Portrait of a Lady. From the Painting, possibly by Verrocchio, in the Poldi Museum at Milan.
THEFLORENTINE PAINTERSOF THE RENAISSANCE
WITH AN INDEX TO THEIR WORKS
BY
BERNHARD BERENSON
AUTHOR OF “VENETIAN PAINTERS OF THE RENAISSANCE,”“LORENZO LOTTO,” “CENTRAL ITALIAN PAINTERS OF THE RENAISSANCE”
THIRD EDITION, REVISED AND ENLARGED
G. P. PUTNAM’S SONS
NEW YORK AND LONDON
The Knickerbocker Press
COPYRIGHT, 1896
BY
G. P. PUTNAM’S SONS
Entered at Stationers’ Hall, London
COPYRIGHT, 1909
BY
G. P. PUTNAM’S SONS
(For revised edition)
Made in the United States of America
iiiPREFACE TO THIRD EDITION
Years have passed since the second editionof this book. But as most of this time hasbeen taken up with the writing of my “Drawingsof the Florentine Painters,” it has, in asense, been spent in preparing me to make thisnew edition. Indeed, it is to that bigger workthat I must refer the student who may wish tohave the reasons for some of my attributions.There, for instance, he will find the intricateCarli question treated quite as fully as it deserves.Jacopo del Sellajo is inserted here forthe first time. Ample accounts of this frequentlyentertaining tenth-rate painter may befound in articles by Hans Makowsky, MaryLogan, and Herbert Horne.
The most important event of the last tenyears, in the study of Italian art, has been therediscovery of an all but forgotten great master,ivPietro Cavallini. The study of his fresco atS. Cecilia in Rome, and of the other works thatreadily group themselves with it, has illuminatedwith an unhoped-for light the problemof Giotto’s origin and development. I feltstimulated to a fresh consideration of the subject.The results will be noted here in theinclusion, for the first time, of Cimabue, and inthe lists of paintings ascribed to Giotto andhis immediate assistants.
B. B.
Boston, November, 1908.
vPREFACE TO THE SECOND EDITION
The lists have been thoroughly revised, andsome of them considerably increased. Botticini,Pier Francesco Fiorentino, and Amico diSandro have been added, partly for the intrinsicvalue of their work, and partly because somany of their pictures are exposed to publicadmiration under greater names. Botticinisounds too much like Botticelli not to havebeen confounded with him, and Pier Francescohas similarly been confused with Piero dellaFrancesca. Thus, Botticini’s famous “Assumption,”painted for Matteo Palmieri, and now inthe National Gallery, already passed in Vasari’stime for a Botticelli, and the attribution atKarlsruhe of the quaint and winning “Nativity”to the sublime, unyielding Piero della Francescais surely nothing more than the echo of thereal auth