and
Francis,
aid.
Romu.
90.
10.
Dead Christ.
Madonna with Baptist and
Bergamo.
Morelli,
Berlin.
11 10.
St.
E.
Nicholas.
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.
Fitzwilliam Museum, 555. Madonna
Cambridge.
Cassel.
478.
Copenhagen.
Empoli.
Fiesole.
Thorwaldsen Museum,
Madonna.
Opera del Duomo, 20. Triptych. 1404.
S. Ansano (to be transferred to Museo).
Florence.
i.
144.
145.
Nativity.
146.
Life of St
166.
Martin.
ico's Deposition.
Bargello.
1413-
Uffizi,
by Cosimo
40.
Pieta.
41.
Triptych:
Rosselli).
1404.
Madonna and
Saints. 14 10.
Madonna with
ISDO
1309.
Museo
1413.
ii,
San Marco.
12,
13.
Crucifixion with Mary and John.
Biblioteca Laurenziana. Miniatures.
di
1409.
Hospital
in a
(S.
Corridor.
of a Pieta.
Fresco: Fragment
E.
S.
S.
Giuseppe. Crucifix.
degli Oblati
Chiostro
Crucifix;
(25
Via
S.
Agony in Garden.
Trinita, Bartolini Chapel. Altarpiece: Annunciation and Predelle. L.
Frescoes: Life of Virgin.
Gloucester.
London.
Milan.
Munich.
New Haven
L.
Highnam Court,
(U.
S.
A.).
Jarves Collection,
Crucifixion.
18.
WORKS OF
154
La Grange Blanche, M.
Henri Chalandon. Three Panels
Paris.
1348.
at
Posen.
Raczynski Collection.
Tomb.
1408.
Adoration of
Magi.
Richmond (Surrey). Sir Frederick Cook. Madonna.
Vatican, Museo Cristiano, Case C, II.
Rome.
Crucifixion.
Siena.
157.
Turin.
Museo
Baptist
1408.
Washington
(U.
S.
A.).
Angels.
E.
BASTIANO MAINARDI.
About 1450-1513. Pupil and imitator of
in-law, Domenico Ghirlandajo.
Altenburg.
Lindenau Museum,
Woman.
Berlin.
77.
102.
his brother-
Bust
of
Madonna and
522.
155
five Saints.
Tondo. Nativity.
Uffizi, 13 15.
St. Peter Martyr between
16
Hamburg.
Weber
Hildesheim.
Collection, 30.
Tondo: Madonna.
134.
London.
of
Madonna.
Mr. Drury-Lowe.
Berlin
Portraits,
Repli-
Nos.
83
and 86.
Bust
1230.
of Young Woman.
Henry Howorth. Madonna and
Sir
10 1
SS. George
5.
and Sebastian.
WORKS OF
156
32.
Marriage
of
St.
Catherine.
Oxford.
Palermo.
Paris.
1367.
Bar-
SS.
1506.
Madonna
Tondo:
with
infant
San Gemignano.
S.
Cherubim.
Agostino, R. Wall. SS. Nicholas of
Bari, Lucy, and Augustine.
Ceiling. Frescoes: The four Church
Fathers.
in Ceiling.
Chapel of
tion.
Sacristy.
Saints.
S.
Giovanni.
Annuncia-
1482.
Madonna
in
Glory,
and
(Con.)
Madonna with
Jerome.
Woman
Vienna.
Harrach
SS.
Bernard
R.
and
1502.
Palazzo Saracini,
Siena.
157
205.
Bust of Young
in Red.
Collection,
Nativity
314.
Prince Liechtenstein.
Madonna and
infant John.
MASACCIO.
1401-1428.
lesco
Berlin.
and Donatello.
58A.
58B.
58c.
Martyrdom
Birth Plate.
E.
WORKS OF
158
Florence. (Con.)
eight Figures of
same group,
as well
left,
all
S.
by Masaccio).
Maria Novella, Wall
trance.
his Wife.
Montemarciano
(Val
d'Arno
Fresco:
Superiore).
Oratorio.
Baptist.
E.
Strasburg.
Probably 1426.
Sala VI, 27. St. Paul. Probably 1426.
University Gallery, 211. Resurrected
Vienna.
Count
Naples.
Pisa.
Crucifixion.
Christ
(?).
E.
Lanckoronski.
Probably 1426.
St.
Andrew.
MASOLINO.
1384-after 1435.
Bremen.
Castiglione d'Olona.
gin.
Empoli.
Florence.
159
Angels.
Munich.
10 ig.
Naples.
Rome.
Case R, II.
Clemente.
painted).
Scotland.
Gosford
House,
Earl
of
Wemyss.
Annunciation.
Todi.
fourth Chapel R.
Madonna with two Angels.
Fortunato,
S.
Fresco:
MICHELANGELO BUONARROTI.
147 5-1 564.
Florence.
Uffizi, 1139.
London.
790.
Rome.
Vatican,
Chapel.
Sixtine
Frescoes:
On
Peter.
L.
SCULPTURE.
Berlin.
Bologna.
S.
Domenico.
(for
Ark
S.
Petronio;
of St. Dominic).
An Angel
1494.
WORKS OF
i6o
Bruges.
Notre Dame.
Madonna.
Finished be-
Florence.
Academy.
model
David.
1504.
Life
size
Male Figure.
Court. St. Matthew. 1504.
Bargello. Bacchus. E. Bust of Brutus. Tondo, Relief: Madonna. Apof reclining
ollo.
Court. Victory.
Boboli Gardens, Grotto.
Four un-
finished Figures.
Lorenzo,
Tombs
New
of
Sacristy. Madonna;
Lorenzo dei Medici, Duke
London.
Beit Collection.
Young
Athlete
(bronze)
Paris.
Rome.
Palazzo Rondanini.
Milan.
Slaves.
