Chapter XX: Appendix (5)

[75] Vasari, ed. 1568, Vol. I, p. 380.

[76] G. Richa, ‘Chiese Fior.,’ Vol. III, p. 178.

[77] Vasari, ed. Sansoni, Vol. II, p. 592, note.

[78] G. Richa, ‘Chiese Fior.,’ Firenze, 1754, Vol. III, p. 177.

[79] F. Baldinucci, ‘Notizie de’ Professori del Disegno, da Cimabue in Qua,’ Firenze, 1767, Vol. III, p. 187, note.

[80] G. Frizzoni, ‘La Galleria Morelli in Bergamo,’ Bergamo, 1891, pp. 15-16.

[81] Translated by A. Teixeira de Mattos.

[82] The freedom of the gild was not granted to any one under the age of 30.

[83] Translated by A. Teixeira de Mattos.

[84] While, in accordance with the principles adopted from the first in this magazine, we give Mr. Cecil Smith perfect liberty to express his opinion on this piece--the opinion of one of the most accomplished experts--it is right to say that the opposite view of the matter will be stated in an early number of this magazine by another expert writer, Mr. John Marshall.--~Ed.~

[85] It would appear that neither Dr. Ricci, who ascribes this altar-piece to Pintoricchio, nor Dr. Steinmann, who gives it, correctly as we think, to Antonio da Viterbo, has noticed a Crucifixion and Saints clearly by the same painter and in the same phase, in the chapel of St. Anthony in the lower church of Assisi.

[86] A chapter extracted from Mr. Solon’s forthcoming book. ‘A Brief History of Old English Porcelain,’ by kind permission of Messrs. Bemrose & Sons, Limited, London and Derby.

[87] Translated from the original German by P. H. Oakley Williams.

[88] Cf. Aretino, ‘Letter’ (Paris, 1609), Vol. III, p. 36 verso.

[89] l. c., p. 76 verso.

[90] Crowe and Cavalcaselle, ‘Titian,’ Vol. II, Doc. LXVII.

[91] This letter, which is little known, is to be found in Charavay, ‘Inventaire des Autographes de B. Fillon’ (Paris, 1879), Vol. II, p. 300.

[92] Cf. Crowe and Cavalcaselle, Vol. I, Doc. XVII.

[93] Cf. Campori, ‘Raccolta di Cataloghi,’ p. 275. A plate of de Iode, mentioned by Crowe and Cavalcaselle, has also, it appears, been done from this picture.

[94] Not 1522, as has often been stated.

[95] Reproduced in Julius Meyer’s ‘Die Burggrafen von Nürnberg im Hohenzollern-Mausoleum zu Heilsbronn in Wort and Bild,’ Ansbach, 1897, p. 92.

[96] ‘Erinnerungen an die Hohenzollernherrschaft in Franken,’ Ansbach, 1890, p. 118.

[97] Behr’s ‘Genealogie der in Europa regierenden Fürstenhäuser,’ Tafel cxxviii.

[98] Plate 3, previously reproduced in Helbing’s ‘Monatsberichte über Kunst,’ Munich, 1903 pp. 68, 74.

[99] The collections of drawings recently secured by Birmingham and Adelaide were both made by artists.

[100] Only the other day I had the pleasure of seeing South Kensington purchase, for twenty-six guineas, two drawings by Millais, studies for or after his Dream of Fair Women in Moxon’s Tennyson. But with the exception of the bidding by South Kensington and myself, there was no competition for the drawings, though every dealer in London was struggling at the sale--the Gambart--for cheap and rubbishy, though popular, French and Spanish water-colours that brought far higher prices owing to some fad of the moment.

[101] See the previous note as to South Kensington. The edition was issued by Messrs. Freemantle.

[102] I have to thank MM. Lévy et ses Fils, of Paris, for their courteous permission to reproduce the photograph of this picture, specially taken by them for a forthcoming publication on Sienese painting.

[103] I find that this work has been attributed in the last edition of the ‘Cicerone,’ with somewhat unusual insight, to its right author.

[104] I must here add two other works, also quite evidently by Vanni, to which my attention has been drawn by Mr. Berenson, to whom I owe much for having first called my attention, some years ago, to the possibilities of Andrea as an artist. The first of these is the sacred picture of the Madonna in the great pilgrimage church on Monte Nero, near Leghorn. The second, a damaged, almost ruined fresco in the church of S. Giovenale at Orvieto, has been published with a notice by Don Guido Cagnola, in the _Rassegna d’ Arte_ for February-March, 1903.

