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of Coreggio.

      These observations will not be useless to the connoisseur, who doubts the age of a picture on which there are no characters. Where there are letters he may proceed with still greater certainty. The letters vulgarly called gothic, began to be used after the year 1200, in some places more early than in others; and characters were loaded with a superfluity of lines, through the whole of the fourteenth, until about the middle of the fifteenth century, when the use of the Roman alphabet was revived. What forms were adopted by artists in subscribing their names, will be more conveniently explained in the course of a few pages further. I have judged it proper to give here a sort of paleology of painting; because inattention to this has been, and still is, a fruitful source of error. The reader, however, may observe, that though the rules here proposed, afford some light to resolve doubtful points, they are not to be considered as infallible and universal, and he may further recollect, that in matters of antiquity nothing is more dangerous and ridiculous, than to form general rules, which a single example may be sufficient to overthrow.

[26] See Tiraboschi, Storia della Litterat. Italiana, towards the end of tom. iv. See also the Dissertation of Lami on the Italian painters and sculptors who flourished from the year 1000 to 1300; in the Supplement to Vinci's Trattato della Pittura, printed at Florence in 1792; and see Moreni, P. iv. p. 108.

[27] See the Oration of Mon. Francesco Carrara Delle Lodi delle belle Arti, Roma, 1758, 4to. with the accompanying Notes, in which the two Bianchini, Marangoni, and Bottari, their illustrators, are cited.

[28] Pointed out to me by Sig. D'Agincourt, a gentleman deeply versed in antiquities of this sort.

[29] There were similar remains in the choir, the design of which I have seen. They were covered over in 1733. Among other curiosities was the portrait of the patriarch Popone, of the Emperor Conrad, and his son Henry; the design, action, and characters, like the mosaics at Rome; executed about the year 1030. See Bartoli, Antichità di Aquileja, p. 369; and Altan, Del vario Stato, &c. p. 5.

[30] The figure of our Lady is retouched; but two miniatures attached to it, are better preserved; the one represents a man, the other a woman: and their drapery is in the costume of that period. The figures are reversed in the engraving of them, which is published.

[31] See P. della Valle in the Preface to Vasari, p. 51.

[32] A few pictures by superior Greek artists, remain, which are very good. Of this number is a Madonna, with a Greek inscription, at the church of S. Maria in Cosmedin at Rome. There is also one at Camerino said to have come from Smyrna; and I know of no Greek picture in Italy better executed or better preserved.

[33] The lateral gate of bronze is of very rude workmanship, as described by the Canon Martini, in his account of that temple, p. 85; and by Sig. da Morrona, it is with much probability ascribed to the hand of Bonanno Pisano. From Vasari's life of Arnalfo, we learn that the same sculptor also executed the great gate of the Primaziale at Pisa, in bronze, about the year 1180, subsequently destroyed by fire. That of Santa Maria Nuova at Monreale, is likewise his. It is described by P. del Giudice, in his account of that church, and bears the name of Bonanno Pisano, with the date 1186. It is as rudely executed as the preceding one at Pisa, as I am assured by the Cavalier Puccini, accurately versed in every branch of the fine arts. If we wish to estimate the merit of Niccola Pisano, we have only to compare these two gates with the specimens which he gave us only a few years afterwards.

[34] Several specimens of similar productions also remain in Sicily, particularly at Mazzerra and Girganti. At Palermo, the tomb of the Empress Constance II. who died in the year 1222, is decorated with an antique sculpture in basso relievo, representing a chase, which is conjectured to represent that of Æneas and Dido, and which is well engraved. See the work entitled, "I Regali Sepolchri del Duomo di Palermo riconosciuti e illustrati. Nap. 1784."

      Another specimen of this sort is said to be in the collection of Mr. Blundell, at Ince.

[35] In the new Guide to Milan, Sig. Abate Bianconi observes, "that these are beautiful works, and that nothing superior is to be seen in any work of that age. Vasari, by omitting this very eminent Pisan, and not mentioning these works, although he was according to his own account at Milan, has given reason to believe, that he was not over anxious in his researches." p. 215.

      See also Giulini and Verri, as quoted by Sig. da Morrona in tom. i. pp. 199, 200.

[36] The mosaic school subsisted at Rome as early as the eleventh and twelfth centuries. (See Musant. Fax Chronol. pp. 319, 338.) In this the family of the Cosmati acquired great excellence. Adeodato di Cosimo Cosmati employed himself in the church of St. Maria Maggiore, in 1290, (Guide to Rome); and several of the same name exercised their talents in the cathedral of Orvieto. (See Valle Catalogo.) The whole of these are preferred to the Greek mosaic workers, who were at the same period engaged in decorating St. Mark's at Venice. (See Valle's Preface to Vasari, p. 61.)

[37]

      Sancti Francisci Frater fuit hoc operatus Jacobus in tali præ cunctis arte probatus,

      is the inscription on the mosaic.

[38] See Pisa Illustrata of Signor da Morrona, tom. i. p. 224.

[39] Tom. ii. p. 127.

[40] In the sacristy of the Angioli is preserved the most ancient portrait of San Francesco that is extant. It is painted on the panel which served as the saint's couch until the period of his decease, as we learn from the inscription. It is there supposed to be the work of some Greek artist anterior to Giunta.

[41] See Signor Ab. Bettinelli, Risorgimento d' Italia negli studii, nelle arti, ne' costumi dopo il mille, p. 192.

[42] To this list of early painters might perhaps be added the name of Francesco Benani, by whom there is a whole length figure of St. Jerome holding a crucifix in his hand. It possesses all the characteristics attributed by Lanzi to this early age. Near the bottom of the picture is a label, inscribed, Franciscus Benanus, Filius Petri Ablada. The size of the picture is 2 feet 8 by 2 feet 2, on panel, covered with gypsum. The vehicle of the colours is probably prepared from eggs, which were usually employed for that purpose before the invention of painting in oil, and to which an absorbent ground of lime or gypsum seems to have been indispensable. It is surprising how well the early pictures executed in this style have preserved their colouring to the present day.

[43] This writer has thrown much light upon the history of our early painters, from which I have derived and shall continue to derive, much benefit; but in the heat of dispute, he has frequently depreciated Cimabue in a way which I cannot approve. For instance, Vasari having said,

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