St。26。Bigordi：Ghirlandajo；seeabove。{notetoSt。23。}
Sandro：SandroFilipepi，calledBotticelli(1437-1515)，”belongedinfeeling，totheolderChristianschool，tho’hisreligioussentimentwasnotquitestrongenoughtoresistentirelythepaganizinginfluenceofthetime”(Heaton)；
becameadiscipleofSavonarola。
Lippino：FilippinoLippi，sonofFraFilippo(1460-1505)，”addedtohisfather’sboldnaturalismadramatictalentincomposition，whichplaceshisworksabovethemererealismsofFraFilippo，andrendershimworthytobeplacednexttoMasacciointhelineofprogress。”——Heaton。
FraAngelico：seeundertheMonologueofFraLippoLippi。
TaddeoGaddi：”foremostamongstthese(`TheGiotteschi’)
standsthenameofT。G。(1300，livingin1366)，thesonofGaddoGaddi，andgodsonofGiotto；wasanarchitectaswellaspainter，andwasonthecouncilofWorksofS。MariadelFiore，afterGiotto’sdeath，andcarriedouthisdesignforthebell-tower。”——Heaton。
intonaco：rough-casting。
LorenzoMonaco：seeundertheMonologueofFraLippoLippi。
27。
Couldnottheghostwiththecloseredcap，MyPollajolo，thetwiceacraftsman，Savemeasample，givemethehapOfamuscularChristthatshowsthedraughtsman?
NoVirginbyhimthesomewhatpetty，Offinicaltouchandtemperacrumbly——
CouldnotAlessoBaldovinettiContributesomuch，Iaskhimhumbly?——
St。27。Pollajolo：”AntonioPollajuolo(ab。1430-1498)
wasasculptorandgoldsmith，morethanapainter；……hismaster-workinpictorialartistheMartyrdomofSt。Sebastian，intheNat。Gal。，paintedforthePucciChapelintheChurchofSanSebastianode’Servi，atFlorence。`Thispainting’，saysVasari，`hasbeenmoreextolledthananyothereverexecutedbyAntonio’。Itis，however，unpleasantlyhardandobtrusivelyanatomical。Pollajuoloissaidtohavebeenthefirstartistwhostudiedanatomybymeansofdissection，andhissoleaiminthispictureseemstohavebeentodisplayhisknowledgeofmuscularaction。Hewasanengraveraswellasgoldsmith，sculptor，andpainter。”——Heaton。
tempera：seeWebster，s。vv。”tempera”and”distemper”。{painttypes}
AlessoBaldovinetti：Florentinepainter，b。1422，orlater，d。1499；
workedinmosaic，particularlyasarestorerofoldmosaics，besidespainting；hemademanyexperimentsinbothbranchesofart，andattemptedtoworkfresco`alsecco’，andvarnishitsoastomakeitpermanent，butinthishefailed。Hisworksweredistinguishedforextrememinutenessofdetail。”InthechurchoftheAnnunziatainFlorence，heexecutedanhistoricalpieceinfresco，butfinished`asecco’，whereinherepresentedtheNativityofChrist，paintedwithsuchminutenessofcare，thateachseparatestrawintheroofofacabin，figuredtherein，maybecounted，andeveryknotinthesestrawsdistinguished。”——Vasari。
Hisremainingworksaremuchinjuredbyscalingortheabrasionofthecolors。
28。
MargheritoneofArezzo，Withthegrave-clothesgarbandswaddlingbarret(Whypurseupmouthandbeakinapetso，Youbaldoldsaturninepoll-clawedparrot?)
NotapoorglimmeringCrucifixion，Whereintheforegroundkneelsthedonor?
