LUCA SIGNORELLI
ARRANGED ACCORDING TO THE GALLERIES
IN WHICH THEY ARE
CONTAINED.
BRITISH ISLES.
DUBLIN, GALLERY.
Feast in the House of Simon.[94]
This must be the panel mentioned by Cavalcaselle as in the possession of Capt. Stirling, Glentyan, Scotland (?).
LIVERPOOL, ROYAL INSTITUTION.
Madonna. Oil. 1 ft. 9 in. × 1 ft. 4 in. [No. 26.]
LONDON, NATIONAL GALLERY.
The Circumcision. Oil. 8 ft. 6 in. × 5 ft. 11 in. [No. 1128.]
Originally in the church of S. Francesco, Volterra. Later in the Duke of Hamilton's Collection, near Glasgow. Purchased in 1882.
Inscribed: LVCAS CORTONENSIS PINXIT.
LONDON, Mr BENSON'S COLLECTION.
Madonna. Two Parts of Predella:
1. Dispute on the way to Emmaus. 2. Christ at Emmaus.
LONDON, LORD CRAWFORD'S COLLECTION.
Two Parts of Predella:
1. Meeting of Joachim and Anna. 2. Birth of the Virgin.
LONDON, Mr LUDWIG MOND'S COLLECTION.
Predella:
1. Ahasuerus and Esther. 2 and 3. Scenes in the Life of S. Augustine.
LONDON, Mr MUIR MACKENZIE'S COLLECTION.
Madonna. Tondo.
ON SALE IN LONDON.
Annunciation.
Part of Predella formerly in the Mancini Collection, Città di Castello. For sale since 1898.
RICHMOND, COLLECTION OF SIR FRANCIS COOK.
Two Fragments of a Baptism.
Profile Portrait of Man.
SCOTLAND (COLLECTION OF SIR JOHN STIRLING MAXWELL, POLLOCK HOUSE).
Pietà.
FRANCE.
PARIS, LOUVRE.
Part of Predella. 1525. Oil. 1 ft. 1 in. × 2 ft. 4 in.
From the Collection of Louis XVIII.
Adoration of the Magi. Oil. 10 ft. 10 in. × 8 ft. 1 in. Drawing only.
From the Collection of Napoleon III.
Seven Half-Figures in various Costumes (?). 1527. Fragment.
Bought from Campana Collection, Rome, by Napoleon III.
GERMANY.
ALTENBURG, SAXONY, MUSEUM.
Nine Fragments of Polyptych. Oil.
From the Collection of the late Herr von Lindenau.
Four small panels with a Saint in each, and five parts of a Predella: 1. Christ on the Mount of Olives. 2. Flagellation. 3. Crucifixion. 4. Deposition. 5. Resurrection.
BERLIN, GALLERY.
Two Wings of Altar-piece. 1498. Oil. 4 ft. 8 in. × 2 ft. 5½ in. [No. 79.]
Painted for the church of S. Agostino, Siena, which was burnt down in 1655. Bought from the Solly Collection.
Pan as God of Natural Life and Master of Music. Oil on canvas. 6 ft. 5 in. × 8 ft. 6½ in. [No. 79A.]
Probably painted for Lorenzo dei Medici. Discovered in 1865 in the Palazzo Corsi, Florence. Bought by the Berlin Gallery 1873.
Inscribed: LVCA CORTONEN.
Holy Family. Oil. 10 in. × 10 in. Tondo. [No. 79B.]
From the Patrizi Collection, Rome. Bought 1875.
Inscribed: LVCHAS SIGNORELLVS DE CORTONA.
Portrait of Man. Oil. 1 ft. 7 in. × 1 ft.
From the Torrigiani Collection, Florence.
MEININGEN, DUCAL PALACE.
Part of Predella.
MUNICH, GALLERY.
Madonna and Child. Oil. Tondo.
From the Palazzo Ginori, Florence.
ITALY.
ARCEVIA, S. MEDARDO (between Fabriano and Sinigalia).
Polyptych. Madonna and Saints. 1507. Oil. 8 ft. 8 in. × 8 ft. 8 in.
In the original Gothic frame. Inscribed:
LVCAS SIGNORELLVS PINGEBAT. M.D.VII.
Predella: 1. The Annunciation. 2. The Nativity. 3. The Adoration of the Magi. 4. The Flight into Egypt. 5. The Murder of the Innocents.
ARCEVIA, S. MEDARDO, CAPPELLA DEL SACRAMENTO.
