Translated by Mariam Drammeh S. REMIGIO Piazza S. Remigio
SPECIAL LITERATURE Melchior Missirini, Della chiesa priorale di S. Remigio, e del suo altare del SS. Sacramento; 1839. Cited as Missirini, S. Remigio, 1839.
NAME S. Romeo: probably a dialectical distortion (1).
BUILDING HISTORY The church of the holy Archbishop from Reims is probably from the time period of the French rule, so it was created in the late 8th or 9th century (2). It first served as lodgings for french pilgrims to Rome (3), but it was changed into a canonical monastery right before 1040 (4). In the Romanesque time, it apparently experienced changes and extensions (5).
In the Gothic time, it was radically redesigned. The point in time can only be roughly estimated. It is possible that the extension of the forecourt, documented in 1303, was already connected to the conversion plan (6); the pier and vault seem to have been first constructed around 1350 (7). The windows of the side walls were expanded in the 15th century (8).
In 1568 or 1581, the church was awarded the priority title (9). Subsequently, the Gothic style and the canon chancel blocking the center aisle was removed, and the choir stalls were moved to the middle choral chapel. At the same time, the staircase in front of the three choir chapels was redesigned and an organ loft with new side doors was installed (10). The final consecration took place in 1589 (11). The bell tower and the canonry were also built at that time (12). In the early 17th century, the inside room received a sequence of architectural altar tabernacles (13).
In 1821, the outside walls were cleaned, and the portals were painted black and white according to the model of the medieval Florentine marble incrustations (14). At that time, the new Gothic window of the left choral chapel was created.
The Carolingian Pilgrim Hospital, 8th/9th Century Form unknown. – Perhaps the older of the two reconstructed churches in the following section is identical with the hospital church.
The Romanesque Church; 11th/12th Century remnants. A Romanesque side portal with a round arch and architrave has been preserved in the façade to the right of the main portal, together with a small wall segment; the round arch was partially removed later, so that a protective roof could be installed above it. A second Romanesque remnant is the eastern third of the northern side wall. It contains a narrow window, whose round arch is carved out of a stone in a strikingly ancient manner, in lieu of showing the wedge stone construction of the façade portal.
Conclusions. We also recognized possible remnants of the two different churches in both of these wall segments. The older one (with the window) could have originated in the early 11th century and the younger one around the 12th century – unless one prefers to place the older one in the Carolingian time period and the younger one in the 11th century. The first building must have been, in spite of the low position of the window, reconstructed as a church hall, since the wall segment reaches very far up. The second building was probably understood as an extension of the first and was, like the first, a rectangular, flat-roofed hall. It already has the dimensions of a Gothic building, because its corners coincide with the first’s corners. – Next to the chair laid the canonry.
The Gothic Buildings, First Half of the 14th Century Church. Essentially preserved. The choir chapels had a narrow, high pointed arch window, as individual traces can be recognized. Similar windows were probably also added to the side walls. The canon chancel stood in the center aisle (15), probably a simple rectangular wall like the corresponding monks’ choirs in S. Maria Novella, S. Croce, S. Trinita, Ognissanti, etc., which were removed at the same time.
Canonry. The canons’ living quarters were grouped to the south of the church around a cloister, of which some remnants have been preserved. As a result, the south wall of the church was exposed; like the other sides, it was decorated with a round-arched frieze (remnants in the current, extended canonry).
Church Outside.
Overview. The church is rectangular in plan. The quarry stone walls of the façade and the north side contain the Romanesque remnants described in the “Reconstruction” section. Between these oldest parts, located at the south-west corner and the north-east corner of the church, are the uneven quarry stone walls of the Gothic reconstruction, which reveal themselves as a uniform structure due to the evenly running scaffolding holes; the rear wall and the bell tower, both with windows from the 16th and 19th centuries, also belong to this. Remnants of the plaster and paint from 1821 are on all the walls.
The façade has retained its Gothic nature to some extent. Its structure - a main portal and above it three wide-open round-arched windows, of which the central one is emphasized by its particular size and finer profiling, as well as a (renovated) round-arched frieze on the low gable - is inspired by the façade of S. Stefano. The only somewhat distinct motif, the main portal, has a pointed arch above a console-supported architrave; it is too generally stylized to allow a more exact positioning.
