^{page 160 note 1} Sketches in Italy, p. 39, ed. Tauchnitz, 1882.

^{page 160 note 2} Similarly with regard to such small collections as the series of ten mosaic medallions of Popes in the Church of St. Agnes outside-the-walls. If they have artistic worth they have no historic interest. Much more of the latter have the frescoes in the gallery to the right of the old Vatican library—frescoes illustrating what Nicholas V., Sixtus IV., Paul V., Pius VI. and Pius VII. did for the Library and for Rome generally; and much more of the former the series of Popes in the Sixtine chapel. Cf. Steinmann, Die Sixtinische Kapelle, p. 197. Nor is any historic value to be attached to the series in stucco of the early Popes in the vestibule of St. Peter's.

^{page 161 note 1} Cf. J. B. Supino, Arte Pisana, p. 4 ff. and 257 ff. Firenze, 1904. Figs. 2, 7, 8, 9, 12 are reproduced after illustrations in Mann's Lives of the Popes from blocks kindly lent by the publishers.

^{page 162 note 1} The oldest coat of arms known (that of Desiderio, abbot of Montecassino, afterwards Pope Victor III. (1086–7) has recently been discovered in the older church of S. Crisogono in Rome (Pasini-Frassoni in Rivisia Araldica, 1914, 419: quoted in Nuovo Bull. Arch. Crist. xxi. (1915). 64). T. A.

^{page 162 note 2} The Popes did not wear a crown till centuries after the time of Sylvester I.

^{page 162 note 3} Of this series more will be said in the sequel.

^{page 162 note 4} Cf. Tomassetti, G., La Campagna Romana, iii. p. 88Google Scholar.

^{page 163 note 1} In the MS. of vol. iv. of the work quoted in the last note shown me by its author, who is continuing his father's authoritative volumes on the Roman Campagna, Sig. F. Tomassetti states that, in his opinion, if the collection at Marino is not so well preserved, it is more valuable, because more beautiful than that at Oriolo.

^{page 163 note 2} Of him we read in the Liber Pontificalis (i. p. 385, ed. Duchesne) that he made ‘imagines’ in various churches, and left portraits of himself in St. Peter's and elsewhere. ‘Quicunque nosse desiderat in eis ejus vultum depictum reperiet.’ Cf. Marangoni, , Chron. Rom. Pont. p. v. Rome, 1751Google Scholar.

^{page 163 note 3} According to the very uncultured chronicler, Benedict of Soracte: ‘Renovavit Formosus Papa aecclesia principis apostolorum pictura tota.’ Ap. Mon. Germ. Hist. ii. 714 or Watterich, , Vit. Pont. Rom. i. 80Google Scholar.

^{page 164 note 1} Cf. E. Müntz, Recherches sur le MSS. de J. Grimaldi, p. 247 ff.

^{page 164 note 2} Cf. Ciampini, , De sacris ædificiis, Tav. XI. p. 34Google Scholar, in which the letters A. B. C. D. show the position of the portraits above the cornice. See also Tav. X. in the same work (reproduced in Lanciani, Pagan and Christian Rome, p. 134).

^{page 164 note 3} ‘Hic ecclesiam b. Petri quasi totam renovavit, et numerum Summorum Pontificum fecit describi secundum imagines, in ecclesia b. Petri in loco eminenti et b. Pauli ac S. Joannis de Laterano.’ Hist. Eccles. l. xxiii. c. 28, ap. Rer. Ital. Script. t. xi. p. 1180. Cf. Alfaraho, , De basil. Vat. struct. p. 20, Rome, 1914Google Scholar.

^{page 164 note 4} Cf. the description of Grimaldi, ap. MS. Cod. Barb. Lat. n. 2733, fol. 106 v. ff.

^{page 165 note 1} From the fact that Liberius has a square nimbus, Lanciani (Pagan and Christian Rome, p. 209) concludes that at least a part of this series was painted when Liberius (by a printer's error called Tiberius) was Pope. But the use of the square.nimbus to denote a living person did not come into vogue in the West till the close of the sixth century, and it is here given to Liberius to show that he was not a saint, and yet at the same time to conform to the custom of the age of putting some mark round portrait heads in churches. Cf. Grüneisen, Le Portrait, p. 88.

^{page 165 note 2} Cf. Ep. Clement. V. ap. Bullar. Rom. iv. 186, ed. Turin;, G.VillaniGoogle Scholar, viii. 97 and Mat. Villani, x. 69. See Fleury, Rohault de, Le Latran, §52 and §56, Paris, 1877Google Scholar.