Baptism. 1508. Oil. 4 ft. 4 in. × 4 ft. 4 in.
In the original Gothic frame. Partly by assistants.
Predella: 1. The Birth of the Baptist. 2. The Preaching in the Desert. 3. The Denouncing of Herod and Herodias. 4. The Feast of Herod. 5. The Decapitation in Prison.
AREZZO, GALLERY.
Madonna, Saints, and Prophets. 1519. Oil. 11 ft. 7½ in. × 7 ft. 9 in. [No. 31.]
Painted for the Campagnia of San Girolamo. For many years in S. Croce; on the suppression of that convent in 1849 removed to S. Spirito; from thence to the Gallery.
AREZZO, DUOMO, SACRISTY.
Three Parts of Predella. Oil.
1. Birth of the Virgin. 2. Presentation. 3. Marriage of the Virgin.
BERGAMO, MORELLI COLLECTION.
S. Rock. Oil. [No. 19.]
Madonna. Oil. [No. 20.]
S. Sebastian. [No. 24.]
BORGO SAN SEPOLCRO, MUNICIPIO.
Church Standard. Oil on canvas. 6 ft. 4 in. × 4 ft. 6 in.
On one side a Crucifixion; on the other, SS. Antonio and Eligio.
From the Confraternity of S. Antonio Abbate.
CASTIGLIONE FIORENTINO COLLEGIATA, CAPPELLA DEL SACRAMENTO.
Deposition. Fresco. 8 ft. 10 in. × 8 ft. 10 in.
CITTÀ DI CASTELLO, GALLERY.
Martyrdom of S. Sebastian. 1496. Oil, 9 ft. 4 in. × 5 ft. 9½ in. [No. 19.]
From the church of S. Domenico.
CITTÀ DI CASTELLO, PALAZZO MANCINI.
Madonna and Saints. 1515. Oil.
Painted for the church of S. Francesco in Montone, near Umbertide. Discovered in a cellar in Montone.
Inscribed: EGREGIVM QVOD CERNIS OPVS MAGISTER ALOYSIUS EX GALLIA, ET TOMASINA EJVS VXOR EX DEVOTIONE SVIS SVMPTIBVS PONI CVRAVERVNT. LVCA SIGNORELLO DE CORTONA PICTORE INSIGNI FORMAS INDVCENTE. ANNO D. MDXV.
CORTONA, DUOMO.
Deposition. 1502. Oil. 8 ft. 10 in. × 8 ft 10 in.
From the church of Santa Margherita.
Inscribed (under frame):
LVCAS AEGIDI SIGNORELLI. CORTONENSIS. MDII.
Predella to the Above:
1. Christ in Gethsemane. 2. The Last Supper. 3. The Betrayal. 4. The Flagellation.
The Institution of the Eucharist. 1512. Oil. 8 ft. 2 in. × 8 ft. 2 in.
From the high altar of the Gesù.
Inscribed:
LVCAS SIGNORELLIVS CORTHONIENSIS PINGEBAT. MDXII.
Conception of the Virgin. Oil.
The upper part the work of assistants.
CORTONA, S. DOMENICO (3rd altar, R.).
Madonna and Saints. 1515. Oil.
Painted for the Bishop of Cortona.
Inscribed: IO SERNINIVS EP̃S CORTONEÑS ICONAM ET ORNATUM P. P. FACIERI A.D. CIↃIↃXV. HAEREDES VERO D. ASTRVBALIS EJVS EX FṼE AB NEPOTIS P. S. INSTAVRAN. CVRAVERVNT. A.D. CIↃ. IↃ. CXIX.
CORTONA, GESU.
Madonna and Saints.
CORTONA, S. NICCOLO.
Dead Christ upheld by Angels. Oil. 5 ft. ½ in. × 5 ft. 8½ in. On the Reverse—
Madonna Enthroned Between SS. Peter and Paul.
CORTONA, S. NICCOLO (on the wall, l. of entrance).
Madonna and Saints. Fresco. 9 ft. 4 in. × 9 ft. 8 in.
Discovered in 1847 by Don Agramante Lorini.
FLORENCE, ACADEMY.
Crucifixion. Oil, on canvas. [No. 6.] (Part of the design only.)
Madonna and Saints. Oil. [No. 54.]
From the church of S. Trinità, Cortona.
Predella. [No. 54.]
1. The Last Supper. 2. Christ in Gethsemane. 3. The Flagellation.
FLORENCE, CORSINI GALLERY.