North wall. Its windows appear to have been extended at a later date.
Inside. Illustrations. Floor plan and interior views by Supino, Gli albori etc. 1906, 131 and panel XXVIII.
Framework. Three-nave, three-bay pseudo-basilica with triangular choral chapels; pillars, pilasters, pointed arches and ribbed vaults everywhere. The walls are made of quarry stone, the limbs of house stone (Macigno).
Floor plan. Center aisle bays are square and side aisle bays are longitudinal rectangular - as in S. Maria Maggiore. The main choir chapel is transversely rectangular. Side choirs are square, and all three choirs are closed off by a uniform straight rear wall - similar to Arnolfo’s Badia.
Structure. A hall-like pseudo-basilica - like in S. Maria Maggiore. Similarly to S. Maria Maggiore, in the central nave, pilaster-like short wall attachments rise above the pillar capitals up to the vaults, which are set slightly higher than in the side aisles. The central nave pillars are octagonal - like in S. Croce; their capitals have coarsely embossed two-row acanthus leaves. The free pillars correspond to the walls and the pilasters on the chapel opening - again like in S. Maria Maggiore; however, in this church, they are not polygonal and are instead flat and pilaster-like. The profile of the bases of the pillars and pilasters is also unique: a slant above a slab, so it’s a very concise, austere formulation. Between the side aisle vaults, the chords reach down strikingly low, similar to those in S. Maria Novella (16); the five-sided polygonal cross-section of the ribs was also prefigured in the Dominican church, whereas the five-sided pyramid shape of the consoles below was found in S. Croce. - The curved staircase in front of the choir chapels dates from 1589 - Overall effect: coarse and unoriginal; the church appears to be the work of an eclectic who adopted motifs from all the more important Gothic buildings in the city and followed S. Maria Maggiore particularly closely.
Decoration. The sparse architectural forms are enlivened with figures in a few places: heads on the capital of the second left-hand pillar and half-figures of St. Remigius on the keystone of the last nave bay. Originally, a decorative fresco painting would have made the room appear somewhat less sober.
The altar tabernacles with its Tuscan half-columns and its fragmented segmental pediments only reveal the frigid style of the 17th century through their ornamentation. They are said to have been made in Rome (cf. fn. 13) and are unified with the windows that were extended in the Quattrocento.
Canonry. A Trecento cloister with octagonal pillars stretches along the south wall of the church. Segmental arches and square, ribless cross vaults. The first bay of its west wing has also been preserved. Above and next to it are the living quarters, which reveal themselves as the result of the extension of 1589 through many doors decorated with coats of arms.
CHURCH Outside. Facade. Fresco in the tympanum of the portal, half-figure of St. Remigius, from Carlo Falcini, 1818 (17).
Inside. First altar. (Patron Saint: Bagnesi); built in 1629 (inscription). Relics in carved containers (18). Second altar. (Patron Saint: Fabbrini, named degli Aranci), built 1634 (inscription). Remnants of frescoes, saint with globe and others, 14th century (19). Organ gallery; dated 1583.
Choral chapels. Right side choir (Patron Saint: Beccuti) (20). Altarpiece and frescoes from 1821. Panel painting, Madonna della Misericordia, by a contemporary of Cimabue, End of the 13th century (21). Frescoes on the side walls, Puritas on the right, Caritas on the left; 1821.
Main choir. Baroque, freestanding Mensa (22). On the back wall, painting of St. Remigius baptizing King Clovis; by Giuseppe Bezzuoli; frame, based on Renaissance forms, by Conte L. Cambray-Digny; 1821 (23). —- On the steps in front of the chapel are two richly carved wooden candlesticks, 1589 (?) (24).
Left side choir (Patron Saint: Al(d)ighieri, Gaddi). Frescoes, Prayer on the Mount of Olives on the left, Resurrection of Christ on the right, and marble altarpiece, 1821 (25). Altarpiece, Immaculate Conception of Mary, main work by Jacopo da Empoli, 1591 (26).