^{page 165 note 3} De Lateranensibus Parietinis, p. 26, Rome, 1756Google Scholar.

^{page 165 note 4} Sette Chiese, p. 149, Rome, 1570. F. Cancellieri, Cod. Vat. Lat. n. 9672, f. 45, says that Pope Paschal I. (817–24) painted a series of papal portraits in the Church of Sta. Cecilia above the capitals of the columns from St. Peter to his own time; and there was once in the Church of Sta. Pudenziana a series from St. Peter to Cornelius. Cf. Giampaoli, L., Il nuovo prospetto di S. Pudenziana, p. 44 (Rome, 1872Google Scholar).

^{page 166 note 1} To the sources for the more modern portraits of the Popes mentioned in the text, we may add their effigies on their coins, and engravings which came into vogue during the lifetime of Martin V. Among the many plates of the well-known Italian engraver, G. B. Cavalieri (b. 1525(?), d. at Rome, 1601) were a series of heads of the Popes which were first published in 1580. As he reproduced what existing pictures he could find, it is believed that he has occasionally at least saved for us an authentic portrait of a Pope who lived long before his time. For his Popes of the first centuries, he, like most of the early artists, copied the lower and more accessible series of portraits painted in old St. Peter's and St. Paul's by Nicholas III. The anonymous Italian copper-plate engraver who signed his plates with the initials AR Z, and who lived in the second half of the sixteenth century, also published many good engravings at the very end of that age of various Popes (Nagler, , Monogrammisten. iGoogle Scholar. No. 1217).

^{page 167 note 1} See Vasari's Life of Pisanello. Giovio asserts that he had the medal in his possession.

^{page 167 note 2} Cf. Hill, G. F., Pisanello, London, 1903Google Scholar, and Venturi's ed. of Vasari's Pisanello, p. 71, Firenze, 1896Google Scholar.

^{page 167 note 3} The British Museum series of papal medals begins with that of Martin V. whose medal is the first given in such books as the Trésor de Numismatique, Médailles des Papes, Paris, 1878Google Scholar, and Numismata Pont. Rom. by P. Bonanni, Rome, 1699Google Scholar, which give reproductions of authentic medals only.

^{page 167 note 4} C. Fabriczy, von, Italian Medals, ed. Hamilton, , p. 195, London, 1904Google Scholar.

^{page 167 note 5} Cf. Michel, , Hist. de l'Art, ivGoogle Scholar. pt. ii. p. 176. Venturi in his ed. of Vasari's Life of Gentile., p. 19, Florence, 1896Google Scholar, gives this quotation from Facio's De viris illust. Florence, 1745. There was also the portrait by Masaccio. Cf. Vasari, ii. p.. 294, ed. Milanesi.

^{page 167 note 6} Cf. Geffroy, Les ruines de Rome, pp. 373, 386 n. See von Lichtenberg, R F., Das porträt an Grabdenkmälen, Strassburg, 1902Google Scholar.

^{page 168 note 1} All the portraits were in fresco up to Benedict XIV., and in mosaic from that Pontiff to Pius VII., as I am told by Dom C. Villani, one of the monks of St. Paul's, who got his information from older monks who were acquainted with the basilica before it was destroyed by fire.

^{page 169 note 1} Chronologia Rom. Pont. Rome, 1751. He was primarily interested in chronology, and not in portraiture. The copies made in the same century, and now kept at Oriolo and Marino, have already been described.

^{page 169 note 2} Wilpert, Jos., Die Römischen Mosaiken und Malerein der Kirchlichen Bauten, vol. ii. pp. 518–9Google Scholar, Figs. 214–7, Freiburg-im-Breisgau, 1916. We may note here that in vol. iv. Fig. 219 ff. there are a number of coloured engravings of the original forty portraits in St. Paul's. By some mistake, surely, the portraits after Telesphorus are assigned to Pope Formosus.

^{page 170 note 1} Cf. Villani, Dom C., Breve descrizione di S. Paolo, p. 26 f. Rome, 1900Google Scholar. The portraits on the plaques, including the background within the circles that surround them, are about 90 centimetres broad and 100 centimetres long. The faces of the portraits are about twice the natural size.

^{page 170 note 2} Bullettino di Arch. Crist: 1870, pp. 123–4. From this uncertainty the reader will perceive that the Barberini copies are not sufficiently accurate to enable them to be used to clear up a doubtful identification.