Pieth (unfinished).
L.
S.
St. Peter's.
S.
St.
Petersburg.
Christ with
Finished 1521.
Pieth.
1499.
Pietro in Vincoli.
and Leah.
Crouching Boy.
Moses, Rachel,
MONACO
see
LORENZO.
1308
of
HIS BROTHERS.
(?)-i368.
follower
l6l
Giotto;
Lorenzetti of Siena.
hand
is
the
Budapest.
Florence.
Trinity
with
Romuald.
Uffizi,
10.
gel (?).
29.
St.
St.
Evangelist
Bernard
and
St.
1365.
E.
Badia, Cappella
Holy
S.
S.
Bonsi.
Descent
of
Spirit.
WORKS OF
62
Florence. {Con.)
Ma-
donna.
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.
Baron Chiaramonte-Bordonaro.
Palermo.
Ma-
donna.
SCULPTURE
(by Andrea).
Berlin.
Head
of
female Saint.
Bargello. 139.
Or San Michele.
Florence.
1359-
FRANCESCO PESELLINO.
Pupil possibly of his grandfather, Giuliano
follower of Fra Angelico, Masaccio and
Domenico Veneziano, but chiefly of Fra Filippo
1422-1457.
Pesello
Lippi.
Altenburg.
Lindenau Museum,
96.
SS.
Jerome and
Francis.
Bergamo.
Morelli,
Berlin.
a Judge.
Story of Griselda.
11.
Small Crucifixion.
Boston (U.
S. A.).
9.
Mrs.
J. L.
panels:
MuseeConde,
Empoli.
11.
Madonna and
Adoration of Magi.
12.
163
Saints.
(?).
24.
Madonna and
Predelle:
Nativity; Mar-
Florence.
Academy, 72.
tyrdom of
Gloucester.
London.
Col.
SS.
Annunciation.
Milan.
Holford, Dorchester
G.
L.
House. Madonna and Saints.
Annunciation
Poldi - Pezzoli,
436.
(early
14 14.
Paris.
XVI
century copy).
Pieth.
587.
Predelle: Miracle
and Damian;
St.
of
SS.
Cosmas
Francis receiving
the Stigmata.
Predelle: Pope Sylvester
before Constantine; Pope Sylvester
Rome.
Prince Doria.
Wantage.
subduing Dragon.
Cassone panels: Story of David.
PIER DI COSIMO.
Pupil of Cosimo Rosselli; influenced by
Verrocchio, Signorelli, Filippino, Leonardo, and
1462-152 1.
Credi.
107.
204.
tist.
WORKS OF
164
Chantilly.
Musee Conde,
13.
"La
Bella
Simon-
etta."
Dresden.
Dulwich.
Head
Fiesole.
S.
20.
part).
Florence.
(in
L.
Pitti, 370.
Head of a Saint.
Uffizi.
Immaculate Conception.
3414.
Magazine.
fant John.
(?).
in-
L.
Innocenti, Gallery.
Saints.
Glasgow.
The Hague.
embracing.
Giuliano di Sangallo and his
254, 255.
Father.
London.
Nymphs.
Orsini
E.
Portrait of Clarissa
(?).
Earl of Plymouth.
Man.
Head
of
Young
l6 5
Borromeo. Madonna. L.
Prince Trivulzio. Madonna and An-
Milan.
L.
gels.
New Haven
(U.
S.
Jarves Collection,
A.).
68.
New
(Hampshire).
Col. Cornwallis
West. Visitation.
Metropolitan Museum. The Hunt.
Return from the Hunt (Cf. Mr.
Manor
York.
Ricketts, London).
Oxford.
Christ
Church Library,
Pieta.
Paris.
2.
Tondo:
L.
1274.
The Young
14 1 6.
Coronation of Virgin.
Baptist.
L.
Madonna.
Mr. John G. Johnson. Bust of Physician.
Portrait of Man. 1512. Madonna (fragment).
Borghese. 329. Judgment of Solomon.
Holy Family
L. (?).
335.
Tondo: Madonna and Angels ador343.
1662.
Philadelphia.
Rome.
ing Child.
Corsini. Magdalen.
Pieta.
Chapel.
Fresco:
Destruction of Pharoah.
1482.
Vatican,
Scotland.
(Glasgow,
Sixtine
Cf.
Glasgow).
WORKS OF
66
Scotland. {Con.)
Earl of Wemyss.
Gosford House,
Bust of Man.
quess
Lothian.
Mythological
Scene.
Siena.
L.
Nativity.
Strasburg.
Vienna.
Harrach Collection,
Stockholm.
mann
Collection, Berlin).
136.
and Angels. L.
Prince Liechtenstein.
Holy Fam-
ily
infant John.
L.
with Water,
etc.
Madonna and
Tondo: Landscape
Some
copies of the
two
last
and
of
following are
Compagno
di
Pesellino.
Altenburg.
Lindenau Museum,
infant John.
97.
Madonna with
Bergamo.
SS.
36.
67
71 a.
Madonna
sion of M.
Aynard's Compagno
di
Pesellino)
Brussels.
Madonna.
Budapest.
55.
Cambridge (U.
Castelnuovo
di
Frescoes.
First Altar R.
Madonna and
Saints.
Palazzo
Certaldo.
Thomas.
Floor.
Fresco:
credulity of
Upper
Madonna.
*495-
St.
Jerome.
Cleveland (U.
Colle di
S.
A.).
Detroit (U. S.
Dijon.
Predelle,
Eastnor Castle
etc.
infant John.
(Ledbury).
Lady
Madonna and
Henry Somerset.
WORKS OF
68
Madonna against
Eastnor Castle (Ledbury.) (Con.)
Rose-hedge (version of M. Aynard's
Compagno di PeselHno at Lyons).
Opera del Duomo, 22. Madonna and
Empoli.
four Saints,
Madonna.