Ifsuchremain，asismyconviction，Thehoardingitdoesyoubutlittlehonor——
St。28。Margheritone：Margaritone；painter，sculptor，andarchitect，ofArezzo(1236-1313)；themostimportantofhisremainingpicturesisaMadonna，intheLondonNationalGallery，fromChurchofSt。Margaret，atArezzo，”saidtobeacharacteristicwork，andmentionedbyVasari，whopraisesitssmallfigures，whichhesaysareexecuted`withmoregraceandfinishedwithgreaterdelicacy’thanthelargerones。Nothing，however，canbemoreunlikenature，thanthegrimMadonnaandtheweirdstarvedChildinherarms(see`Wornum’sCatal。Nat。Gal。’，foradescriptionofthispainting)。Margaritone’sfavoritesubjectwasthefigureofSt。Francis，hisstylebeingwellsuitedtodepictthechiefasceticsaint。Crucifixionswerealsomuchtohistaste，andherepresentedtheminalltheirrepulsivedetails。
Vasarirelatesthathediedattheageof77，afflictedanddisgustedathavinglivedtoseethechangesthathadtakenplaceinart，andthehonorsbestowedonthenewartists。”——Heaton。
HismonumenttoPopeGregoryX。intheCathedralofArezzo，isrankedamonghisbestworks。”Browningpossessesthe`Crucifixion’
byM。towhichhealludes，asalsothepicturesofAlessoBaldovinetti，andTaddeoGaddi，andPollajuolodescribedinthepoem。”——
BrowningSoc。Papers，Pt。II。，p。169。
29。
Theypass；forthemthepanelsmaythrill，Thetemperagrowaliveandtinglish；
TheirpicturesarelefttothemerciesstillOfdealersandstealers，JewsandtheEnglish，Who，seeingmeremoney’sworthintheirprize，WillsellittosomebodycalmasZenoAtnakedHighArt，andinecstasiesBeforesomeclay-coldvileCarlino！——
St。29。tempera：seeWebster，s。v。{atypeofpaint}
tinglish：sharp?
Zeno：founderoftheStoicphilosophy。
Carlino：someexpressionlesspicturebyCarlo，orCarlino，Dolci。
Hisworksshowanextremefinish，oftenwithnoendbeyonditself；
somebeing，touseRuskin’swords，”polishedintoinanity”。
30。
Nomatterforthese！ButGiotto，you，Haveyouallowed，asthetown-tonguesbabbleit——
Oh，never！itshallnotbecountedtrue——
ThatacertainpreciouslittletabletWhichBuonarrotieyedlikealover，Wasburiedsolonginoblivion’swombAnd，leftforanotherthanItodiscover，Turnsupatlast！andtowhom?——towhom?——
St。30。acertainpreciouslittletablet：”The`littletablet’wasafamous`LastSupper’，mentionedbyVasari，andgoneastraylongagofromtheChurchofS。Spirito：itturnedup，accordingtoreport，insomeobscurecorner，whileIwasinFlorence，andwasatonceacquiredbyastranger。Isawit，genuineorno，aworkofgreatbeauty。”——FromPoet’sLettertotheEditor。
Buonarotti：MichaelAngelo(morecorrectly，MichelAgnolo)Buonarotti，b。6thofMarch，1475，atCastelCaprese，nearFlorence；
d。atRome，18thofFeb。，1564。
andtowhom?——towhom?：acontemptuousrepetition。
31。
I，thathavehauntedthedimSanSpirito，(OrwasitrathertheOgnissanti?)
Patientonaltar-stepplantingawearytoe！
Nay，Ishallhaveityet！Deturamanti！
MyKoh-i-noor——or(ifthat’saplatitude)
JewelofGiamschid，thePersianSofi’seye；
So，inanticipativegratitude，WhatifItakeupmyhopeandprophesy?——
St。31。SanSpirito：achurchofthe14thcentury，inFlorence。
Ognissanti：i。e。，”AllSaints”，inFlorence。
Ishallhaveityet！：Ishallmakeahappyfindyet。
Deturamanti！：letitbegiventothelovingone。
Koh-i-noor：”MountainofLight”，acelebrateddiamond，”thediamondofthegreatMogul”，presentedtoQueenVictoria，in1850。
SeeArt。ontheDiamond，`N。Brit。Rev。’Vol。18，p。186，andArt。，Diamond，`Encycl。Brit。’；usedhere，bymetonymy，foragreattreasure。
