[241] In the series of compositions from the life of Christ, now in the Academy at Florence; beautifully and faithfully engraved by P. Nocchi.
[242] This is also observable in the Last Supper by Nicolò Petri in the San Francesco at Pisa.
[243] For a signal example, see Stirling’s ‘Artists of Spain,’ p. 493.
[244] For some remarks on the subject of the Pentecost, v. ‘Legends of the Madonna,’ p. 325.
[245] Acad. Venice. Giovanni ed Antonio da Murano. 1440.
[246] As I have frequent occasion to refer to pictures painted for the Scuole of Venice, it may be as well to observe that the word scuola, which we translate school, is not a place of education, but a confraternity for charitable purposes,—visiting the sick, providing hospitals, adopting orphans, redeeming prisoners and captives, &c. In the days of the republic these schools were richly supported and endowed, and the halls, churches, and chapels attached to them were often galleries of art: such were the schools of St. Mark, St. Ursula, St. Roch, the Carità and others. Unhappily, they exist no longer; the French seized on their funds, and Austria does not like confraternities of any kind. The Scuola della Carità is now the Academy of Arts.
[247] Acad. Venice. Gio. da Udine.
[248] Frankfort Museum.
[249] We missed the opportunity, now never more to be recalled, of obtaining this admirable picture when it was sold out of the Fesch collection.
[250] I believe the figure called St. Bonaventura, to represent St. Jerome, because, in accordance with the usual scheme of ecclesiastical decoration, the greatest of the four Latin Fathers would take the first place, and the cardinal’s hat and the long flowing beard are his proper attribute; whereas there is no example of a St. Bonaventura with a beard, or wearing the monastic habit without the Franciscan cord. The Arundel Society have engraved this fine figure under the name of St. Bonaventura.