so that when he died, in 1505, he was carried to the grave with public honors, all the shops being closed along the way. Among his best known. frescoes are The Restoring of a Youth to Life (partly painted by Massaccio); The Crucifixion of St. Peter; St. Peter and St. Paul before the Proconsul, and St. Peter Liberated from Prison. Benozzo Gozzoli (1420-1498), the pupil of Fra Angelico, but inferior to him, whose best works are twenty-four frescoes in the Campo Santo at Pisa, and whose style may be studied in two easel pict of it was to be represented the history of Moses; on the other, the history of Christ; the old law and the new law, the Hebrew and the Christian dispensation, thus placed in contrast and illustrating each other. As there were no distinguished painters at that time in Rome, Sixtus invited from Florence those of the Tuscan artists who had the greatest reputation in their native country. The first of these was Sandro Filipepi, called Botticelli (1446-1510), remarkable for being one ures in the National Gallery. He was very lavish with elaborate accessories. Andrea del Castagno (13901457), who until quite recently has been considered the murderer of Domenico Veneziano (ab. 14201461), who survived him four years, and from whom he is said to have obtained the secret of the method of mixing oil colors. It is usually asserted that Domenico learned the secret from Antonello da Messina in Venice, and then carried it to Florence. This is now disbelieved; and it seems very doubtful if Domenico Veneziano used oil at all in a different manner from his predecessors. In the cathedral of Florence is an equestrian portrait of Niccolò Tolentino painted by him in imitation of statuary; it forms a companion to a similar picture of Hawkwood by Uccelli. THE MADONNA WRITING A HYMN. BY BOTTICELLI. In the year 1471 Sixtus IV. became pope, and built the Sistine Chapel. The next thing was to decorate it with appropriate paintings. On one side of the earliest painters who treated mythological subjects on a small scale as decorations for furniture, and the first who made drawings for the purpose of being engraved: these, as well as his religious pictures, he treated in a fanciful, allegorical style. Six of his pictures are in the museum at Berlin one an undraped Venus; and two are in the Louvre. Sandro was a pupil of the monk Fra Filippo already mentioned, and after his death took charge of his young son Filipino Lippi, who excelled both his father and his protector, and became one of the greatest painters of his time.* In the south corridor of the Florence Gallery hangs a picture by Sandro Botticelli of surpassing beauty It represents the Virgin with the infant Saviour on her knee, whom she supports with one hand, while with the other she is in the act of writing her famous and beautiful hymn ("My soul doth magnify the Lord!") on the *He completed the frescoes in the chapel of the Carmine at Florence, left unfinished by Massaccio, as already related. Luca Signorelli (1441-1523) was one of those who did most to promote the development of the great Florentine School of Painting of the sixteenth century, by his earnest study of the human form, of which he acquired thorough anatomical knowledge, com bined with absolute command of expressing that knowledge in painting; he has been justly called the forerunner of Michel angelo. He was a pupil of Piero della Francesca. His most famous works are the frescoes in the Chapel latter part of his life; four of which-a Martyrdom of S. Sebastian, and the Angel Raphael with Tobias, and two others are in the National Gallery; he, with his brother Piero del Pollaiuolo (1441-1489), is said to have been the first to study dead subjects for artistic of the Virgin in the Andrea del Ver- THE MADONNA ENTHRONED. BY LUCA SIGNORELLI. IN THE ACADEMY Antonio del Pollaiuolo (1429 ?-1498), one of Ghiberti's assistants in the ornamentation of the second bronze gate, produced several fine paintings in the Cosimo Rosselli (1439-1507), was a follower of Masaccio, who in later years spoiled his art by overgilding. His pupil, who was named after him, and who assisted him in the Sistine Chapel, Piero di Cosimo (1462-1521), is to be noticed for the landscapes in the background of his pictures. The latter was the son of a jeweler in Florence, and was born in 1642. As an artist he was eccentric, but his works have much merit. He died at Florence in 1521. When in 1474 Sixtus IV. had completed the erection of the chapel called after him, he sent to Florence for artists to decorate it for him. Those that answered the call were Botticelli, Ghirlandajo, Rosselli, and Signorelli; and, under the direction of the first-named, they executed frescoes which to this day testify to the excellence of Florentine art at the close of the fifteenth century. Our space will only permit us to give a list of these works. Beginning at the al tar are for a time a great influence on all the painters of Italy, including those of Florence. This was ANDREA MANTEGNA (1431-1506), who was the son of very poor and obscure parents, and was born near Padua. All we learn of his early childhood amounts to thisthat he was employed in keeping sheep; and being conducted to the city, entered, we know not by what chance, the school of Francesco Squarcione (13941474). MARY MAGDALENE, BY PIERO DI COSIMO. Squarcione, a native of Padua, and by profession a painter, was early smitten with a passion for the antique. He not only traveled over all Italy, but visited Greece in search of the remains of ancient art. Of those which he could not purchase or remove, he obtained casts or copies; and, returning to Padua, he opened there a school or academy for painters, not indeed the most celebrated nor the most influen |