re (L. of this) 1293, Martyrdom of
SS. Cosmas and Damian, and 1294A, The Resurrection: R. is 1291, The
Dance of Herodias. R. of 1383 is 1278 by Gentile da Fabriano: The
Presentation, a portion of a predella. To the same is also attributed
by Crowe and Cavalcaselle, 1279, Virgin and Child and Donor, Pandolfo
Malatesta. 1422 _bis_, is by Pisanello: Portrait of a Princess of the
House of Este, identified by Mr G.F. Hill, from the sprig of juniper
in her dress, as Ginevra d'Este, married to Sigismondo Malatesta in
1435. R. of 1291 is 1319, the Apotheosis of St. Thomas Aquinas by
Benozzo Gozzoli, described by Vasari. On opposite wall, 1272, formerly
assigned to Masaccio: portraits of Giotto, the artist himself Paolo
Uccelo, Donatello, Manetti and Brunelleschi; painted, says Vasari,
"that posterity might keep them in memory." R. of this is 1273, a
battle scene by the same, similar to that in our National Gallery.
Both had been badly restored even in Vasari's time. L. of 1272 are
1343 and 1344: a Nativity, and a Virgin and Child with Angels and
Saints adoring, by Fra Filippo Lippi. The former, according to
gossiping Vasari, was executed at the Convent of S. Margherita at
Prato where having been smitten by the _bellissima grazia ed aria_ of
one of the novices, Lucrezia Buti, Fra Lippo painted her portrait in
this picture, fell madly in love, and eloped[205] with her: the latter
exquisite painting Vasari extols as a most rare work which was held in
the greatest esteem by the masters of his day. Opposite on L. wall is
1525, a predella: Birth of the Virgin, considered by Crowe and
Cavalcaselle an excellent example of Luca Signorelli's art. R. wall,
1321, the Visitation, and 1322, an intimate domestic scene, painted
with much tenderness, a bibulous old Florentine magistrate bending to
embrace his little grandson, are masterly works by Domenico
Ghirlandaio. 1296, Virgin and Child and St. John, is a beautiful early
work by Botticelli, and 1367 is a like subject by Mainardi, in a
tondo, a popular form of composition invented by Botticelli. R. of
exit is 1295, a copy of the master's famous Madonna of the Magnificat
at Florence. L. wall, 1263, Virgin and Child, SS. Julian and Nicholas
by Lorenzo di Credi, highly eulogised by Vasari as the artist's most
careful work in oil wherein he surpassed himself. 1566 (L. of exit),
is an indifferent late painting by Perugino. In the lunette over the
door is a Raphael school fresco formerly attribute