[204] "It cannot be proved that a single picture attributed to Cimabue was painted by him." Editorial Note to new edition of Crowe and Cavalcaselle, I., p. 181.
[205] Crowe and Cavalcaselle, however, assign the work to Pesellino, who is represented in this room by two small pictures, 1414 and 1415, on the wall.
[206] Mr. H. Cook has, however, given reasons for post-dating Titian's birth from 1477 to 1489-90, in spite of the master's twice repeated assertion of his great age in letters to Charles V. See Nineteenth Century Magazine, 1902, p. 156.
[207] It is, however, accepted by Eugène Müntz as a genuine Raphael, executed at Florence about 1507.
[208] From an age when the personality of the painter was of less importance than the subjects he painted, few names of German artists have come down to us.
[209] The picture subsequently found its way to the apartments of Louis XVI., and followed him from Versailles to Paris. The vacillation of this ill-fated monarch towards his advisers, says Michelet, was much influenced by a fixed idea that Charles I. lost his head for having made war on his people, and that James II. lost his crown for having abandoned them.
[210] See, however, [206] p. 357.
[211] French Painting in the Sixteenth Century, by L. Dimier. 1904.
[212] A more rational classification into schools would perhaps, as Dimier has hinted, follow the lines of racial division—French and Teutonic. For many of the Flemish artists were French in race, as, for instance, Roger Van der Weyden, who was known to Italians as Rogerus Gallicus, and called himself Roger de la Pasture.
[213] The late fifteenth-century artist, provisionally known as the Master of Moulins and also as the Painter of the Bourbons, is the author of the famous Triptych of the Cathedral of Moulins. Some critics believe him to be identical with Jehan Perréal (Jehan de Paris).