Englewood (New Jersey, U. S.
30.
Florence.
A.).
Mr. D.
F.
Platt.
15.
Ma-
donna.
Angels.
Frome
(Somerset).
Gloucester.
Gubbio.
Pesel-
Gottingen.
di
Berlin).
John.
Weber
St.
Collection,
22.
169
Madonna and
Harrow-on-the-Hill.
Hatfield.
Le Mans.
Lille.
Liverpool.
Filippo).
Madonna and
23.
London.
199.
Angels.
Lady Horner.
Nativity.
Nar bonne.
New Haven
1497.
Musee,
243.
WORKS OF
170
Palermo.
Parcieux
Paris.
Madonna with
Madonna.
Pavia.
Perugia.
Filippo).
Philadelphia.
Madonna
sion of M. Aynard's
Compagno
di
Pesellino at Lyons).
Richmond
(Surrey).
San Gemignano.
S.
Madonna.
Madonna
171
San Gemignano.
(Con.)
1474-1475.
Over
Dead
Triumphal
Christ.
L. Aisle,
coes:
Arch.
Fresco:
14 74-14 75.
Spandrils of Arches.
Abraham and
Fres-
six Prophets.
209.
Madonna.
Todi.
Pinacoteca.
Vienna.
1485.
WORKS OF
172
Volterra.
Municipio.
Fresco: Crucifixion.
Oratorio
di
Antonio.
S.
Nativity.
THE POLLAJUOLI.
Antonio.
1429-1498.
Piero.
Pupil
1443-1496.
of
Baldovinetti
worked
is
indicated).
Berlin.
Annunciation (Piero).
73.
David (Antonio).
Mrs. J. L. Gardner.
73 a.
Boston (U.
S. A.).
Lady
Florence.
Uffizi, 30.
69.
Hope.
70.
Justice.
Temperance.
71.
these three
work
Profile of
(Antonio).
(The
execution
was perhaps
of
largely the
of pupils.)
Faith (Piero).
72.
73.
studio work).
(Antonio).
1469.
153.
(Piero).
1467.
1306.
Prudence
3358.
Torre
(Piero).
1470.
73
Florence. (Con.)
entirely repainted)
Dance
of
Nudes
(Antonio).
Portuguese
Miniato,
S.
Chapel.
Flying
Fresco (around Window)
Angels (executed probably 1466).
(Antonio).
Fresco Assumption of VirNiccolo.
:
S.
gin (Piero).
London.
Sebastian (Antonio).
1475
Apollo and Daphne (Antonio).
292.
St.
928.
New Haven
(U.
E.
S.
A.).
Jarves Collection,
Hercules and
New
York.
Metropolitan
St.
Paris.
1367 a.
San Gemignano.
Nessus
64.
(Antonio).
Museum,
85.
Fresco:
Christopher (Piero).
Madonna
(Piero) (?).
Collegiata, Choir.
Virgin (Piero).
Coronation of
1483.
Strasburg.
tion Piero).
212A.
Madonna
Turin.
117.
enthroned
Tobias and the Angel.
(Piero).
SCULPTURE, ETC.
Francesco. Altar-frontal embroidered probably from designs by
Assisi.
S.
Florence.
Bargello.
Piero.
Bust
(Terra-cotta).
of Young Warrior
Hercules and Antaeus
(Bronze).
Enamels
in PedesFinished 1459.
WORKS OF
174
Florence. (Con.)
1466-1473.
tonio's designs).
London.
Rome.
Tomb
L.
IV (Bronze).
Fin-
of Innocent
Finished 1498.
VIII
of Sixtus
ished 1493.
Aisle. Tomb
(Bronze).
PONTORMO
(Jacopo Carucci).
Bergamo.
Morelli,
influenced
Sarto;
59.
nelli.
Berlin.
Portrait of
Andrea
del
hibited).
Portrait of a
Lady
seated.
Municipio.
St.
Quentin in the
Parish Church.
Visi-
tation.
Dzikow
(Poland).
M.
Zanislas Tarnowski.
Florence.
190.
Christ at
Lady
L.
Emmaus.
1528.
Portrait of
with Dog
182.
Man
Hospital of
in
(?).
Martyrdom
Full
velvet,
in
of forty Saints.
Armour
St.
233.
Antony.
Portrait of Man.
379.
Adoration of Magi.
cis
187.
198.
1 i
Madonna with
77.
75
L.
249.
Uffizi,
SS. Fran-
and Jerome.
Martyrdom
of S. Maurizio.
Birth Plate: Birth of St. John.
Portrait of Man.
Cosimo dei Medici.
1220.
1267.
1270.
1284.
Michelangelo).
COLLEGIO
MlLITARE,
Frescoes.
Pope's
CHAPEL.
15 13.
Museo
of
infant John.
185.
SS.
15 16.
Frescoes
Annuncia-
Michele Visdomini.
and
Certosa
Saints.
Holy Family
15 18.
(near Florence).
Cloister.
Fresco:
Christ
before
Pilate.
1523-
Poggio
Cajano
Florence)
WORKS OF
176
Florence. (Con.)
Stadelinstitut,
Frankfort a./M.
14A.
Portrait of
Hatfield.
London.
with Sword.
Birth Plate.
Joseph
13 1.
E.
and
his
Kindred
in Egypt.
Conversation.
Portrait of Youth.
New Haven
(U.
104.
Oldenburg.
Palermo.
A.).
S.
Jarves Collection,
Cosimo dei Medici. L.
Bust of Lady. L.
19.
Portrait of Lady.
406.
L.
Judith.
Portrait
Panshanger (Hertford).
Two
Youth.
of
1240.
1
241.
100.
E.
Stones.
Parish Church.
Rome.
SS.
John
E.
408.
Portrait of Cardinal.
Bust of Man.