JewelofGiamschid：the`Deria-i-noor’，or`theSeaofLight’，oneofthelargestofknowndiamonds，belongingtothekingofPersia，isprobablyreferredto。See`N。Brit。Rev。’，Vol。18，p。217。
32。
Whenthehourgrowsripe，andacertaindotardIspitched，noparcelthatneedsinvoicing，TotheworsesideoftheMontSt。Gothard，Weshallbeginbywayofrejoicing；
Noneofthatshootingthesky(blankcartridge)，Noracivicguard，allplumesandlacquer，HuntingRadetzky’ssoullikeapartridgeOverMorellowithsquibandcracker——
St。32。acertaindotard：JosephWenzelRadetzky，b。Nov。2，1766，d。Jan。5，1858，inhis92dyear；governedtheAustrianpossessionsinItalytoFeb。28，1857。
Morello：MonteMorello，thehighestofthespursoftheApennines，tothenorthofFlorence。
33。
Thistimewe’llshootbettergameandbag’emhot：
NomeredisplayatthestoneofDante，ButakindofsoberWitanagemot(Ex：”CasaGuidi”，`quodvideasante’)
Shallponder，onceFreedomrestoredtoFlorence，HowArtmayreturnthatdepartedwithher。
Go，hatedhouse，goeachtraceoftheLoraine’s，AndbringusthedaysofOrgagnahither！——
St。33。thestoneofDante：see`CasaGuidiWindows’，Pt。I，Sect。XIV。，XV。
Witanagemot：A。S。`witenagemo^t’：anassemblyofwisemen，aparliament。
CasaGuidi：Mrs。Browning’s`CasaGuidiWindows’，apoemnamedfromthehouseinFlorenceinwhichshelived，andgivingherimpressionsofeventsinTuscanyatthetime。
theLoraine’s：the”hatedhouse”includedtheCardinalsofGuise，orLorraine，andtheDukesofGuise，ayoungerbranchofthehouseofLorraine。
Orgagna：AndreadiCione(surnamedOrcagna，orArcagnolo，approximatedatesofb。andd。1315-1376)，oneofthemostnotedsuccessorsofGiotto，andalliedtohimingenius；thoughheowedmuchtoGiotto，heshowedgreatindependenceofspiritinhisstyle。
34。
Howweshallprologuize，howweshallperorate，Utterfitthingsuponartandhistory，Feeltruthatblood-heatandfalsehoodatzerorate，Makeofthewantoftheagenomystery；
Contrastthefructuousandsterileeras，Show——monarchyeveritsuncouthcublicksOutofthebear’sshapeintoChimaera’s，WhilePureArt’sbirthisstilltherepublic’s！
35。
Thenoneshallproposeinaspeech(curtTuscan，Expurgateandsober，withscarcelyan”issimo”)，Toendnowourhalf-toldtaleofCambuscan，Andturnthebell-tower’sALTtoALTISSIMO；
And，fineasthebeakofayoungbeccaccia，TheCampanile，theDuomo’sfitally，Shallsoarupingoldfullfiftybraccia，CompletingFlorence，asFlorence，Italy——
St。35。an”issimo”：anyadjectiveinthesuperlativedegree。
toend：complete。
ourhalf-toldtaleofCambuscan：bymetonymyfortheunfinishedCampanileofGiotto；”Orcalluphimthatlefthalf-toldThestoryofCambuscanbold。”——
Milton’s`IlPenseroso’。
AnallusiontoChaucer，wholeftthe`Squire’sTale’inthe`CanterburyTales’unfinished。ThepoetfollowsMilton’saccentuationoftheword”Cambuscan”，onthepenult；
it’sproperlyaccentedontheultimate。
beccaccia：woodcock。
theDuomo’sfitally：”Thereis，asfarasIknow，onlyoneGothicbuildinginEurope，theDuomoofFlorence，inwhichtheornamentissoexquisitelyfinishedastoenableustoimaginewhatmighthavebeentheeffectoftheperfectworkmanshipoftheRenaissance，comingoutofthehandsofmenlikeVerocchioandGhiberti，haditbeenemployedonthemagnificentframeworkofGothicstructure。”——Ruskinin`StonesofVenice’。
36。
ShallIbealivethatmorningthescaffoldIsbrokenaway，andthelong-pentfire，Likethegoldenhopeoftheworld，unbaffledSpringsfromitssleep，andupgoesthespire，While，”GodandthePeople”plainforitsmotto，Thencethenewtricolorflapsatthesky?
AtleasttoforeseethatgloryofGiottoAndFlorencetogether，thefirstamI！