Madonna and Saints. Tondo.
FLORENCE, PITTI.
Holy Family. Oil. 2 ft. 11 in. × 2 ft 11 in. Tondo. [No. 355.]
FLORENCE, UFFIZI.
Madonna and Child (1st Corridor). [No. 74.]
Probably painted for Lorenzo dei Medici. Later in the Villa of Duke Cosimo at Castello. Removed to the Gallery 1779.
Holy Family. Tondo. [No. 1291.]
Originally in the "Audienza dei Capitani," later in the "Stanza del Provveditore."
Predella. [No. 1298.]
1. The Annunciation. 2. The Nativity. 3. The Adoration of the Magi.
From the church of Santa Lucia, Montepulciano.
FOIANO (near Sinalunga), COLLEGIATA.
Coronation of the Virgin. 1523. Oil. 6 ft. 11 in. × 5 ft. 7 in.
Predella. (Two scenes only by Signorelli.)
LORETO, CHURCH OF THE SANTA CASA.
Frescoes. Probably finished before 1484.
(Left Sacristy) "Della Cura." (In the cupola) Angels, Evangelists, and Fathers of the Church. (Walls) Apostles, Incredulity of S. Thomas. (Over door) Conversion of Saul. (Nave) Medallions in grisaille of Prophets and Fathers of the Church.
MILAN, BRERA.
Madonna and Saints. 1508. Oil. 8 ft. 2 in. × 6 ft. 2½ in. [No. 197bis.]
From the church of S. Francesco, Arcevia. First brought to the Gallery 1811. In 1815 removed to the church at Figino, near Milan. Replaced in the Gallery 1892.
Inscribed: LVCAS SIGNORELLI P. CORTONA (on the back of the throne), IACOBI SIMONIS PHILIPPINIS AERE DEO ET DIVÆ MARIAE DICATVM FR: BERNARDINO VIGNATO GVARDIANO PROCVRANTE. MDVIII.
| The Flagellation. [No. 262.] | { | Probably one panel originally. 2 ft. 8½ in. × 2 ft. |
| Madonna and Child. [No. 281.] |
From the church of Santa Maria del Mercato, Fabriano.
"The Flagellation" inscribed: OPVS LVCE CORTONENSIS.
MONTE OLIVETO (near Asciano), CLOISTERS.
Frescoes. 1497.
Eight scenes from the life of S. Benedict.
MORRA (near Città di Castello), S. CRESCENZIANO.
Crucifixion. Fresco.
Flagellation. Fresco.
ORVIETO, CATHEDRAL, CHAPEL OF THE MADONNA DI S. BRIZIO, FORMERLY CAPPELLA NUOVA.
Frescoes. 1499-1504.
(Six compartments in Vaulting): 1. Apostles; 2. Signs of the Passion; 3. Martyrs (design of Fra Angelico); 4. Virgins; 5. Patriarchs; 6. Fathers of the Church. (Four large frescoes): 1. Antichrist; 2. Crowning of the Elect; 3. Damnation; 4. Resurrection. (Window Wall): R. Hell; L. Heaven. (Round the Portal): Signs of Destruction. (Lower Walls): Pietà; Portraits of Poets; Medallions in grisaille.
ORVIETO, OPERA DEL DUOMO.
S. Maria Maddalena. 1504. Oil. 5 ft. 11 in. × 3 ft. 11 in.
Originally painted for the Cathedral.
Inscribed on the upper part of the frame:
CECCARELLEVS. DE. APVIDVTIS—ET RVFINVS ANTONII.—
On the lower:
CONSERVAT. PA. PACIS. CONSERVATRICI. EX. SE CONSVLTO. M.D.IIII.
Portraits of Signorelli and Niccolò Franceschi. [No. 1504.] Tempera on brick. 1 ft. × 1 ft. 3½ in.
Inscribed on the draperies: LVCA and NICOLAVS.
On the back, probably by Signorelli at the request of Niccolò Franceschi, the Treasurer of the Works:
LVCAS SIGNORELLVS. NATIONE YTALYS. PATRIA CORTONẼSIS. ARTE PICTVRE EXIMIVS. MERITO APELLI CONPARÃDVS. SVB REGIMINE ET STIPENDIO NICOLAI FRÃCH. EIVSDẼ NATIONIS PATRIE VRBEVETANE. CAMERARII FABRICE. HVIVS BASYLICE SACELLṼ HOC VIRGINI DICATṼ IVDICII FINALIS ORDINE FIGVRADṼ PSPICVE PINSIT CVPIDVSQ ĨMORTALITATIS VTRIVSQ EFFIGIẼ ATFRGO LITTERARṼ HARṼ NATVRALITER MIRA EFFĨSIT ARTE. ALEXANDRO . VIº . PON . MAX . SEDENTE . ET MAXIMIANO. IIII . INPERIANTE AÑO SALVTIS MºCCCCCº. TER̃IO KALENDAS JANVARIAS.