177
Portrait of
Bartolommeo
Compagni.
Lothian.
Portrait
of
Portrait of Lady.
Turin.
122.
Vienna.
45.
Portrait of Lady.
48.
Portrait of Lady.
L.
50.
Letter
L.
(?).
COSIMO ROSSELLI.
1439-1507.
Pupil
of
Neri
di
Bicci;
influenced
by
Dr.
Berlin.
59.
and Angels.
Saints,
L.
59A.
Breslau.
Schlesisches Museum.
and infant John.
171.
Madonna
Cambridge.
Madonna
Cologne.
518.
Cortona.
Diisseldorf.
Madonna,
Saints,
and Innocents. E.
WORKS OF
78
Fiesole.
Holy Family
32.
and infant John.
Duomo, Salutati Chapel. Frescoes:
Florence.
Academy,
Empoli.
Various Saints.
SS. Barbara, John,
52.
Matthew.
and
E.
Nativity.
160.
in
Clouds.
1280
Madonna,
bis.
Saints,
and Angels.
1492.
Annunziata,
St.
Filippo
Habit.
S.
S.
i486.
L. Cloister.
Benizzi
taking
Fresco:
Servite
1476.
Pazzi.
1505.
Cor-
Liverpool
179
London.
196.
Mr.
Lucca.
S.
Milan.
Miinster
Paris.
Conte Casatti.
Nativity.
Madonna with
Kunstverein, x$.
Gabriel and infant John.
Annunciation and Saints. 147 1.
1656.
Musee des Arts Decoratifs. Legs
M. Peyre, 253. Madonna and two
/W.
Angels.
Madonna and
Rome.
Turin.
106.
Triumph
of Chastity.
WORKS OF
80
ROSSO FIORENTINO.
1
494-1 54 1.
Arezzo.
Sala
Citta di Castello.
II, 6.
Orfanelle.
Duomo.
Deposition.
Finished
Transfiguration.
1528.
Bust of Baptist.
Three Fates.
Dijon.
68.
Florence.
Pitti, 113.
Madonna and
237.
Saints.
Uffizi,
24 1.
Putti reading.
15 17.
SS.
Frankfort
Annunziata. R. Cloister.
Assumption.
Sposalizio.
S. Lorenzo.
a./m. Stadelinstitut,
14.
Fresco:
Madonna.
Paris.
1485.
Pieta.
i486.
Siena.
Portrait of
Young Man.
Turin.
Armeria
Reale,
Venice.
Academy,
Designs for
F. 3.
Buckler with Wars of Jugurtha and
Marius.
Profile bust of
46.
Man
in red
Count
Lanckoronski.
Two naked
Volterra.
Municipio.
SARTO
Madonna.
Putti.
Deposition.
see
ANDREA.
1521.
E.
181
44 1 or 2-1493.
slightly
Pupil
Fra
of
Filippo; influenced
by Castagno's works
imitated most of
Altenburg.
Amico
Ghirlandajo, and
Lindenau Museum,
di Sandro.
99.
Adoration of
Magi.
Arezzo.
105.
150.
St.
Sala
Jerome.
II,
9.
Madonna
against
Rose-
hedge.
Bergamo.
Berlin.
1055.
Pieta.
1483.
infant John.
Bonn.
University Gallery, 1 139. St. Jerome.
Bordeaux.
Musee, 48. Ecce Homo.
Brandenburg a. /H. Wredowsche Zeichnenschule,65.
Adoration.
Breslau.
Budapest.
56.
Caen.
Castiglione
St. Jerome.
Esther before Ahasuerus.
(Magazine) 1221. St. Jerome.
St. Jerome.
1369.
Musee, 58. Madonna with infant John
and Angel.
Pinacoteca,
Fiorentino.
14.
Pool
of
Bethesda.
Chantilly.
Musee Conde,
scape.
14.
Madonna
in
Land-
WORKS OF
182
Dijon.
Small Ador-
Catherine (?).
Eastnor Castle (Ledbury). Lady
Empoli.
Andrew and
Henry Somerset.
St.
Jerome.
(to be transferred to Museo).
Ansano
Fiesole.
S.
Florence.
Uffizi, 66-68.
1573.
Pieth.
Bigallo.
Angels.
Cenacolo
EntombAppolonia.
Adoration of Magi.
di S.
ment.
Museo
di
21.
An-
nunciation.
La Quiete.
Hanover.
Martino, R. Wall.
Signa), S.
Ma-
Gottingen.
IS3
Head
of Angel.
Scenes.
Ince Blundell Hall (Blundellsands, Lancashire).
Charles
Weld
Blundell.
Mr.
Na-
tivity.
Lille.
Musee,
Liverpool.
995.
Madonna.
21.
Adven-
tures of Ulysses.
London.
Earl of Ilchester.
Ecce Homo.
Ma-
donna.
Madonna and
infant John.
Mr.
Marriage Feast
Lyons.
1483.
WORKS OF
84
Marseilles.
Musee.
lost
Milan.
Conti
1002.
St. Sebastian.
1004.
Adoration of Magi.
Annunciation. E.
1007.
Minister i./W.
Kunstverein,
Ma-
Tobias and
1377.
the Angel.
Nantes.
Ma-
220.
donna (?).
Madonna.
273.
Musee Dobret, 384. Crucifixion.
New Haven (U. S. A.). Jarves Collection, 41.
donna adoring Child.
Ma-
Jerome.
52-
St.
72.
Madonna
(version
in Clouds with
by
picture
of
Cherubim
Rosselli in
Uffizi).
St. Sebastian.
80.
1479.
New
York.
Sto-
ry of Actaeon.
Stanley
Mr.
Madonna
Mortimer.
adoring Child.
Oxford.
i.
Madonna
adoring Child.
Mr.
T.
W.
Jackson.
Madonna and
infant John.
Palermo.
