CHAPTER IV.—FRA FILIPPO LIPPI AND THE NEW NARRATIVE STYLE
[39]. Fra Filippo Lippi. Edward C. Strutt, Fra Filippo Lippi, London, 1906. Vasari’s Life is capital. Robert Browning’s poem, in Men and Women, an admirable side-light.
[40]. Benozzo Gozzoli. I accept Col. G. F. Young’s date for these frescoes. See The Medici, New York, 1909, Vol. I., Chapter vii, where there is a good analysis of this decoration.
[41]. Antonio Pollaiuolo. Maud Crutwell’s Antonio Pollaiuolo, London and New York, 1907. For later information consult Venturi, Storia, Vol. VII, pt. I, pp. 558–578.
[42]. Piero della Francesca. W. G. Waters, Piero della Francesca, London, 1901; and Corrado Ricci’s superbly illustrated folio, Piero della Francesca, Rome, 1910.
[43]. Early Frescoes of the Sistine Chapel. Magnificently reproduced in the album accompanying Ernst Steinmann’s Die Sixtinische Cappelle, Munich, 1901.
[44]. Francesco Pesellino. Consult Dr. W. Weisbach’s able and beautifully illustrated work, Francesco Pesellino und die Romantik der Frührenaissance, Berlin, 1901. For cuts of Cassoni, Paul Schubring, Cassoni, Leipzig, 1915, and the books and articles already cited in note 6 to Chapter 3.
[45]. Domenico Ghirlandaio. A copious and satisfactory life is that of Gerald S. Davies, Ghirlandaio, London and New York, 1909. Briefer but of greater cultural scope is Ghirlandaio, by Henri Hauvette, Paris, “Les maîtres de l’art.” For a summary criticism my article in The Nation (N. Y.), Aug. 20, 1908, p. 167. Ruskin’s famous assault on Ghirlandaio in Mornings in Florence is joyous reading if whimsically exaggerated.