[212] Lucrezia Tornabuoni Medici, in the Berlin Museum (No. 81), wrongly described as the wife of Lorenzo, a mistake repeated in Crowe and Cavalcaselle (l. c., p. 173) from Vasari, but corrected in Lemonnier’s edition, l. c, p. 121. The Bella Simonetta is in the Pitti Palace; there is an engraving by L. Calamatta in his work on the Bardi gallery.
[213] Cf. i. 405. G. Milanesi, Sulla Storia dell’Arte Toscana, p. 292. Crowe and Cavalcaselle (iii. 159) strangely see in this commission a proof of the estimation in which Botticelli was held as an artist. These pictures of shame, with which tardy debtors were also punished, e.g. Ranuccio Farnese in 1425 (Gaye, l. c., i. 550) were not much relished by artists, and seem to have been only executed at a high price; in this case it was forty florins. Andrea del Castagno, to whom Vasari erroneously attributed these paintings, which were executed more than forty years after his death, received from a similar commission in 1445 the surname ‘degli Impiccati,’ which poor Andrea del Sarto seems to have likewise dreaded during the siege in 1530.
[214] Contract dated April 21, 1487 (remarkable for the reservations on the part of the employer), in Lorenzo Strozzi’s Vita di Filippo Strozzi il Vecchio, p. 60, et seq.
[215] Now in the Uffizi. Gaye, in the Kunstblatt, 1836, No. 90, and Carteggio, i. 579-581.
[216] Engraved in Litta, Fam. Medici.
[217] The fresco in Sant’Ambrogio is dated, not 1465, as it was read by Rumohr (Ital. Forsch., ii. 262), on the picture, which is much blackened and varnished, but 1486, according to G. Milanesi, in Crowe and Cavalcaselle, l. c., p. 291.
[218] An. MCCCCLXXXX., quo pulcherrima civitas opibus victoriis artibus ædificiisque nobilis copia salubritate pace perfruebatur.
[219] Father Della Valle gave the various names in a note to Vasari (also in Lemonnier’s edition, v. 76) from documents in the Tornabuoni family. On the female portraits, cf. Palmerini, Opere d’intaglio del cav. Raff. Morghen (Pisa, 1824), p. 108 et seq.
[220] The ‘Education of Pan’, formerly in the Corsi Palace, is now in the Berlin Museum. Sketch in Crowe and Cavalcaselle, iv. 5.
[221] Miniature painting can only be treated of very briefly here. The editors of Lemonnier’s Vasari have added much information to the biographies of Fra Angelico (iv. 25, et seq.), Don Bartolommeo (v. 44, et seq. [on Attavante, see p. 55]), Gherardo (ibid. p. 60, et seq.), &c., and furnished materials valuable for a history of Florentine and Sienese art, in a detailed commentary (vi. 159-351). On the Dominicans, cf. V. Marchese, Memorie, i. 171-210. In the same author’s work on San Marco are drawings of two miniatures by Fra Benedetto. The passages referring to the treasures of Urbino, Upper Italy, &c., may be passed over here.