^{page 171 note 1} Writing eight years before the burning of St. Paul's, Nicolai, Della Basilica di S. Paolo p. 30, Rome, 1815, also calls attention to the deplorable state of these frescoes, and says that it was recently decided to obliterate some of those on the south wall, and to begin a new series with ‘the present Pope, Pius VII.’

^{page 171 note 2} Vol. i. p. 239, ed. Duchesne.

^{page 172 note 1} Cf. Garrucci, , Storia dell'arte crist. i. 437Google Scholar. One of his successors, Laurentius (490–512), caused portraits of himself and four of his predecessors to be put in the church of S. Nazarius. Cf. Rossi, De, Inscript. crist. ii. p. 178Google Scholar, n.

^{page 172 note 2} Nuovo bullett. di arch. crist. 1910, pp. 162–5. Cf. C. Constantini, Aquileia e Grado, pp. II, 30–4.

^{page 172 note 3} Vit. pont. p. 297, ed. Mon. Germ. Hist. ‘Quia semper fiebant imagines suis temporibus ad illorum similitudinem.’

^{page 172 note 4} See the letter of Pope Hadrian I. to Charlemagne regarding ‘the image question,’ ap. Migne, Pat. Lat. t. 98, p. 1285.

^{page 172 note 5} Ib. cf. Marangoni, Chron. Rom. Pont. p. v.

^{page 173 note 1} See e.g. Prof. Wüscher-Becchi, ‘Le memorie di S. Gregorio Magno nella sua casa,’ ap. Atti dell'Academia Romana, t. viii. serie ii. 1903, p. 417Google Scholar ft., following Venturi, Storia dell'Arte, i. p. 195. Much less will probably be thought of certain exaggerations in the drawing, if it be remembered that the portraits had to be viewed from a distance.

^{page 173 note 2} We are, of course, only speaking of the portraits from Urban I. to Innocent I.

^{page 173 note 3} It should be called to mind also that in this age much attention was given by writers to the succession of the bishops of Rome.

^{page 173 note 4} We have said nothing about the mosaic of Pope Sylvester I. in the remains of the old church dedicated to him which are to be seen to the side of and below the present Church of S. Martino ai Monti. The following will explain the reason of our reticence. At the back of an altar in the place named, there is a ruined mosaic showing the Blessed Virgin and a small figure kneeling at her side which is supposed to be that of Pope Sylvester I. In the days of Cardinal F. Barberini it was already in such a wretched state that he ordered a copy to be made of it also in mosaic. It is clear from certain still existing strands of the old mosaic, that the copyist did no more than reproduce the subject of the original without any regard to its details. He has given the small kneeling papal figure a yellow cope, and a white tiara with a single crown at its base. But how far this figure resembles the original in face or costume cannot be ascertained. Consequently as there are no real data for conjecture as to the date of the original mosaic, there can be no gain from our point of view in studying it further. Cf. E. Müntz, ‘The lost mosaics of Rome.’ ap. The American Journal of Archaeology, 1890, and Wilpert, , Die Römischen Mosaiken, i. p. 323Google Scholar, Fig. 99, for an illustration of the mosaics.

^{page 174 note 1} In Plate XVIII. the two portraits on the top left and the bottom right are from the lower series of Nicholas III.

^{page 175 note 2} As the order given by Benedict was to preserve as far as possible both features and colour in the process of restoration, we may suppose that the present condition of the portraits is due to later hands. Cf. Marangoni, p. vii.

^{page 175 note 1} Allusions to the frontal baldness and long nose of St. Paul are made in the Acts of Paul and Thecla, ch. i. v. 7, and in the Dialogue of Philopatris, ch. 12, vol. iii. pp. 416–7. ed. Jacobitz. In general it may be said that the Greek tradition in this matter of the characteristic features of SS. Peter and Paul is the same as the Latin. Cf. S. Borgia, Vaticana Confessio b. Petri, p. cxxvii. ff. Rome, 1776; and A. Cossio, The Tomb of St. Peter, p. 205 ff. Città di Castello, 1913; and M. le Comte de Saint Laurent, ‘Aperçus iconographiques sur S. Pierre et S. Paul,’ p. 26 ff. and p. 138 ff. ap. Annales Archéol. vol. xxiii. 1863Google Scholar. In a bas-relief of the fourth century found at Aquileia in 1901 the same types reappear. Cf. C. Constantini, Aquileia e Grado, Fig. 75.