[105] The composition of this picture is remarkably fine, so fine indeed that I doubt its being Isenbrant’s, and yet the picture does not look like a copy.

[106] Quelques Peintres Brugeois de la première moitié du XVI^e siècle--I. Jan Prevost. Gand, 1902, 38 pp. and 4 phototypes. This master was a Walloon, born at Mons. It is not only more correct to write his family name as he himself and his forbears wrote it, but it is important to do so as the forms De la Pasture, Gossart, Prevost etc., remind the reader that the Walloons had a considerable share in the development of the Netherlandish school, far greater than the Flemings.

[107] ‘Ausstellung von Kunstwerken des Mittelalters und der Renaissance aus Berliner Privatbesitz,’ Berlin, 1899, 4to, pp. 170-173.

[108] Wallis: ‘Italian Ceramic Art -- the Maiolica Pavement Tiles of the Fifteenth Century,’ London, 1902, 12mo, figs. 10-24.

[109] Owing to a mistake of the photographer, the figure of this jar is reversed.

[110] They are found again, slightly more elaborated, upon an albarello of the same series in the British museum. Another one belongs to an amateur in Berlin.

[111] According to Litta; Moreri gives different dates.

[112] They bear the stamp of a convent in that town.

[113] Pliny, Herodotus, and Strabo include as within the bounds of Assyria those countries over which its sway had at times ascendency; the whole of Babylonia, all Mesopotamia, a portion of Mount Zagroo, modern Kurdistan, all Syria as far as Cilicia, Judea, and Phoenicia, and during the seventh century ~B.C.~, Lydia, Cyprus, and Egypt on the west, and part of Media on the east, with Babylonia and part of Arabia on the south.

[114] Of the Vedas, the four religious books of the Hindus, three were composed about 1700 _B.C._ and the fourth much later. None of them were collected and written until between 1000 and 800 _B.C._

[115] Zendavesta:--‘Zend’ is old Persian or Achæmenian, meaning commentary or explanation, and was the ‘Zend’ which accompanied the ‘Avesta,’ = the law or the word. The original text of the Avesta was not written by a Persian, as it was not couched in a language used in Persia, nor indeed were any existing Persian customs or practices sanctioned by its tenets. It was written in Media and in the language of Media by the priests of Ragha and Atropatine. It has been practically decided that the greater part of it was written before the third century ~B.C~, while no part of it was written after the fourth century ~A.D.~

[116] Reproduced from a photograph provided by the kindness of Dr. A. W. Mollerup, director of the national museum, Copenhagen.

[117] C. Nyrop. Meddelelser om Dansk Guldsmedekunst, 1885, fig. 3, p. 6.

[118] It is, however, described by Nyrop (_op. cit._ p. 7) as ‘hammered out thin.’ Compare the description of the characteristics of mortuary or coffin chalices given by Hope and Fallow, ‘English Medieval Chalices and Patens,’ in _Archaeological Journal_, xliii, p. 140.

[119] Translated by A. Teixeira de Mattos.

[120] Translated by A. Teixeira de Mattos.

[121] Translated by P. H. Oakley Williams.

[122] Firenze, Archivio di Stato, Diplomatico, Santa Trinita, 1371, 1^o novembre: cited by Arnaldo Cocchi, ‘Le Chiese di Firenze,’ Firenze, 1903, Vol. I, p. 180.

[123] Lacuna in original.

[124] An error for San Benedetto. This chapel, the patronage of which now belongs to the Marchesi Lotteringhi della Stufa, is the first chapel of the right aisle, on entering the church.

[125] Lacuna in original.

[126] ed. Firenze, 1767, Vol. III, pp. 186-7, notes.

[127] These numbers refer to the annotations which follow this document.

[128] These interpolations are in the hand of Giovanni di Niccolò di Messer Giovanni Baldovinetti, as appears from his signature, to one of the notes in this volume, on a slip inserted between fol. 10, and fol. 11.

[129] Lacuna in original.

[130] These numbers refer to the corresponding numbers prefixed to the foregoing paragraphs.

[131] Vasari, ed. 1550, Vol. I, p. 410.

[132] ed. 1790, Lib. III, p. 96.

[133] Lacuna in original.