s_)
from my own point of view.

There are two works to which I shall frequently refer: _Les Arts a la Cour
des Papes pendant le xv^e et le xvi^e siecle_, par Eugene Muentz: Part III.
1882 (Bibl. des Ecoles Francaises d'Athenes et de Rome, Fasc. 28): and _La
Bibliotheque du Vatican_ _au xv^e Siecle_, par Eugene Muentz et Paul Fabre;
Paris, 1887 (Ibid. Fasc. 48). The former will be cited as "Muentz"; the
latter as "Muentz et Fabre." My paper, of which an abstract only is here
given, has been published in the _Camb. Ant. Soc. Proc. and Comm._ 6 March
1899, Vol. X. pp. 11-61.

[366] This document, dated 17 December, 1471, has been printed by Muentz,
p. 120. I am afraid that this order can have but one meaning: viz. the
excavation and destruction of ancient buildings.

[367] This is the date assigned by Platina himself. See below, p. 231.

[368] MS. Vat. Lat. 3947, fol. 118 b. Notatio omnium librorum Bibliothecae
palatinae Sixti quarti Pont. Max. tam qui in banchis quam qui in Armariis
et capsis sunt a Platyna Bibliothecario et Demetrio Lucense eius alumno
custode die xiiii. mensis Septemb. M.CCCC.LXXXI facta. Ante vero eius
decessum dierum octo tantummodo. This _Notatio_ has been printed, Muentz et
Fabre, p. 250, but without the catalogue to which it forms an appendix.
This, so far as I know, still remains unprinted.

[369] Muentz et Fabre, pp. 148-150, _passim_.

[370] _Ibid._ p. 32.

[371] _Ibid._ p. 141. The catalogue is printed pp. 159-250.

[372] MS. Vat. 5008.

[373] These accounts, now preserved in the State Archives at Rome, have
been printed with great accuracy (so far as I was able to judge from a
somewhat hasty collation) by Muentz, _Les Arts a la Cour da Papes_, Vol.
III. 1882, p. 121 sq.; and by Muentz and Fabre, _La Bibliotheque du Vatican
au xv^e Siecle_, 1887, p. 148 sq.

[374] The entries referring to these purchases are given in full, with
translations, in my paper above referred to.

[375] The name is derived from the frescoes with which its external walls
were decorated during the reign of Pius IV. (1559-1565). They represented
palm trees, on which parrots (_papagalli_) and other birds were perching.
Fragments of these frescoes are still to be seen. The court beyond this
"del Portoncin di Ferro" was so called from an iron gate by which the
passage into it from the Cortile del Papagallo could be closed.

[376] The difference of level between the floor of the court and the floor
of the librar