PERUGIA, DUOMO, WINTER CHAPEL.
Madonna and Saints. 1484. Oil. 6 ft. 8 in. × 6 ft. 1½ in.
Inscribed (hidden by the frame):
JACOBVS VANNVTIVS NOBILIS CORTONENSIS OLIM EPISCOPVS PERVSINVS HOC DEO MAX. ET DIVO HONOPHRIO SACELLVM DEDICAVIT: CVI IN ARCHIEPISCOPVM NICAENVM ASSVMPTO NEPOS DIONISIVS SVCCESSIT, ET QVANTA VIDES IMPENSA ORNAVIT AEQVA PIETAS. M. CCCC. LXXXIV.
ROME, ROSPIGLIOSI COLLECTION.
Holy Family. Oil. 2 ft. 8 in. × 2 ft. [Sala II., No. 3.]
UMBERTIDE, SANTA CROCE.
Deposition. Oil. 6 ft. 6 in. × 4 ft. 10 in.
Predella: 1. March of Constantine. 2. Discovery of the Cross. 3. Entry of Heraclius into Jerusalem.
URBINO, SANTA SPIRITO.
Church Standard. (Now divided.) Oil on canvas. 5 ft. × 3 ft. (On one side, Crucifixion; on the other, Descent of the Holy Ghost at Pentecost.)
VOLTERRA, DUOMO, SACRISTY.
Annunciation. 1491. Oil.
Inscribed: LVCAS CORTONEN PINXIT MXDI.
A later inscription records its restoration in 1731.
VOLTERRA, MUNICIPIO.
Madonna and Saints. 1491. Oil.
From the church of S. Francesco.
Inscribed: MARIA. VERGINI. PETRVS. BELLADOMNA. HVJVS. RELIGIONIS PROFESSOR POS. LVCAS CORTONEÑ PINXIT. M CCCC LXXXXI.
VOLTERRA (first landing of stairs), MUNICIPIO.
S. Girolamo. Fresco.
UNITED STATES OF AMERICA.
NEW HAVEN. COLLECTION OF Mr JARVIS.
Part of Predella. Adoration of the Magi. Oil.
FOOTNOTES:
[94] The paintings, except when otherwise indicated, are on wood.
INDEX
Adoration of the Magi, The (Louvre), [37];
(Arcevia), [93];
(New Haven), [95]
Agony in the Garden, The, [88]
Ahasuerus and Esther, [103]
Annunciation, The (Volterra), [7], [49], [50];
(Uffizi), [50];
(formerly Mancini collection), [51];
Arcevia, Altar-piece at, [11], [92]
Baptism, The (Arcevia), [93]
Bernabei, Tommaso, [115]
Betrayal, The (Florence), [23], [88];
Bicchi Family, Altar-piece for, [8], [59]
Birth of the Baptist, The (Arcevia), [95]
Birth of the Virgin, The (Arezzo), [96]
Bode, Dr, [43]
Botticelli, [6];
his "Calumny," [19];
passion for swift movement, [23]
Bramante, [11]
Caporali, Giambattista, [11]
Castagno, Andrea di, [19];
influence of on Signorelli, [21]
Christ in Gethsemane, [88]
Circumcision, The, [38], [39], [47]
Città di Castello, Frescoes at, [4], [5], [53];
citizenship of presented to Signorelli, [7]
Conception of the Virgin, The, [103]
Conversion of Saul, The, [24], [30], [36]
Coronation of the Virgin, The, [105]
Cortona, Signorelli born at, [2];
municipal appointments at, [5], [6], [8], [10];
the "Deposition" in the Cathedral of, [10], [87]
Crowe and Cavalcaselle, [6], [21], [37], [39], [83], [113], [118]
Crowning of the Elect, The, [24], [29], [42], [73]
Crucifixion, The (Urbino), [52];
(Borgo San Sepolcro), [61], [88];
Damnation, The, [8], [22], [76]
Dante, Portraits of, by Signorelli, at Orvieto, [71], [74];
scenes from the Divina Commedia, [74], [75]
Dead Christ supported by Angels, [26], [91]
Death of Lucretia, Study for a, [109]
