i, frescos Cathedral Orvieto, Sistine Rome, Palazzo
Petrucci Sienna, altar-pieces Arezzo, Cortona, Perugia,
pictures Pitti, Uffizi, Berlin, Louvre, Nat. Gal. Lon.;
Melozzo da Forli, angels St. Peter's Rome, frescos Vatican,
pictures Berlin and Nat. Gal. Lon.; Giovanni Santi,
Annunciation Milan, Pieta Urbino, Madonnas Berlin, Nat. Gal.
Lon., S. Croce Fano; Perugino, frescos Sistine Rome,
Crucifixion S. M. Maddalena Florence, Sala del Cambio
Perugia, altar-pieces Pitti, Fano, Cremona, many pictures in
European galleries; Pinturricchio, frescos S. M. del Popolo,
Appartamento Borgo Vatican, Bufolini Chapel Aracoeli Rome,
Duomo Library Sienna, altar-pieces Perugia and Sienna
Acads., Pitti, Louvre; Lo Spagna, Madonna Lower Church
Assisi, frescos at Spoleto, Turin, Perugia, Assisi.

FERRARESE AND BOLOGNESE--Cosimo Tura, altar-pieces Berlin
Mus., Bergamo, Museo Correr Venice, Nat. Gal. Lon.;
Francesco Cossa, altar-pieces S. Petronio and Acad. Bologna,
Dresden Gal.; Grandi, St. George Corsini Pal. Rome, several
canvases Constabili Collection Ferrara; Lorenzo Costa,
frescos S. Giacomo Maggiore, altar-pieces S. Petronio, S.
Giovanni in Monte and Acad. Bologna, also Louvre, Berlin,
and Nat. Gal. Lon.; Francia, altar-pieces S. Giacomo
Maggiore, S. Martino Maggiore, and many altar-pieces in
Acad. Bologna, Annunciation Brera Milan, Rose Garden Munich,
Pieta Nat. Gal. Lon., Scappi Portrait Uffizi, Baptism
Dresden.

LOMBARDS--Foppa, altar-pieces S. Maria di Castello Savona,
Borromeo Col. Milan, Carmine Brescia, panels Brera Milan;
Borgognone, altar-pieces Certosa of Pavia, Church of
Melegnano, S. Ambrogio, Ambrosian Lib., Brera Milan, Nat.
Gal. Lon.

CHAPTER VII.

ITALIAN PAINTING.

EARLY RENAISSANCE--1400-1500--CONTINUED.

BOOKS RECOMMENDED: Those on Italian art before mentioned;
also consult the General Bibliography (page xv.)

PADUAN SCHOOL: It was at Padua in the north that the influence of the
classic marbles made itself strongly apparent. Umbria remained true to
the religious sentiment, Florence engaged itself largely with nature
study and technical problems, introducing here and there draperies and
poses that showed knowledge of ancient sculpture, but at Padua much of
the classic in drapery, figures, and architecture seems to have been
taken directly fr