Paris.
1299.
Nativity.
62.
I8 5
1300 a.
of lost
seilles)
1658.
M.
St.
Story of Esther.
Jerome.
Leon Bonnat.
Madonna and
in-
fant John.
M.
Gustave Dreyfus.
infant John
Madonna and
(?).
Baron
Michele Lazzaroni.
Panel for Story of Esther.
Pieta.
Philadelphia.
Poitiers.
Rome.
of
Virgin.
Oratorio
di S.
Maria delle
Grazie.
Scotland.
Vienna.
Wiesbaden.
Annunciation.
1472.
Newbattle Abbey. (Dalkeith), Marquess of Lothian. Entombment.
Count Lanckoronski. Orpheus. St.
Sigismund and kneeling Youth. E.
Prince Liechtenstein. Tondo: Ma-
6.
tion of Magi.
PAOLO UCCELLO.
1397-1475.
Influenced
by Donatello.
Adora-
:;
:
WORKS OF
86
Battle of S. Romano.
Duomo, Wall above Entrance. Fresco
Four Heads of Prophets.
Wall L. of Entrance. Fresco:
Uffizi, 52.
Florence.
Equestrian
portrait
Hawkwood.
1437.
Windows
of
Sir
John
Drum
of Cupola (from
Resurrection Nativity
Ascension Annunciation.
1443.
Frescoes
S. Maria Novella, Cloister.
Creation of Adam; Creation of Animals; Creation and Temptation of
Eve. E.
The Flood; Sacrifice of Noah.
Battle of S. Romano.
583.
in
his designs)
London.
758.
New
York.
Collection.
Profiles
Marquand
of
Woman
Oxford.
Paris.
L.
Battle of S.
netti.
Romano.
Mme. Edouard Andre. St. George and
1273.
the Dragon.
Ducal Palace,
Urbino.
89.
the Host.
1468.
Count Lanckoronski.
Vienna.
St.
George and
the Dragon.
DOMENICO VENEZIANO.
About
at Venice;
18 7
of St. Lucy.
Berlin.
64.
Florence.
London.
Madonna enthroned.
ANDREA VERROCCHIO.
1435-1488.
vinetti, influenced
by
Alesso
Berlin.
104A.
Florence.
Academy,
Baptism
71.
Baldo-
Pesellino.
(in
E.
great part).
London.
296.
Poldi-Pezzoli,
Woman
Paris.
(?).
Profile
157.
(designed
of
Young
E.
Madonna
by
superintended
Verrocchio)
Sheffield.
Ruskin
Museum.
Child (designed
Vienna.
Madonna adoring
by Verrocchio).
Prince Liechtenstein,
32.
Portrait of
Lady.
SCULPTURES.
Berlin.
93.
9 a.
Florence.
Sleeping
Youth
Entombment
Bargello.
Woman
David
(terra-cotta).
(terra-cotta).
(bronze).
(marble).
Bust
of
88
Palazzo
S.
part).
Christ
and
Paris.
Venice.
(marble)
trian
Monument
Colleoni (bronze).
of
Left unfinished
at death.
VINCI
see
Eques-
Bartolommeo
LEONARDO
INDEX OF PLACES.
Agram
Strossmayer
(Croatia).
bertinelli,
Cosimo
Rosselli.
rentino, Sellajo.
Amsterdam.
Asolo.
Assisi.
S.
acca.
Francesco:
Cimabue,
Giotto
and
Assistants, Pollajuolo.
Amico
di Sandro,
Angelico,
Andrea
Bacchiacca, Baldovinetti,
189
INDEX OF PLACES
190
Berlin. (Con.)
BugiarGarbo,
Ridolfo Ghirlandajo, Assistant of
Giotto, Granacci, Filippino Lippi,
Bronzino,
Botticini,
celli,
Masaccio,
Michelangelo,
cesco
The
Fiorentino,
Pontormo, Cosimo
Pollajuoli,
Rosselli, Sellajo,
Museum
Monaco,
Lorenzo
Orcagna,
Pier di Cosimo.
Bacchiacca,
Franciabigio, Sellajo.
Herr
Edward
Simon:
Amico
Besancon.
Sandro.
Musee: Bronzino.
Beziers.
Bologna.
Bugiardini,
Assistant
Franciabigio,
di
of
Giotto.
S.
Domenico: Filippino
Lippi,
Michel-
angelo.
Bonn.
Bordeaux.
Musee:
Sellajo.
INDEX OF PLACES
Borgo San Sepolcro.
Boston (U.
S.
9I
Municipio: Pontormo.
Orfanelle: Rosso.
A.).
Mrs. J. L. Gardner: Fra Angelico,
Botticelli,
Botticini,
Bacchiacca,
Bronzino, Giotto, Masaccio, Pesel-
Bowood
Bugiardini.
Wredowsche Zeichnenschule:
Brandenburg a./H.
Sellajo.
Brant Broughton
Rev. Arthur F.
Lorenzo
(Lincolnshire).
Sutton
Fra
Angelico,
Monaco, Masaccio.
Bremen.
Kunsthalle: Masolino.
Breslau.
Schlesisches
Museum Cosimo
:
Rosselli,
Sellajo.
Brocklesby
(Lincolnshire).
Earl of Yarborough
Bacchiacca.
Bruges.
Notre Dame.
Brunswick.
Lorenzo Monaco.
Brussels.
Michelangelo.
Musee de la Ville
Budapest.
Amico
Caen.
Cambridge.
Musee:
Carlsruhe.
Credi.
Franciabigio.
Fiorentino.
Sellajo.
entino.
INDEX OF PLACES
I92
Parish Church.
Pon-
tormo.
Bacchiacca, Bronzino, Granacci, Lorenzo
Cassel.
Monaco.
Cappella
Castel Fiorentino.
di S.
Chiara: Benozzo.
di
Val d'Elsa.
