[146] Monuments sépulcraux, plate lvi. Vasari, vol. iv. p. 218. Berti, p. 70.
[147] Monuments sépulcraux, plate lv.
[148] C. Pini, La Scrittura di artisti Italiani, cf. supra, p. 163.
[149] Executed in 1436; a pendant to the equestrian figure of Niccolò Maruzzi of Tolentino (d. 1434) by Andrea dal Castagno. The improper introduction of these equestrian figures into churches paved the way for similar monuments in marble, such as may be seen especially in Venice. In the cathedral of Florence was a complete figure of Piero Farnese on a mule, as he rode to a fight with the Pisans in 1363.
[150] In this place, where we are concerned chiefly with the position of the Medici in connection with the development of art, we cannot refer in detail to the literature, which has been much enriched of late years by Gastano Milanesi’s researches among the archives, on the Tuscan painters of the early quattrocento (Giornale storico degli Archivi Toscani, vols. iv. and vi., and reprinted in Sulla storia dell’arte Toscana, Siena 1873), made use of by Crowe and Cavalcaselle in their History of Painting in Italy.
[151] C. Pini, Scrittura di Artisti.
[152] This is not the place to refer in detail to the confused notices in the Italian art-historians. Vasari mentions these works, among others, in his Introduction, l. c. i. 63.
[153] Rinuccini, Ricordi, p. 251.
[154] Fabroni, l. c. ii. 231. It is doubtful whether the sums given at the end of the inventory are to be added up together, or whether the last represents the sum total.
[155] Letter to Giovanni de’ Medici, Bruges, June 22, 1488; in Gaye, l. c. p. 158.