14. NATIONAL GALLERY.
ianus, Anthony, and Peter the Martyr, sitting on a marble bench
(an early work, painted for Cosmo de' Medici, and revealing the
influence of Masolino, Angelico, and Masaccio); 916. Botticelli, Venus
reclining, with Cupids; 703. Pinturicchio, Madonna and Child (as¬
signed by Mr. Crowe to the Umbrian painter Fiorenzo di Lorenzo);
582. Fra Angelico (A. 1455), Adoration of the Magi, an inferior,
though genuine, example of the master; 907. Crivelli, SS. Cathar¬
ine and Mary Magdalene ; 598. Filippino Lippi (son of Filippo Lippi,
and pupil of Botticelli; d. 1505), St. Francis in glory, dated 1492.
*136. Francesco Bonsignori (Arerona, d. 1519), Portrait of a
'We are reminded of Masaccio by the breadth of the modelling, and
of Ghirlandajo by the precision with which the forms are given and sha¬
dows are defined'. — C. tk C.
771. Bono of Ferrara (middle of the 15th cent., pupil of Vit-
tore Pisanello), St. Jerome in the desert; 905. Cosimo Tura (Fer¬
rara, about 1460), Virgin in prayer; 904. Gregorio Schiavone (Pa¬
dua, about 1470), Madonna and Child with angels (the letters A.P. on
the pilasters may possibly refer to the painter Antonio of Padua);
770. Giovanni Oriolo, Portrait of Leonello d'Este, Marquis of
F'errara (d. 1450). — 776. Pisano of Verona (founder of the early
Veronese school, painter and medallist; d. 1451), SS. Anthony
and George, with a vision of the Virgin and Child in a glory above.
'There is no denying the vulgar character of the infant, nor the tor¬
tuous cast of the drapery; but a grim wildness distinguishes St. Anthony,
and St. George is an exact reproduction of a knight in the broad hat,
short cloak, and armour of the time'. — C. tt C.
In the frame are inserted casts of two of Pisano's medals. The one
above represents Leonello d'Este, his patron; the other, the painter
673. Antonello da Messina (said to have imported painting in
oil from Flanders into Italy ; d. after 1493), Salvator Mundi, 1465.
'The oldest of his pictures which we now possess. It is a solemn
but not an elevated mask ; half Flemish, half Italian. The colour is warm
but not quite clear, solid in light, brownish, uneven, and showing the
ground in shade, but without the brightness or pellucid finish of a later
period'. — C. <t C.
283. Benozzo Gozzoli (pupil of Fra Angelico, d. 1498), Virgin
and Child enthroned, with saints.
'The original contract for this picture, dated 23d Oct. 1461, is still
preserved; it was published in Florence in 1855. The figure of the Vir¬
gin is in this contract specially directed to be made similar in mode,
form, and ornaments to the Virgin Enthroned, in the picture over the
high altar of San Marco, Florence, by Fra Giovanni (Angelico) da Fie-
sole, and now in the Academy there'. — Catalogue.
591. Benozzo Gozzoli, Rape of Helen; *281. Marco Basaiti
(rival of Giov. Bellini in A'enice, d. about 1520), St. Jerome read¬
ing, in a very beautiful landscape; 916. Luca Signorelli (Umbrian
school, d. 1521), Triumph of Chastity (fresco; probably a school-
piece) ; 666. Fra Filippo Lippi, Annunciation, painted like No. 667.
for Cosmo de' Medici and marked with his crest.
727. Pesellino (follower of the foregoing, d. 1457), Trinita.
Baedeker, London. 10