S.
Benozzo.
Barbara:
Pier Fran-
cesco Fiorentino.
Castiglione d'Olona (Varesotto).
Palazzo Castigili-
one: Masolino.
Church: Masolino.
Baptistery: Masolino.
Pinacoteca:
Collegiata: Credi.
Sellajo.
Palazzo
Pier
Castiglione Fiorentino.
Certaldo.
Priori:
dei
Francesco
Fiorentino.
bigio,
Granacci,
di
Sandro, FranciaPier
Pesellino,
di
Cosimo, Sellajo.
Chartres.
Musee
Chatsworth.
Duke
Albertinelli.
of
landajo.
Chicago.
Botticini.
Granacci.
Duomo: Rosso.
Citta di Castello.
Cleveland (U.
S. A.).
Holden Collection
Botticini,
Cologne.
INDEX OF PLACES
93
Dijon.
bigio,
Pier
Francesco
Fiorentino,
Rosso, Sellajo.
Alunno
Dresden.
di
Dublin.
Pier di Cosimo.
Academy: Fra
Rosselli.
Dzikow
(Poland).
M.
Zanislas Tarnowski:
Pon-
tormo.
Pier
Francesco
Fiorentino,
tino, Sellajo.
Esher.
Mr. Herbert
Fiesole.
S.
Ansano
(to
F.
Cook:
Carli.
be transferred to Museo)
Lorenzo Monaco,
Sellajo.
INDEX OF r LACES
94
Duomo: Cosimo
Ficsolc. (Con.)
S.
Rosselli.
Francesco: Pier
di
S.
Cosimo.
Piero al Terreno:
Bugiardini.
Florence.
Academy
ico,
Albertinelli,
Andrea
del Sarto,
Lippi,
Michelangelo,
Verrocchio.
Bargello: Assistant
of Giotto,
Lorenzo
Mainardi, Michelangelo,
Orcagna, Pier Francesco Fiorentino,
Antonio Pollajuolo, Rosso, Verroc-
Monaco,
chio.
Pitti:
Ridolfo
Franciabigio,
Bugiardini,
Ghirlandajo, Granacci, Filippino Lippi, Fra Filippo Lippi, Pier di Cosimo.
Pontormo, Rosso, Sellajc.
Andrea
Domen-
Fra Angelico,
Baldovinetti, Fra Bartolommeo, Beico,
del Sarto,
INDEX OF PLACES
Florence. (Con.)
95
Cosimo
The
Pollajuoli,
Pontormo,
Paolo
Uccello,
rocchio.
Sellajo.
Cenacolo
di
Foligno:
dello
Scalzo:
Amico
di
Sandro.
Chiostro
Andrea
del
Sarto, Franciabigio.
Granacci.
San Lorenzo,
New
Sacristy: Michel-
angelo.
Museo
di
nico,
di
Dome-
Bugiardini,
Domenico Ghirlandajo,
I96
INDEX OF PLACES
Florence. (Con.)
Carli.
Via
ii.:
Carli.
Fra
Filippo Lippi.
Duca
Carli,
Ridolfo
Ghirlandajo,
Mr. Herbert
Fiorentino.
Pier
INDEX OF PLACES
Florence. (Con.)
97
Conte
Pollajuolo.
Filip-
Sarto,
Carmine:
S.
S.
Filippino
Lippi,
Masaccio,
Masolino.
Croce: Bugiardini, Giotto and Assistants, Lorenzo Monaco, Mainardi,
Duomo:
Baldovinetti,
Castagno,
Credi,
Paolo Uccello.
Felice: Assistant of Giotto.
Felicita: Pontormo.
INDFX OF PLACES
I98
Florence. (Con.)
Francesco
S.
delle
Stimmate:
Francesco Fiorentino.
Pier
S.
Frediano:
S.
Sellajo.
Lorenzo
Monaco, Pier Francesco Fiorentino,
:
Sellajo.
Domenico Ghirlandajo.
Jacopo sopra Arno: Sellajo.
Lorenzo: Bronzino, Fra Filippo
nico,
S.
vS.
Pier di Cosimo,
Lippi,
Rosso, Verrocchio.
S.
S.
Marco:
ate) Sellajo.
:
S.
S.
S.
S.
Giotto.
S.
landajo.
Chiesa
di
Orbetello: Mainardi.
Or San Michele:
rocchio.
S.
Pancrazio: Baldovinetti.
INDEX OF PLACES
99
Florence. (Con.)
S.
S.
S.
Lorenzo Monaco.
Andrea
S.
Certosa:
Botticini, Carli.
Albertinelli,
Pon-
Orcagna,
tormo.
Fra Bartolommeo.
Poggio a Cajano (Royal Villa) Andrea
:
del
Sarto,
Franciabigio,
Filippino
Pontormo.
S. Pietro: Granacci.
Scandicci, Comtesse de Turenne Credi.
Villamagna, S. Donnino: Granacci.
Lippi,
Quintole,
Forli.
Frankfort
Credi.
a./M.
Stadelinstitut
Pier
Francesco
Musee
Albertinelli.
2 GO
INDEX OF PLACES
Gloucester.
Credi, Ridolfo
Ghirlandajo, Pier di Cosimo.
Mr. James Mann: Granacci.
Highnam Court, Sir Hubert Parry:
Lorenzo Monaco,
Francesco Fioren-
Albertinelli, Credi,
Pesellino,
Pier
tino, Sellajo.
Gottingen.
University Gallery:
Pier Francesco
Credi,
Botticini,
Fiorentino, Sellajo.
Grenoble.
Gubbio.
The Hague.
Hamburg.
Weber
Collection:
bigio,
Mainardi,
Credi,
Pier
Francia-
Francesco
Fiorentino.
Hanover.
Kestner Museum:
Credi.
