[12] See in "L'Artiste," 1839, an article entitled "La plus ancienne Gravure du Cabinet des Estampes de la Bibliothèque royale est-elle ancienne?"
[13] "Notice sur deux Estampes de 1406, et sur les Commencements de la Gravure en Criblé." "Gazette des Beaux-arts," t. I^{er}, 2^e période, 1869.
[14] "Le Peintre-Graveur," Leipzig, 1860, vol. i., p. 84.
[15] "Une Passion de 1446. Suite de Gravures au Burin, les premières avec Date." Montpellier, 1857.
[16] "Archiv für die Zeichnenden Künste," 1858.
[17] The "Pax" is a metal plate which, at high mass and during the singing of the "Agnus Dei," the officiating priest gives to be kissed by the clergy and the devout, addressing to each of them these words: "Pax tecum." The "Pax" made by Finiguerra for the Baptistery of St. John has been removed from thence to the Uffizi, where it still is.
[18] It is useless to adduce the fine "Profile of a Woman," discovered a few years ago at Bologna, and now the property of the Berlin Museum, as an argument against the poverty we are trying to prove. This very important document is not only of uncertain date, but, as we have remarked elsewhere, the nature of its execution and style forbid one to look upon it as the work of any Florentine artist.
[19] Martin Schongauer was born at Colmar, in which town his father had settled as a goldsmith; there he passed the greatest part of his life, and there he died in 1488. Vasari sometimes speaks of him as "Antwerp Martin," or "Martin the Fleming." This is easily explained: a German or Flemish artist would be all one in the eyes of a Tuscan of the fifteenth century, as strangers were all barbarians to the ancient Romans.
[20] This is by no means universally admitted to be a genuine work by Martin Schongauer.
[21] He had no fewer than eighteen children; Albert was the third.