^{page 175 note 2} Lanciani, Pagan and Christian Rome, p. 210.

^{page 175 note 3} Bullet, crist. 1866, n. 2, p. 23. Cf. Boldetti, Osservazioni sopra i Cimiteri, p. 59 f. Rome, 1720, who found the glass of Liberius in the cemetery of S. Callistus. It must be noted that its assignation to Liberius does not rest on a too secure foundation.

^{page 176 note 1} Liber Pont. i. p. 305.

^{page 176 note 2} Apart from the evidence of the picture itself, it is insinuated in the text of the Liber, Pont. that it was renewed: ‘Hic (Gregory III.) renovavit tectum S. Chrysogoni … et cameram sive parietum picturas.’ Cf. O. Marucchi, Nuovo Bull. Arch. Crist. xvii. (1911)Google Scholar, Plates VI. and VII.

^{page 174 note 3} It is said of Pope Celestine († 432) that he decorated ‘his own cemetery with pictures’, i.e., that portion of the cemetery of St. Priscilla where he was afterwards buried. Cf. Ep. Had. I. ap. P. Lat. t. 98, p. 1285.

^{page 174 note 4} Cf. Brèhier, L'art Chrétien, pp. 68–105, 112; Grisar, , History of the Popes, i. p. 371Google Scholar, Fig. 38, de Grüneisen, W., Le Portrait, p. 29, Rome, 1911Google Scholar.

^{page 178 note 1} Lib. Pont. i. 262, ‘Et post confessionem picturam ornavit.’

^{page 178 note 2} Cod. Vat. 5407, f. 73 or 108.

^{page 179 note 1} Lib. Pont. i. 288.

^{page 179 note 2} ‘Obtulit vela 4 cum chrysoclavo in quibus ipse praesul depictus.’ Ib. ii. p. 130, cf. pp. 125, 129, etc. Of another vestment it is said: ‘habens efngiem ipsius almi pontificis.’ Ib. p. 111. Cf. p. 114 for his portrait in mosaic.

^{page 179 note 3} ‘Vestibus et factis signantur illius ora

Lucet et aspectu lucida corda gerens.’—Ap. ib. i. p. 325.

^{page 179 note 4} Ciacconius (Cod. Vat. 5409 f. 11) gives a copy of a portrait of Felix IV. from the cemetery of St. Nicholas in Carcere. But see note below about this cemetery. The copy depicts the Pope with a nimbus, as bare-headed and bearded, and with a strong, rather severe face. His vestments are like of those in the portrait of Boniface IV. from the same place, a reproduction of which we give.

^{page 180 note 1} Cf. E. Müntz, ‘L'oratoire du Pape Jean VII.’ p. 145 ff. ap. Revue Archeologique, Sept. 1877. He points out that the drawing given by Ciampini, De Sacr. Ædific. Pl. XXIII. showing the remains of the mosaic of John's chapel is inaccurate—‘une gravure informe.’

^{page 180 note 2} By Ciampini, , Vet. Mon. iiGoogle Scholar. Plate XL. and by others. See Plate XIX. 1.

^{page 180 note 3} By Ciampini, ib. Plate XLII. Cf. Cod. Barb. Lat. n. 2062 f. 62. Leo had been ordained priest in that Church. He renewed the Church ‘cum absida de musivo,’ L.P. ii. p. 3. See Plate XX. 3.

^{page 180 note 4} Cf. Cod. Barb. Lat. 4402. A rude copy on f. 36 gives the figure of Leo III. several times, but on too small a scale to be of any use as a portrait. His figure on f. 47 is of more value. It shows a beardless young man wearing a tiara with one crown, but without a pallium. His vestments are wrongly drawn.

^{page 180 note 5} There is an excellent illustration of this mosaic in Dengel and Egger's Der Palazzo di Venezia in Rom, Vienna, 1909Google Scholar.