Provinzialmuseum: Sellajo.
Harrow-on-the-Hill.
Rev. J. Stogdon Pier
:
di
Co-
Hildesheim.
Mainardi.
Horsmonden
(Kent).
Sandro.
Ince Blundell Hall (Lancashire).
Kiel.
Le Mans.
Musee
Lewes.
Mr. E.
Lille.
pino Lippi.
Musee: Pier Francesco Fiorentino, Sel-
Carli, Pier
P.
lajo.
Francesco Fiorentino.
Filip-
INDEX OF PLACES
Liverpool.
201
di
Do-
Cosimo
Locko Park
London.
Rosselli, Sellajo.
(near
Amico
di Sandro,
Andrea
meo, Benozzo,
Botticelli,
Botticini,
Bugiardini,
Castagno,
Bronzino,
Credi, Franciabigio, Domenico and
Ridolfo Ghirlandajo, Filippino and
Fra Filippo Lippi, Lorenzo Monaco,
Orcagna,
Michelangelo,
Mainardi,
Pier di Cosimo, Pier Francesco Fio-
Verrocchio.
del
Sarto,
Pier di Cosimo.
chelangelo, Pier
landajo, Granacci,
Pier di Cosimo.
Filippino Lippi,
INDEX OF PLACES
202
London. {Con.)
Duke
of Buccleugh: Granacci.
Mr. Charles Butler: Bacchiacca, Botticini, Credi,
tino,
Cosimo
Pier Francesco
Florentine
Mr.
J.
P.
Heseltine:
Col. G. L. Holford,
Botticelli.
Dorchester House
Sir
Domenico.
Mr.
J.
Cosimo, Sellajo.
Mr.
C. N.
Robinson: Benozzo.
Earl of Rosebery:
Credi.
INDEX OF PLACES
203
Sarto.
and
Earl of
Longleat (Warminster).
Yarborough Franciabigio.
Marquess of Bath: Alunno
:
Lovere.
Ghirlandajo.
Lucca.
Carli,
Pon-
tormo.
Marchese Mansi
(S.
M. Forisportam)
Granacci.
S.
Lyons.
Madrid.
del Sarto,
INDEX OF PLACES
204
Madrid. (Con.)
Duke of Alba:
Albertinelli,
Fra
Angelico.
Marseilles.
Musee:
Mayence.
Meiningen.
Credi.
Sellajo.
di
Sandro,
Benozzo.
Milan.
Ambrosiana: Botticelli.
Borromeo: Alunno di Domenico, Pier
di
Cosimo.
Brera: Benozzo, Bronzino.
Poldi-Pezzoli: Albertinelli,
di
Domenico,
Botticelli,
lino, Sellajo,
Alunno
Carli,
Pesel-
Verrocchio.
Comm.
Modena.
Mombello
Botticini,
(near
Bugiardini,
Milan).
Prince
Franciabigio.
Pio
di
Savoia
Bugiardini.
Montefalco.
Botticini,
Pier
Francesco
Fioren-
tino.
Carli.
Masaccio.
INDEX OF PLACES
Alte Pinakotek:
Munich.
20$
Fra AnGarbo,
Giotto and Assistant, Granacci, Fra
Albertinelli,
Bacchiacca,
gelico,
Filippo Lippi,
Credi,
Mainardi,
Masolino,
Sella jo.
Munster i./W.
Rosselli, Sellajo.
Nantes.
Naples.
Amico
Sellajo.
pi,
Masaccio, Masolino.
Musee:
di
Sandro.
Narni.
nozzo,
Ridolfo Ghirlandajo, Granacci, Filippino Lippi, Lorenzo Monaco, Orcagna, Pier di Cosimo, Pier Francesco
juolo,
Manor
Newlands
(Hampshire).
West:
Newport
New
Fiorentino,
Pontormo,
Antonio
Polla-
Sellajo.
Col.
Cornwallis
Pier di Cosimo.
(U. S. A.).
York.
di
Paolo
Uccello.
INDhX OF PLACES
2o6
New
York. {Con.)
Rutherford
Mr.
Stuyvesant
Franciabigio.
Albertinelli.
Pontormo.
Oldenburg.
Bugiardini,
Orvieto.
Oxford.
chiacca,
Carli,
Granacci,
Filippino
Credi,
Mr. T. W. Jackson:
Franciabigio, Sel-
lajo.
Padua.
Palermo.
di
Domenico,
Mai-
Botticini,
La Grange Blanche, M.
Henri Chalandon: Botticini, Lo-
Francesco
Fi-
orentino.
Paris.
Louvre:
Albertinelli,
Amico
nico,
di
Alunno
di
Dome-
Sarto,
celli,
INDEX OF PLACES
Paris. (Con.)
Carli,
207
Lorenzo Monaco,
Lippi,
Filippo
Mainardi, Michelangelo, Pesellino,
Pier di Cosimo, Piero Pollajuolo,
Pontormo, Cosimo Rosselli, Rosso,
Sellajo,
Paolo Uccello.
Bugiardini,
Cosimo Rosselli.
Baronne d'Adelsward: Benozzo.
Mme.
Edouard Andre:
Botticini,
cesco
Baldovinetti,
Bugiardini,
Pier
Cosimo
Fiorentino,
Fran-
Rosselli,
Paolo Uccello.
Comtesse
cini,
M. Leon
Arconati-Visconti
Botti-
Mainardi.
Bonnat: Pier Francesco Fioren-
tino, Sellajo.
M.
Henri Heugel:
Botticini,
Garbo,
Carli, Sel-
lajo.
Verrocchio.
di
Sandro.
INDEX OF PLACES.
2o8
Paris. (Con.)
Parma.
Pavia.
Musee: Amico
A.).
S.
The Acorns:
Mrs. Bacon,
Sellajo.
di Sandro.
Philadelphia.
dini,
cesco Fiorentino.
