[52]. The best study of this picture and of its contemporary influence is that of George Gronau in Zeitschrift für bildende Kunst. N. F. Vol. XXIII, pp. 253–259. He fails to perceive that so primitive a picture as late as 1478 furnishes the best reason for accepting most of the rejected early Leonardos.
[53]. In all this matter Jens Thys’s admirable studies are indispensable. See note 5 above.
[54]. The Lady and the Ermine and the Belle Ferronnière are thoroughly discussed by H. Ochenkowski, Burlington Magazine, Vol. XXXIV, p. 186 f., where a full bibliography will be found.
[55]. This error which has persisted since Vasari was finally corrected by the great restorer Cavenaghi in his report of the last restoration. Malaguzzi Valeri in Milano, Bergamo, 1906, pt. 2, p. 14, first advanced the correct view that the painting was done in tempera.
[56]. Kenyon Cox, Concerning Painting, New York, 1917, p. 73.
[57]. Fra Bartolommeo. The standard work is Fritz Knapp’s Fra Bartolommeo della Porta, Halle, 1903. H. v. d. Gablentz, Fra Bartolommeo in 2 vols., Leipzig, 1922.
[58]. Andrea del Sarto. H. Guinness, Andrea del Sarto, London and New York, 1901. Andrea’s drawings are finely analyzed by Bernard Berenson in The Drawings of the Florentine Painters.
[59]. Bronzino. Hans Schulze, Die Werke Angelo Bronzino’s, Strassburg, 1911.
[60]. Pontormo. We have two admirable books by the same writer, Dr. F. M. Clapp; Les Dessins de Pontormo, Paris, 1914; Pontormo, his Life and Work, New Haven, 1916.
Pontormo’s supreme masterpiece of portraiture, The Halberdier, is published by myself in Art in America, Vol. X, p. 66.