^{page 180 note 6} The portrait we give of Gregory I. (590–604) is merely a reconstruction by Professor Wüscher-Becchi from the elaborate description given by his biographer, John the Deacon, Lib. iv. c. 3–4. Speaking of Gregory's portrait, the Deacon said: ‘In absidula post fratrum cellarium Gregorius ejusdem artificis magisterio in rota gypsea ostenditur,’ i.e. on a clipeus of stucco (Fig. 6). It appears that towards the end of the sixteenth century, Don Angelo Rocca made an effort to reconstruct in the Church of S. Saba this fresco and others painted by order of St. Gregory; but he did nothing more than copy a previous effort made in the twelfth or thirteenth century by an unskilled artist. Cf. ‘Le memorie di S. Gregorio’ cited above. Worthy of more minute attention is the miniature of Gregory on the ‘diptych of Boethius,’ an ivory of the second half of the seventh century. See the coloured plate ap. Wilpert, , Römische Mosaiken, ivGoogle Scholar. Plate 297. We also give a copy of the portrait of Boniface IV. (607–15) made by Ciacconius (Cod. Vat. 5407, f. 12) ‘from a picture in the cemetery’ round about the Church of St. Nicholas ‘in carcere Tulliano’ (Plate XX. 2). The original of this copy, however, may not be contemporary; for, although the Church was probably built long before, it is mentioned for the first time only in connection with Urban II. (1088–99). Cf. Lib. Pont. ii. 294–5. For good copies of the portraits of John VII. Paschal I. and Leo IV. see Grüneisen, Le Portrait, p. 79. In Munich (Cod. Lat. Monac. 156, f. 28) is a copy of a contemporary portrait of Stephen (IV.) V, 816–7, with a square nimbus which O. Panvinio sent there. Cf. Hartig in note below. p. 314.

^{page 182 note 1} Morey, Lost mosaics and frescoes of Rome, p. 37. Cf. p. 2.

^{page 183 note 1} See also the illustrations in his Le Portrait, p. 79. He supplies two specimens of the portrait of Zacharias in his Ste. Marie Antique, planche icon, n. XXXVII. and LXXIX., the latter being of the head alone.

^{page 183 note 2} Ste. Marie, Fig. 108, p. 147.

^{page 183 note 3} The opinion of Ch. Diehl, Dans l'Orient Byzantin, p. 293.

^{page 183 note 4} Grüneisen, l.c. p. 53, n. 1 and Fig. 109, p. 149.

^{page 183 note 5} A coloured illustration of the fresco showing this Pope is given in vol. iv. Pl. 195 of J. Wilpert's splendid work: Die Römischen Mosaiken und Malerein, Freiburg-in-Breisgau, 1916Google Scholar.

^{page 183 note 6} Cf. Mann, , Lives of the Popes, iv. 28 ffGoogle Scholar.

^{page 183 note 7} Joan. Diac. De eccles. Lat. c. 17. His work of decoration was continued by his successor, John X.

^{page 184 note 1} Lib. Pont. ii. 339.

^{page 184 note 2} See also Grimaldi, Cod. Barb. Lat. 2733, f. 106 ff.

^{page 184 note 3} Cod. Barb. Lat. 2733, fol. 50. Cf. Mann, l.c. iv. 244.

^{page 184 note 4} Cf. Mann, l.c. and x. 18, and Lauer, Le Latran, p. 141 f.

^{page 184 note 5} Cod. Barb. Lat. 4406, f. 141; Lib. Pont. ii. 254.

^{page 184 note 6} Bruzza, L., Regesto delle chiese di Tivoli, Rome, 1880Google Scholar.

^{page 184 note 7} Cf. Glaber, R., Hist. iiiGoogle Scholar. c. 4; and Gerhoh of Reichersperg, Lib. de corrupt. eecles. statu, n. 52.

^{page 186 note 1} Apparently no figure sculpture of any importance was executed in Rome from the decline of Roman sculpture to the days of Guglielmo da Modena in the twelfth century—the artist to whom are assigned the figures on the façade of Modena Cathedral.

^{page 186 note 2} Mr.Lothrop, S., ‘Pietro Cavallini’ in the Memoirs of the American Academy in Rome, 1918, justly calls Cavallini the most important figure of a school of artists which included the Cosmati, Filippo Russuti, and Jacobo TorritiGoogle Scholar.

^{page 187 note 1} Cod. Vat. 5407; and Cod. Barb. Lat. n. 4423.

^{page 187 note 2} Cf. Rossi, G. B. de, Esame dell' imagine di Urbano II. Rome, 1881Google Scholar, and Müntz, Recherches sur les MSS. de J. Grimaldi, p. 254, Paris, 1877; Lib. Pont. ii. 325, n. 22, and Morey, Lost mosaics, p. 63 ff.; Lauer, Le Latran, p. 162 ff.

^{page 187 note 3} De basilica et patriarchio Lateranensi, pp. 285 and 291. Cf. Lib. Pont. ii. 378 f.