Pinerolo (Piedmont).
bigio.
Pisa.
Museo
Carli,
cio.
Caterina:
Albertinelli.
Duomo: Andrea
del Sarto.
S.
Matteo:
S.
Stefano: Bronzino.
Carli.
Be-
INDEX OF PLACES
Pistoia.
Duomo:
209
Credi, Verrocchio.
Credi.
Lippi.
Reigate.
Ghirlandajo,
Cosimo
Ros-
selli.
Richmond
(Surrey).
Rome.
tormo.
Borghese Gallery:
del
Albertinelli,
Bacchiacca,
Sarto,
Andrea
Bronzino,
Bugiardini,
Credi,
Franciabigio,
Granacci, Pier di Cosimo, Pontormo.
di
Domenico,
Bronzino, Bugiardini.
Granacci, Pier di
Cosimo, Pontormo.
Doria Gallery: Bronzino.
Lateran (presently to be united with
the Vatican) Fra Bartolommeo, Benozzo, Fra Filippo Lippi.
:
INDEX OF PLACES
2IO
Rome.
(Con.) Vatican,
Fra
Pinacoteca:
Angelico,
Leonardo.
MusEoCRisTiANo(presently to be united
with the Pinacoteca) Fra Angelico,
Benozzo, Lorenzo Monaco, Mainardi,
:
Masolino.
Ghirlandajo,
Michelangelo,
Pier di
Fra
Angelico,
di
Mainardi,
Sellajo.
S.
Francesco Fiorentino.
211
Andrea: Benozzo.
Cappella di Monte:
S.
Pier
Francesco
Fiorentino.
Mainardi,
Pier
Francesco
Monte Oliveto:
Benozzo, Mainardi.
S.
Fi-
orentino.
di Ulignano (near San Gemignano), S. Bartolommeo: Pier Francesco Fiorentino.
San Giovanni Valdarno. Oratorio di S. M. delle
Pieve
Grazie:
San Miniato
al
Sellajo.
S.
Domenico:
Carli.
Scotland.
Stirling:
Capt.
Pier
di
Cosimo.
Pier di
of
Botticini,
Wemyss:
Masolino,
Cosimo.
Kier
Bugiardini.
212
INDEX OF PLACES
Scotland. (Con.)
di Sandro,
Lord Kinnaird
Sermoneta.
Granacci.
Sheffield.
Siena.
Albertinelli,
di
Chiana).
S.
cesco Fiorentino.
Spoleto.
Duomo: Fra
S.
Filippo Lippi.
Polla-
juoli.
Stockholm.
St.
Royal Palace:
Petersburg.
Hermitage: Andrea
Angelico,
ticelli,
landajo,
Fra
Bartolommeo,
Bugiardini,
Granacci,
Bot-.
Ridolfo GhirMichelangelo.
di
Sandro,
Filippino Lippi.
Strasburg.
Credi.
Albertinelli, Bugiardini.
Terni.
Biblioteca: Benozzo.
Municipio: Pier Francesco Fiorentino.
Todi.
FortunaTO: Masolino.
Musee: Bacchiacca.
Amico di Sandro, Fra Angelico,
S.
Troyes.
Turin.
Botticini,
INDEX OF PLACES
Turin. {Con.)
213
Pollajuoli,
Armeria Reale:
Rosso.
Civico: Bugiardini, Lorenzo Mo-
Museo
naco.
Urbino.
Vallombrosa.
Venice.
Uccello.
Carli.
Academy
Carli, Rosso.
Paolo: Ver-
rocchio.
Vercelli.
Ghirlan-
dajo.
Vienna.
Andrea
del
Sarto,
Fra
Bartolommeo
Academy:
Pontormo.
Bugiardini.
Cosimo.
di
Do-
INDEX OF PLACES
214
Vienna. (Con.)
Volterra.
Fiorentino.
Duomo:
Wantage.
Albertinelli,
Benozzo.
Ri-
Warwick
Castle.
acca,
Wigan.
Franciabigio,
Sellajo.
Botti-
cini.
Windsor
Castle.
Andrea
ft Selection
from the
Catalogue of
G.
P.
PUTNAM'S SONS
on tbe
liUiorfts
By
IRenaissance
fltalian
Bernhardt Berenson
the Renaissance
With an
New
"
It
One
merits
Cultura.
"
Boston Tran-
script.
the Renaissance
With an essay on their genius and a full list of their works
With a heliotype Fronin British and Continental galleries.
Third Revised and Enlarged Edition. Crown 8.
tispiece.
Net $1.50.
to the
Crown
the Renaissance
With a
Painters.
Italian
pression.
Works
8.
Frontispiece.
$1.00.
Seventh
Im-
"A
last 75
The North
Crown
8.
Renaissance
Net $ 1.50.
by a man who knows
Frontispiece.
11
This little book is written
and who is thoroughly in sympathy with the
New York G.
P.
spirit of the
Renaissance."
art.)
A Work
of First Importance
The History
From
of Painting
Nineteenth Century
German and
critical
notes
edited
with
by-
Sometime Instructor
and
brilliant
technical questions, to interpret the great masterpieces of painting as human documents and
manifestations of the dominant feelings and
tendencies of the epochs to which they belong.
2 Volumes,
8vo,
with Sj Illustrations.
Send
G. P.
New York
Net $5.00
PUTNAM'S SONS
London
14 DAY USE
RETURN TO DESK FROM WHICH BORKOWED
LOAN
DEPT.
ffimni
JUN2 8'73-*PM3q
81
i
JECD
CIRC DEPT
AUG 17
E.
MUFRil
iy/4
AUC
APR 2
274
j.
25
"W
AU13 6
74
dANl7'I
JUL 2tf
77
c^P^
^*
^"tlojfcfclil
Uoi.ersi^ofgUfornia
*R*.