[77] Vasari, ed. Sansoni, Vol. II, p. 592, note.
[78] G. Richa, ‘Chiese Fior.,’ Firenze, 1754, Vol. III, p. 177.
[79] F. Baldinucci, ‘Notizie de’ Professori del Disegno, da Cimabue in Qua,’ Firenze, 1767, Vol. III, p. 187, note.
[80] G. Frizzoni, ‘La Galleria Morelli in Bergamo,’ Bergamo, 1891, pp. 15–16.
[81] Translated by A. Teixeira de Mattos.
[82] The freedom of the gild was not granted to any one under the age of 30.
[83] Translated by A. Teixeira de Mattos.
[84] While, in accordance with the principles adopted from the first in this magazine, we give Mr. Cecil Smith perfect liberty to express his opinion on this piece—the opinion of one of the most accomplished experts—it is right to say that the opposite view of the matter will be stated in an early number of this magazine by another expert writer, Mr. John Marshall.—Ed.
[85] It would appear that neither Dr. Ricci, who ascribes this altar-piece to Pintoricchio, nor Dr. Steinmann, who gives it, correctly as we think, to Antonio da Viterbo, has noticed a Crucifixion and Saints clearly by the same painter and in the same phase, in the chapel of St. Anthony in the lower church of Assisi.
[86] A chapter extracted from Mr. Solon’s forthcoming book. ‘A Brief History of Old English Porcelain,’ by kind permission of Messrs. Bemrose & Sons, Limited, London and Derby.