^{page 187 note 4} Grisar, Il Sancta Sanctorum, p. 47, Rome, 1907. Cf. Ptolemy of Lucca, Hist. eccles. l. xxviii. c. 30, where he says that Nicholas rebuilt the S. S. ‘ac in superiore parte testudinis picturis … ornata fundari jussit.’ Wilpert, , Die Römischen Mosaiken, i. p. 183Google Scholar, Fig. 57, gives an illustration of the fresco beneath the right door of the reliquary, which, rather faintly certainly, shows Nicholas III. bringing back the relics to the Sancta Sanctorum on the completion of his repairs.

^{page 190 note 1} Lib. Pont. ii. 384. Fig. 8 shows the features of Lucius III. (1181–5).

^{page 180 note 2} A copy of this may be seen in Rasponi, loc. cit. p. 391.

^{page 180 note 3} Cf. Chron. reg. Colon. an. 1156, and Panvinio, De basilica Lat. ap. Lauer, Le palais de Latran, pp. 478–9.

^{page 180 note 4} This mosaic is often reproduced. It may be seen, e.g. ap. Bertaux, , Rome, i. p. 67, Paris, 1916Google Scholar. In the contemporary mosaic of the façade of Sta. Maria in Trastevere both Innocent II. and Eugenius III. are depicted kneeling at the feet of the Blessed Virgin. Cf. Rossi, J. B. de, Musaici Cristiani delle Chiese di Roma, Rome, 1899Google Scholar.

^{page 180 note 5} Ciampini, , Vet. mon. i. p. 239Google Scholar. The figure is clad in a tunic which reaches to the feet, and in a chasuble of the ancient pattern, i.e. round and completely closed except for an opening for the head. The kind of hood which rests immediately upon the head is believed by Ciampini to be that distinctively papal vestment known as the fannon. which in the portraits in St. Paul's is depicted for the first time on the figure of Pius X. But neither in the time of Celestine III. nor at any other was a Pope ever represented in this attire. By some this figure has been interpreted to be the Blessed Virgin Mary.

^{page 191 note 1} Preserved from the mosaic he erected in the apse of old St. Peter's.

^{page 191 note 2} In the apse of St. Paul's (Fig. 11) and in the quaint little mosaic of the frieze of S. Lawrence outside-the-walls (Plate XXI.).

^{page 191 note 3} Preserved from the mosaic with which he adorned the facade of old St. Peter's. See Plates XX. 5 and XXI.

^{page 191 note 4} In the apsidal mosaic of St. John Lateran, and also in the splendid one by Jacopo Torriti in St. Mary Major's.

^{page 191 note 5} In the monastery at Subiaco (Fig. 12).

^{page 191 note 6} We give a copy of this fresco that once existed ‘ad fores’ of the old church of Sta. Bibiana (Plate XX. 4). The copy is preserved in Cod. Vat. n. 5407, f. 56 or 104. A curious portrait of the same Pope is to be seen in the Cod. Barb. Lat. n. 4423, f. 1 (a smaller copy of the same is given on f. 7). It shows the Pope kneeling at the feet of a crucifix, and the words: ‘Fr. Jacob, et. Pniari. (Penitentiarius) et. Cappellan.’

^{page 191 note 7} At the back of the tomb of his nephew Cardinal William Fieschi in the basilica of St. Lawrence outside-the-walls (Plate XV.).

^{page 192 note 1} In the chapel known as the Sancta Sanctorum.

^{page 192 note 2} The famous one by Giotto now on a pillar in St. John Lateran; and one by Amb. Lorenzetti in Siena—Venturi, Storia dell'Arte, v. 697 ff.; and in the Church dell'Incoronata at Naples, and in the church of S. Lorenzo Maggiore by Simone Martini. Cf. ib. p. 595.

^{page 192 note 3} Ed. Milanesi, i. p. 559.

^{page 193 note 1} So we are informed by the Dominican, Father L. Ferretti, a distinguished art critic. To save trouble to future investigators who may be misled by that tiresome author, Vasari, Father Ferretti has kindly made various researches for me so that I am in a position to say that whether the following portraits ever existed or not, they are no longer extant: Gregory IX. and Innocent IV. by Spinello (i. 686, 681, ed. Milanesi); Celestine IV. and Innocent IV. which Vasari (i. 337) says were the work of Buonamico Buffalmacco from likenesses which he had received from his master, Andrea Tafi; Alexander IV., portraits by both the last named artists at Pisa and in old St. Peter's (i. 511); Nicholas IV. by Lorenzo di Bicci (ii. 51); Clement V. by Giotto (i. 387); Clement VI. by Orcagna (i. 601); Urban V. by Pietro Cavallini, and the copy which Fra Angelico is said to have made of it in S. Domenico at Fiesole (i. 539); indeed, in Del Migliore's Guide to Florence, it is said that all Cavallini's frescoes were whitewashed when the Dominicans came to St. Mark's; Gregory XI. by Taddeo Bartoli in S. Agostino at Arezzo (ii. 38); Urban VI. by F. Traini (i. 612) and Alexander V. by Lorenzo di Bicci which was at one time in the door ‘del Martello’ of Sta. Croce in Florence (ii. 51).

