Bernardo Cardinale.
It was painted for the Vallombrosian monks. (Fl. Gal.)

2. In a very fine example by Ghirlandajo, St. Dominick and St. Peter
Martyr are conspicuous: painted, of course, for the Dominicans.
(Paris, Louvre.)

3. In another, by Pinturicchio, St. Francis is a principal figure,
with St. Bonaventura and St. Louis of Toulouse; painted for the
Franciscans, or at least for a Franciscan pope, Sixtus IV. (Rome,
Vatican.)

4. In another, by Guido, the treatment differs from the early style.
The coronation above is small and seen as a vision; the saints below,
St. Bernard and St. Catherine, are life-size. It was painted for a
community of Bernardines, the monks of Monte Oliveto. (Bologna, Gal.)

5. In a beautiful little altar-piece by Lorenzo di Credi[1], the
Virgin is kneeling above, while Christ, seated, places the crown on
her head. A glory of red seraphim surround the two figures. Below are
the famous patron saints of Central Italy, St. Nicholas of Bari and
St. Julian of Rimini, St. Barbara and St. Christina. The St. Francis
and St. Antony, in the predella, show it to have been painted for a
Franciscan church or chapel, probably for the same church at Cestello
for which Lorenzo painted the St. Julian and St. Nicholas now in the
Louvre.

[Footnote 1: Once in the collection of Mr. Rogers; _v_. "Sacred and
Legendary Art."]

The "Coronation of the Virgin" by Annibale Carracci is in a spirit
altogether different, magnificently studied.[1] On high, upon a lofty
throne which extends across the whole picture from side to side, the
Virgin, a noble majestic creature, in the true Carracci style, is
seated in the midst as the principal figure, her hands folded on her
bosom. On the right hand sits the Father, on the left the Son; they
hold a heavenly crown surmounted by stars above her head. The locality
is the Empyreum. The audience consists of angels only, who circle
within circle, filling the whole space, and melting into an abyss of
light, chant hymns of rejoicing and touch celestial instruments of
music. This picture shows how deeply Annibale Carracci had studied
Correggio, in the magical chiaro-oscuro, and the lofty but somewhat
mannered grace of the figures.

[Footnote 1: This was also in the collection of Mr. Rogers.]

One of the latest examples I can point to is also one of the most
simple and grand in conception. (Madrid Gal.) It is that by Velasquez,
the finest perhaps of the very few devotional subj