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The Project Gutenberg EBook of The Florentine Painters of the Renaissance, by Bernhard Berenson This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Florentine Painters of the Renaissance With An Index To Their Works Author: Bernhard Berenson Release Date: December 28, 2005 [EBook #17408] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE FLORENTINE PAINTERS *** Produced by Juliet Sutherland, Louise Pryor and the Online Distributed Proofreading Team at http://www.pgdp.net [Illustration: _Portrait of a Lady._ _From the Painting, possibly by Verrocchio, in the Poldi Museum at Milan._] THE FLORENTINE PAINTERS OF THE RENAISSANCE WITH AN INDEX TO THEIR WORKS BY BERNHARD BERENSON AUTHOR OF "VENETIAN PAINTERS OF THE RENAISSANCE," "LORENZO LOTTO," "CENTRAL ITALIAN PAINTERS OF THE RENAISSANCE" THIRD EDITION, REVISED AND ENLARGED G. P. PUTNAM'S SONS NEW YORK AND LONDON The Knickerbocker Press COPYRIGHT, 1896 BY G. P. PUTNAM'S SONS _Entered at Stationers' Hall, London_ * * * * * COPYRIGHT, 1909 BY G. P. PUTNAM'S SONS (For revised edition) Made in the United States of America PREFACE TO THIRD EDITION Years have passed since the second edition of this book. But as most of this time has been taken up with the writing of my "Drawings of the Florentine Painters," it has, in a sense, been spent in preparing me to make this new edition. Indeed, it is to that bigger work that I must refer the student who may wish to have the reasons for some of my attributions. There, for instance, he will find the intricate Carli question treated quite as fully as it deserves. Jacopo del Sellajo is inserted here for the first time. Ample accounts of this frequently entertaining tenth-rate painter may be found in articles by Hans Makowsky, Mary Logan, and Herbert Horne. The most important event of the last ten years, in the study of Italian art, has been the rediscovery of an all but forgotten great master, Pietro Cavallini. The study of his fresco at S. Cecilia in Rome, and of the other works that readily group themselves with it, has illuminated with an unhoped-for
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