^{page 193 note 2} ii. 507–8, ed. Milanesi, as always.

^{page 193 note 3} Storia dell'Arte It. v. 806.

^{page 193 note 4} Grimaldi's copy, Cod. Barb. Lat., n. 4406, of a fresco in the nave of old St. Paul's shows the face of this Pope, but on too small a scale to be of any use as a portrait.

^{page 193 note 5} See Plate XX., 6, from a statue that once stood above the tomb.

^{page 194 note 1} Venturi, however, Storia d'Arte, assigns this fine monument to Niccola and Meo di Nuto.

^{page 194 note 2} On the question of the sculptor of this and the other statues of Gregory X. at Arezzo, see the recent work of A. del Vita in his Il Duomo d'Arezzo, p. 22 ff. See also the excellent illustrations of the tomb, etc., there given.

^{page 194 note 3} Cf. Pinzi, C., I principali mon. di Viterbo, p. 131, Viterbo, 1916Google Scholar.

^{page 194 note 4} They may be studied in the illustrations given by E. Bertaux, ‘Trésors d'Eglises, Ascoli Piceno,’ ap. Mélanges d'archéol., 1897, p. 77 ff.

^{page 195 note 1} In his edition of the Cronaca di Buccio di Ranallo, opp. p 64, Rome. 1907Google Scholar.

^{page 195 note 2} Propylaeum ad Acta SS. Maii, pars Papebrochii, p. 105.

^{page 195 note 3} i. p. 337.

^{page 195 note 4} Cf. Marrotti, Lett. pit. perug. p. 21. But O. Panvinio was able to send to Fugger a copy of an authentic portrait, Cod. Lat. Monac. 158 f. 56. Cf. Hartig in note below, p. 313.

^{page 197 note 1} Epp. Famil. xxi. II.

^{page 197 note 2} Albanés-Chevalier, Actes anciens, p. 377, ap. Mollat, Etude critique sur les Vitae Pap. Aven. p. 57.

^{page 197 note 3} XXVII. Pontif. Roman. Elogia et imagines accuratissime ad vivum aeneis typis delineatae, Rome, 1568. I owe the use of this book to the courtesy of Dr. T. Ashby, the Director of the British School, and I take this opportunity of thanking him and Mrs. A. Strong, the assistant Director of the School, for the kind help they have given me in the preparation of this paper. Cf. “Des O. Panvinius Sammlung von Papstbildnissen,” by O. Hartig, ap. Historisches Jahrbuch, Munich, 1917, p. 284 ff. Cf. Cod. Barb. Lat., 2738.

^{page 198 note 1} Cf. in the Vatican library, Cod. Barb. Lat. 2738 of the same author.

^{page 198 note 2} Fig. 14 is a reproduction of one of his plates. It is different from the one in the Munich collection. See Hartig, l.c., p. 312. The Munich copperplate of John XXIII. is after Donatello, Ib. p. 313. It cannot be said that the mosaic of John XXIII. in St. Paul's resembles Panvinio's engraving of him. But, as Panvinio's portrait is that of a younger man wearing a mitre, he may have taken his likeness from a portrait made before John became Pope. The portrait of Boniface IX. which we give (Pl. XXIII., 2) from his sepulchral monument resembles that in the cloister of St. Paul's.

^{page 198 note 3} At any rate Vasari (i. 483–4) states that the statue of him (‘opera di stil grandioso e mirabilmente… condotta’), now unfortunately mutilated, which has after many wanderings found its way into the cathedral of Florence, was made by Pisano at the request of the Florentines. Venturi (Storia d'Arte, iv. 153–4) asserts that, if it was not the work of Arnolfo, it shows traces of his influence. An engraving of it may be seen (Plate 32) in Cicognara, L., Storia della scultura, i. Venice, 1813Google Scholar.