Death of Moses, The, [6], [112]
Decapitation in Prison, The, [95]
Denouncing of Herod and Herodias, [95]
Deposition, The (Cortona), [10], [87];
(Umbertide), [14], [22], [100]
Descent of the Holy Ghost, The, [52], [53]
Discovery of the Cross, The, [101]
Dispute by the Way, The, [51]
Donatello, his influence on Signorelli, [3], [19];
mastery of combined movement, [23]
Entry of Heraclius into Jerusalem, The, [101]
Feast of Herod, The, [95]
Feast in the House of Simon, The, [52]
Flagellation, The (Brera), [1], [3], [22], [24], [25], [26], [27], [32];
(Cortona), [88];
(Florence), [88];
Flight into Egypt, The, [93]
Foiano, Altar-piece at, [16], [105]
Foligno, Niccolò da, [95]
Forlì, Melozzo da, [3]
Fra Angelico, frescoes at Orvieto, [8], [64], [65], [69]
Franceschi, Pier dei, Signorelli the pupil of, [2], [3], [11], [17], [50];
and Signorelli compared, [17], [18];
his "Death of Adam," [32];
his "Resurrection," [61];
his "Baptism," [94]
Francesco, Niccolò, Portrait of, by Signorelli, [9], [83], [85]
Gatta, Bartolommeo della, [6], [35];
an imitator of Signorelli, [111], [112], [113]
Genga, Girolamo, [9];
an imitator of Signorelli, [111], [113]
Gozzoli, Benozzo, [8], [66], [69]
Guidobaldo, of Urbino, [9]
Hercules overcoming Antæus (chalk drawing), [109]
Holy Family (Rospigliosi Collection), [27], [30], [46];
Homer, Scenes from, at Orvieto, [72]
Institution of the Eucharist, The, [95]
Journey of Moses and Zipporah, The, fresco by Pintorricchio, [6]
Last Judgment, The, [8], [22], [76]
Last Supper, The (Cortona), [88];
(Florence), [88]
Lazzaro de' Taldi, Signorelli's uncle, [2]
Lorenzo, Fiorenzo di, Reminiscences of, in Signorelli's work, [21]
Loreto, Frescoes at, [5], [24], [29], [34]
Lucan, Scenes from, at Orvieto, [81], [82]
Luzi, Ludovico, "il Duomo di Orvieto," [69], [72], [74], [78], [81], [83]
Madonna and Saints (Brera), [1], [29], [32], [99];
(Volterra), [7], [29], [35], [49];
(Arezzo), [14];
(Uffizi), [28], [37], [41], [43];
(Florence Academy), [29], [35], [89];
(Corsini Gallery), [46];
(Città di Castello), [24], [98];
(S. Niccolò, Cortona), [91], [92];
(S. Domenico, Cortona), [100]
Magdalen, The, altar-piece (Orvieto), [85], [88]
Mancini, Girolamo, [5]
March of Constantine, The, [101]
Marriage of the Virgin, The, [96]
Medici, Giovanni dei (Pope Leo X.), [12]
Medici, Lorenzo dei, [4];
friendship with Signorelli, [12], [41], [43]
Michelangelo, Story of his dealings with Signorelli, [13]
Missaghi, Guiseppe, [37]
Monte Oliveto, Frescoes in the Benedictine Cloister at, [7], [22], [54], [63]
Morelli, on the frescoes in the Sistine Chapel, [6];
on Signorelli, [30], [61], [63];
on his influence, [111];
on Girolamo Genga, [114]
Murder of the Innocents, The, [93]
Nativity, The (Arcevia), [93];
(Cortona), [96]
Nude, Early treatment of the, [32]
Orvieto, Frescoes in the Cathedral of, [8], [9], [29], [42], [58], [63] et seq.
