ACCADEMIA DELLE BELLE ARTI. 
157 
templated the development of art, from the Byzantine 
Magdalene (1.), harder than the board she is painted upon, 
to the grace and vigour of Fra Bartolommeo and Bronzino. 
Amongst the most prominent paintings are the following: 
2. Cimabue. — The Virgin, holding the infant in her 
arms, and surrounded by several angels. Taken from the 
church of Sta. Trinita, at Florence. 
As great a leap is made in the same subject when 
treated by Giotto (5.), as Cimabue made beyond his Greek 
forerunner; taken from the Convent of Ogni Santi, Flo- 
rence. 
8. Giollino. — A beautiful picture, in three compart¬ 
ments, the centre one representing the Virgin and St. 
Bernard. 
Angelo Gaddi (12.), Taddeo Gaddi (9.), follow. 
14. G. da Fabriano. — The Wise Men of the East, 
dated 1423. 
A Descent from the Cross by Fra Angelico da Fie¬ 
sole (15.), and several other productions of this great 
master, taken from the Sacristy of Sta. Trinita; most 
extraordinary brilliancy of colouring. 
The Virgin and Child, by Masaccio (16.), from the 
Church of Sant Ambrogio: interesting, but not equal lo 
the frescos at the Carmine. 
The Baptism of our Lord, by Andrea Verrocchio (25.), 
taken from the Monastery of S. Salvi, near Florence, 
thence brought to Sta. Verdiana, and thence to the Aca¬ 
demy. Remarkably like Leonardo da Vinci, by whom it 
is said that the angel on the right-hand was painted, 
when he, Leonardo, was yet a youth: and that Verrocchio, 
on seeing his early excellence, gave up his art in despair 
of equalling his pupil. 
The Coronation of the Virgin, by Sandro Bolticelli (26.), 
taken from the Convent of St. Mark: very fine.