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(Benozzo Gozzoli), now described as "School of Benozzo."

      592 (Filippino Lippi), now assigned to Botticelli; see below, p. 294 n.

      599 (Giovanni Bellini), now re-assigned to Basaiti; see below, p. 299.

      636 (Titian or Palma). After a period of ascription to Titian, this portrait is now re-assigned to Palma; see below, p. 315.

      650 (Angelo Bronzino), now assigned to his pupil, Alessandro Allori (Florentine: 1535-1607).

      654 (School of Roger van der Weyden), now assigned to School of Robert Campin; for whom, see 2608.

      655 (Bernard van Orley), now ascribed to Ambrosius Benson; born in Lombardy, painted in Bruges, living in 1545.

      658 (after Schongauer), now assigned to School of Campin. The picture ascribed to the "Master of Flémalle," as referred to in the text (p. 328), is now No. 2608 (also now assigned to Campin).

      659 (Johann Rottenhammer), now assigned to Jan Brueghel, the younger (1601-1667), a scholar of Brueghel, the elder.

      664 (Roger van der Weyden), now assigned to Dierick Bouts; for whom, see 2595.

      670 (Angelo Bronzino), now described as "School of Bronzino."

      696 (Flemish School), now assigned to Petrus Cristus; for whom, see 2593.

      704 (Bronzino), now described as "School of Bronzino."

      709 (Flemish School), now assigned to Memlinc; for whom, see 686.

      713 (Jan Mostaert), now assigned to Jan Prevost (Flemish: 1462-1529), a painter of Bruges and a friend of Albert Dürer.

      714 (Cornelis Engelbertsz), now assigned to Bernard van Orley; for whom, see 655.

      715 (Joachim Patinir), now assigned to Quentin Metsys; for whom, see 295.

      750 (Lazzaro Bastiani), now described as "School of Gentile Bellini"; for whom, see 1213.

      774 (Flemish School), now assigned to Dierick Bouts; for whom, see 2595.

      779, 780 (Borgognone), now described as "School of Borgognone."

      781 (Florentine School), now attributed to Botticini.

      782 (Botticelli), now described as "School of Botticelli."

      808 (Giovanni Bellini), now assigned to Gentile Bellini; see below, p. 422 n.

      916 (School of Botticelli), now assigned to Jacopo del Sellaio; for whom, see 2492.

      943 (Flemish School), now assigned to D. Bouts.

      1017 (Flemish School), now assigned to Josse de Momper; see below, p. 489.

      1033 (Filippino Lippi), now assigned to Botticelli; see below, p. 494.

      1048 (Italian), now assigned to Scipione Pulzone; see below, p. 505.

      1078, 1079 (Flemish School), now "attributed to Gerard David"; for whom, see 1045.

      1080 (School of the Rhine), now assigned to Flemish School.

      1083 (Flemish School), now assigned to Albrecht Bouts (a son of D. Bouts), who died in 1549.

      1085 (School of the Rhine), now assigned to Geertgen Tot Sint Jans (Dutch: 15th century). This painter was a pupil of Albert van Ouwater; he established himself at Haarlem in a convent belonging to the Knights of St. John (whence his name, Gerard of St. John's). His works were seen and admired by Dürer.

      1086 (Flemish School), now assigned to the "School of Robert Campin"; for whom, see 2608.

      1109A (Mengs). To this picture the number 1099 (noted in previous editions of this Handbook as having been missed in the official numbering) is now given.

      1121 (Venetian School), now assigned to Catena; for whom, see 234.

      1124 (Filippino Lippi), now described as "School of Botticelli."

      1126 (Botticelli), now assigned to Botticini; see on this subject p. 536 n.

      1160 (School of Giorgione), now assigned to Giorgione himself.

      1199 (Florentine School), now assigned to Pier Francesco Fiorentino; a Tuscan painter of the 15th century.

      1376 (Velazquez), now "ascribed to Velazquez."

      1412 (Filippino Lippi), now described as "School of Botticelli."

      1419 (Flemish School), now assigned to Early French School. The picture formed part of a diptych; the companion picture was in the Dudley Collection (No. 29 in the sale catalogue of 1892, where an illustration of it was given). In this the choir of St. Denis is shown. There are two portraits by the same hand at Chantilly.

      1433 (Flemish School), now assigned to Roger van der Weyden; for whom, see 664.

      1434 (Velazquez), now "ascribed to Velazquez," and it is added that the picture has been attributed to Luca Giordano (Neapolitan: 1632-1705).

      1440 (Giovanni Bellini), now assigned to Gentile Bellini; for whom, see 1213.

      1468 (Spinello Aretino), now assigned to Jacopo di Cione, the younger brother of Andrea Cione (called Orcagna); he was still living in 1394.

      1652 This picture has hitherto been assigned to the British School (and therefore included in vol. ii. of the Handbook), and called a portrait of Katharine Parr. It is now discovered to belong to the Dutch School and to be a "portrait of Madame van der Goes."

      1699 (Jan Vermeer), now "attributed to Vermeer."

      1842 (Tuscan School), now "attributed to Stefano di Giovanni," known as Sassetta (Sienese: 1392-1450).

      1870 "Angels with Keys," by Sebastiano Conca (Neapolitan: 1679-1764). Lent by the Victoria and Albert Museum.

      1903 (Jan Fyt), now assigned to Pieter Boel (Flemish: 1622-1674), of Antwerp, who became official painter to Louis XIV.

      It will be observed that critical fashions are unstable, and that in several cases Sir Edward Poynter's changes have been reversed. The recent alterations were made just as this edition of the Handbook was going to press. The ascriptions in the body of my Catalogue remain, therefore, in conformity with the Official Catalogue of 1906 which embodied Sir Edward Poynter's views. The lists of painters and pictures at the end (Appendix I. and II.) have, on the other hand, been revised in accordance with Sir Charles Holroyd's alterations.

       Additional Notes.– In the notes upon the pictures, a large number of additional remarks have been introduced since this Handbook first appeared. These, it is hoped, may serve here and there to deepen the visitor's impression, to suggest fresh points of view, to open up incidental sources of interest. Attention may be called, by way of example, under this head, to several notes upon the designs depicted on the dresses, draperies, and backgrounds of the Italian pictures. These designs, sometimes invented by the artists themselves and sometimes copied from actual stuffs, form a series of examples which illustrate the "art fabrics" of the best period of Italian decorative art, and which might well give hints for the decoration of textile

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