Part 12

Year 1894, p. 370.

Vol. II, p. 510.

Vol. I, p. 297.

Vasari, II, p. 510, note 1.

Pictures in the National Gallery, with descriptive text written by C. L. Eastlake. No. I, p. 10.

Vasari, II, p. 510.

This valuable painting was ceded by the monks of the "Scalzi" to the Museum of Madrid in 1861 at the suggestion of Senor Don Federigo de Madrazo.--Catalogue of the Museum of Prado, Don Pedro de Madrazo 1889, p. 19.

Vasari, II, p. 510 and 511.

Muentz, Histoire de l'art pendant la Renaissance--Les Primitifs--p. 653 and 658.

Op. cit., I, p. 308.

La Sculpture Florentine, Alinari, 1897, p. 152.

Vasari, II, p. 515.

Par., Canto XXXI (Carey's translation).

Par., Canto XXX (Carey's translation).

The carola was a kind of sacred dance, in which the dancers holding hands move in a circle, singing as they go. It was supposed to be the dance of Paradise.--(Translator's note.)

Translation:

In Paradise that garden lies Where love divine eternal shines, And holy Saints carolas weave, Their souls inflamed with sacred love.

The Saints in that bright joyous ring, With Angels fair of all degrees, Before the Bridegroom graceful move And weave the dance of sacred love.

Those heavenly courts are full of grace, With love immeasurable filled, All in the dance angelic move Inspired by their sweet Saviour's love.

Their robes of linen pure are made, White, roseate, and of mingled hues; Fair garlands on their heads they wear, Fit crowns to crown them priests of love.

No head is there ungarlanded, And youthful beams each joyous face; In that bright court refreshed they move Where everything o'erflows with love.

The garlands made of blossoms fair, Shine brighter than the purest gold, The pearly daisies glisten there Emblazoning the heavenly love.

Venturi, Le Gallerie Italiane. La Galleria Nazionale di Roma, vol. II, p. 89.

See Gazette de Beaux Arts, 1888. W. Bode, La Renaissance au Musee de Berlin; IV. Les Peintres Florentins du XVme siecle, p. 473.

Cavalcaselle, Storia della Pittura, II, p. 369, note 2. Venturi thinks that the picture approaches more to the art of Gentile da Fabriano. See Vasari, Gentile da Fabriano e Pisanello. Firenze, Sansoni, 1897, p. x.

Vasari, II, Vita di Michelozzo, p. 440.

Richa, Le Chiese Fiorentine, VII, p. 117.

Vol. II, p. 440. In October 1438 the monks demanded a subsidy to rebuild the dormitory which had been destroyed by fire. Gaye, I, p. 553.