etty little
Tom." Masolino was Tommaso di Cristofero Fini, born in 1384 in S. Croce.
It is now thought that we have but little of his authentic work except
the frescoes at Castiglione di Olona, near Milan. Masaccio was born at
San Giovanni, in the upper valley of the Arno, in 1402. He died at Borne
in 1429.

[164] His family name was Doni. He was born about 1396, and died at the
age of about 73. He got his name Uccello from his partiality for painting
birds, it is said.

[165] See above, Chapter III, Andrea Verocchio, for what has been said
about Verocchio's "David."

[166] A drawing made in red chalk for this "Dream of Constantine" has
been published in facsimile by Ottley, in his _Italian School of Design_.
He wrongly attributes it, however, to Giorgione, and calls it a "Subject
Unknown."

[167] The one in S. Francesco at Rimini, the other in the Uffizzi.

[168] Two angels have recently been published by the Arundel Society who
have also copied Melozzo's wall-painting of Sixtus IV. in the Vatican. It
is probable that the picture in the Royal Collection at Windsor, of Duke
Frederick of Urbino listening to the lecture of a Humanist, is also a
work of Melozzo's, much spoiled by re-painting. See Vol. II., _Revival of
Learning_, p. 220.

[169] Muratori, vol. xxiv. 1181.

[170] For Ciriac of Ancona, see Vol. II., _Revival of Learning_, p. 113.

[171] The services rendered by Squarcione to art have been thoroughly
discussed by Messrs. Crowe and Cavalcaselle, _Painting in North Italy_,
vol. i. chap. 2. I cannot but think that they underrate the importance of
his school.

[172] He was born between 1360 and 1370, and he settled at Florence about
1422, where he opened a _bottega_ in S. Trinita. In 1423 he painted his
masterpiece, the "Adoration of the Magi," now exhibited in the Florentine
Academy of Arts.

[173] See, for instance, the valuable portraits of the Medicean family
with Picino and Poliziano, in the fresco of the "Tower of Babel" at Pisa.

[174] _L'Art Chretien_, vol. ii. p. 397.

[175] The same remark might be made about the Venetian Bonifazio. It is
remarkable that the "Adoration of the Magi" was always a favourite
subject with painters of this calibre.

[176] I may refer to the picture of the hunters in the Taylor Gallery at
Oxford, the "Vintage of Noah" at Pisa, the attendants of the Magi in the
Riccardi Palace, and the _Carola_ in the "Marriage of Jacob and Rachel"
at Pisa.

[177] "Stories of I