Ovid, Scenes from, at Orvieto, [78]
Perugia, Altar-piece in the Cathedral of, [7], [28], [38]
Perugino, [6], [8], [11], [20], [66];
his influence on Signorelli, [20], [37], [72]
Pietà (Orvieto), [80]
frescoes in the Sistine Chapel by, [6];
asserted influence of, on Signorelli, [21]
Pollaiuolo, Antonio, his influence on Signorelli, [3], [4], [18], [22], [37], [42], [50], [62], [94], [109];
his "S. Sebastian," [18];
his "Battle of the Nudes," [18], [22], [32];
Portrait of a Man (Berlin), [45]
Preaching and Fall of Antichrist, The, [70]
Preaching in the Desert, The, [95]
Presentation, The, [96]
Quercia, Jacopo della, [60]
Rain of Fire, The, [82]
Resurrection, The, [79]
Rome, Frescoes in the Sistine Chapel, [6];
decoration of the Vatican chambers, [11]
Rosselli, Cosimo, [6]
Rumohr, on Signorelli, [21]
S. Augustine, Scenes from the Life of, [103]
S. Benedict, Scenes from the Life of, [54]
S. Martin, Scenes from the Life of, [106]
S. Sebastian, The Martyrdom of, [53]
Signorelli, Antonio, [10], [115]
Signorelli, Francesco, [115]
Signorelli, Luca, little known of his life, [1];
Vasari on, [1];
birth, [2];
studied painting under Pier dei Franceschi, [2];
influence of Antonio Pollaiuolo and Donatello, [3], [4];
gap in his biography, [4];
early frescoes, [5];
municipal appointments at Cortona, [5], [6], [8], [10], [16];
his social status, [5];
supposed visit to Rome, [6];
frescoes in the Sistine Chapel ascribed to, [6];
painted the altar-piece in Perugia Cathedral, [7];
received the honour of citizenship from Città di Castello, [7];
pictures at Volterra, [7];
frescoes in the cloister at Monte Oliveto, [7];
altar-piece at Siena, [8];
frescoes in the Cathedral of Orvieto, [8], [9];
portraits of himself, [8], [9], [71], [85];
the "Deposition" at Cortona, [10];
death of his son Antonio, [10];
and of Polidoro, [10];
pictures at Arcevia, [11];
decoration of the Vatican chambers, [11];
disappointments at Rome, [12];
alleged transaction with Michelangelo, [13];
death, [15];
Vasari's character of, [16];
artists who influenced, [17], [20];
origin of the swaggering posture so characteristic of his paintings, [19], [20];
use of gold and gesso, [21], [29];
his great achievement, the rendering of combined action, [22];
his colour, [25];
his line and modelling, [26];
an unequal illustrator, [26], [27];
his painting of children, [27];
realism, [28];
repetitions, [29];
chief qualities of his work, [29];
earliest works, [32];
frescoes at Loreto, [34];
altar-piece at Perugia, [38];
qualities of his Tondos, [47];
works at Volterra, [49];
frescoes at Monte Oliveto, [54];
the Orvieto frescoes, [63], [86];
later works, [87];
altar-piece at Arcevia, [92];
his imitators and influence, [111], [119]
Signorelli, Pier Tommaso, [15], [115]
Signorelli, Polidoro, [9], [115];
his death, [10]
Signs of the Destruction of the World, [82]
Standards painted by Signorelli, [7], [52], [61]
Supper at Emmaus, The, [51]
Uccello, Paolo, [18]
Van der Goes, Hugo, [39]
Vasari, on Signorelli, [1], [3], [11], [13], [14], [15], [16], [35], [38], [40], [54], [59], [60], [64], [87], [95], [96], [102], [113]
Verrocchio, Reminiscences of, in Signorelli's work, [21], [36]
Vischer, on the frescoes in the Sistine Chapel, [6];
on Signorelli, [21], [35], [36], [39], [92];
list of Signorelli's drawings, [110]
Visitation, The, [60]
Way to Calvary, The, [88]
Zaccagna, Turpino, [116]
W. H. WHITE AND CO. LTD., RIVERSIDE PRESS, EDINBURGH
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TRANSCRIBERS' NOTES
General: Corrections to punctuation have not been individually noted.
Page xii: Erratum applied to text.
Page xiii: GUIDÀ corrected to GUIDA. RELLA corrected to NELLA.
Page 64: "By the which he roused" amended to "By means of this he roused".
Page 72: Duplicate a removed from "In that on the left a a man".
Page 94: ninteen corrected to nineteen.
Page 102: Campagnia standardised to Compagnia.
Page 108: Pietá corrected to Pietà.
Page 135: Unicode character X2183 (Roman Numeral Reversed One Hundred) is not supported in all fonts.
Page 138: PSPICVE without tilde as in original, probably intended as an abbreviation for PERSPICUE. FIGVRADṼ as in original, perhaps a misspelling of FIGURANDUM. ATFRGO as in original perhaps intended A TERGO. CVPIDVSQ (Cupidusque?) and VTRIVSQ (Utriusque?) as in original without overlining.