^{page 198 note 4} C. Ricci, Santi ed Artisti, p. 29 f.

^{page 199 note 1} Cf. E. Müntz in Gazette des Beaux Arts, 1887, pp. 276–85 and 367–87.

^{page 199 note 2} Cf. his ‘La statue de Clément V.’ ap. Revue hist. de Bordeaux, 1912, p. 1 ff.

^{page 199 note 3} Cf. the Bollandists, Propyl ad metis. Mai. Pars Papebrochii, p. 106.

^{page 199 note 4} So also does the copy of John's mosaic at St. Paul's.

^{page 200 note 1} As the tiara of Benedict XII. has three crowns, perhaps he was the Pope who added the third crown to the tiara.

^{page 200 note 2} See Cod. Vat. Lat. 5407, f. 63 or 118. From the pose, etc., of his figure, it is clear that Cavalieri has taken his portrait of John XXII. from this lost mosaic. This is one proof that he copied existing models when he could find them.

^{page 200 note 3} Cf. Faucon, ‘Les arts à la cour d'Avig.’ ap. Mélanges d'archeol. 1884, p. 100.

^{page 200 note 4} Müntz, Gazette, 1887, p. 370–1.

^{page 200 note 5} Ib. p. 373. See also Dufresne, Les Cryptes Vatic.

^{page 200 note 6} Cf. also ‘Le monument de Benoit XII.’ ap. Mélanges d'archéol. 1896, p. 293 ff. by G. Daumet; and Filippini, La scultura nel trecento in Roma, p. 101 f. and p. 123. Again we may note that Cavalieri's engraving is taken from an original, viz. the effigy just discussed.

^{page 201 note 1} Cf. the Bollandists, l.c. p. 89.^** The body of Clement VI. was transferred to the Abbey of Chaise-Dieu (Haute-Loire) in April, 1353. A. Hallays gives an illustration of a fragment of his tomb in the Musée Calvet, in his Les villes d'Art célèbres, Avignon, Paris, 1909. He had originally caused it to be erected in the middle of the monks' choir, and had adorned it with no less than forty-four small statues. Cf. E. Déprez, ‘Les funérailles de Clement VI. et d'Innocent VI.’ ap. Mélanges, 1900, p. 235 ff. and Bréhier, L'art chrétien, pp. 283, 369.

^{page 201 note 2} Ed. Milanesi, i. 601, ‘Ritratto di naturale.’ It has been said that ‘di naturale’ in Vasari means ‘life-sized.’ The present passage and others show that very often at least it means ‘from life.’ Cf. especially ib. i. 612 and ii. 507–8.

^{page 201 note 3} MS. Vat. Archiv. Armadio, 35, t. 70, De Siciliae regno, by the Aragonese cardinal, Nicholas Roselli.

^{page 202 note 1} Cf. R. Michel, ‘Le tombeau du P. Innocent VI. à Villeneuve-les-Avignon,’ ap, Revue de l'Art-Chrétien, 1911, p. 204 ff.

^{page 202 note 2} Armadio, 35. Tom. xx. pp. 7 and 8 v. I giuramente di fedeltà all' Inn. VI. per il cardinale Egidio Albornoz. The knowledge of these miniatures I owe to Mgr. Ugolini, and I take this opportunity of thanking him for his courtesy.

^{page 202 note 3} In the Dal Pozzo collection, Nos. 8937, 9202, 9201=Fig. 13.

^{page 202 note 4} E.g. in the chapel of San Silvestro by the Church of the SS. Quattro Coronati. A. Munoz in his fine monograph of that Church has given two illustrations of the scene wherein Pope Sylvester shows the likenesses to Constantine: Il restauro della chiesa de SS. Q. C. Rome, 1914, p. 112Google Scholar, and Tav. XI.

^{page 202 note 5} See A. L. Frothingham, Jnr. ‘Byzantine artists in Italy,’ Journal of American Archaeol. 1894, pp. 37–8.

^{page 203 note 1} See his article in the Gazette des Beaux Arts, 1884, pp. 84–104, ‘La statue du P. Urbain V. au musée d'Avignon.’ He gives an engraving (Pl. 15) of the statue, and mentions a fresco of the Pope in a ruined church at Ninfa, another portrait on wood in the Museum at Bologna, etc.

^{page 203 note 2} Vasari, i. 539, 626.

^{page 203 note 3} ii. 38.

^{page 204 note 1} Lanciani, The golden days of the Renaissance in Rome, p. 2 f.