Left Wall. First altar. (Patron Saint: Fiaschi), built in 1647 (inscription). Plaster crucifix, originally from the 15th century, damaged by fire in 1912 and reworked (27). Old bronze door with a relief of Christ on the sacrament tabernacle; 16th century. Above the altar is stained-glass and a coat of arms, 15th century. Marble tomb slab of Gratia Carucci (+ 1603 or 1647) at the base. Second altar. (Patron Saint: Buini). Painting, Martyrdom of St. Sebastian, by Francesco Morosini, around 1629 (?) (28). Glass painting and coat of arms above the altar, 15th century.
Church Treasury. Reliquary of St. Remigius, in chalice form with dome, 16th century - 3 choir books with miniatures, 14th century. Textiles from the 16th and 17th centuries and others (29).
CANONRY Fresco, Annunciation, 14th century copy after the miraculous image of the SS. Annunziata (30). - Painting, Marriage of Mary, by Domenico Martellini, 2nd half of the 17th century (31).
CHURCH Central Nave. Frescoes by Agnolo Gaddi in the vault of the first bay or in the arched field of the portal, 2nd half of the 14th century (32); lost. On the façade of the Gothic canon choir, panel painting, Lamentation of Christ with St. Mary, St. John, St. Nicodemus, St. Joseph of Arimathea and St. Remigius and St. Benedict; main work by the so-called Giottino; around 1360 (?); in the sacristy since 1754 at the latest, now in the Uffizi, no. 454 (33).
Right Wall. First altar (Bagnesi). Altarpiece, Annunciation with three predella scenes; by Neri di Bicci, 1455; frame by Giuliano da Maiano; removed around 1629, now in the left aisle of S. Maria Novella (34). Replaced by a painting, Annunciation by Francesco Morosini, probably 1629 (date of the new altar foundation); removed in the 19th century (35); missing.
Second altar (Fabbrini, named degli Aranci). Painting, Marriage of Mary by Domenico Martellini; now in canonry, see there, p. 11.
Sacristy. For the church treasury, see Garneri, 1924, 171 and p. 11 above; the most important works were recently transferred to the Museo Nazionale ? - Here, from 1754 to 1842 at the latest, the panel of the Lamentation of Christ by Giottino, originally on the canons’ choir in the nave, cf. there. In the 18th and 19th centuries, the panel of the Annunciation by Orcagna, originally on the left wall of the churches (?), is also said to have been here, see there.
Choral chapels. Right side choir (Beccuti). Altarpiece, Madonna with St., by Giovanni Camillo Sagrestani, late 17th or 1st third of the 18th century (36); missing. Main choir. On the high altar, perhaps originally the Madonna panel by a contemporary of Cimabue; see under Decorations, right side choir and fn. 21.
Left wall. Opposite the organ, in front of the first side altar, altar (Patron saint: Totti). Painting, St. Leonard, by Francesco Morosini, 17th century (37); missing. On the side door (of this or the opposite wall?) panel, Annunciation, supposedly by Orcagna, mid or 2nd half of the 14th century; likely identical to the Annunciation by Mariotto di Nardo, 1st quarter of the 15th century, now in the Academy no. 463 (38).
In an undetermined place. Panel, by Zanobi Strozzi, mid-15th century (39); not identified. - Panel, Annunciation with St. Martin and St. Ansanus, by Neri di Bicci, 1463 (40); unidentified. - Panel, Madonna with two Saints, by Jacopo di Giovanni di Francesco, called Jacone, 1st half of the 16th century (41); missing. Tombs: cf. Richa I, 1754, 259 f.
CANONRY Fresco, Last Supper, Uccello style, 15th century; removed 1786 (42).
(1) Poccianti, Vite de’sette Beati Fiorentini etc. 1589, 182. Rosselli in Sepoltuario assumes that the popular name is an alteration of the word “Romeo”, which was used to designate the French Rome pilgrims (cf. Baugeschichte; Richa I, 1754, 254; Biadi, Fabbr., 1824, 28). Perhaps S. Romeo is more likely to have developed from the French form of the saint’s name - S. Rémy
(2) History of Florence I, 1896, 89. Missirini, S. Remigio, 1839, 2: allegedly founded in the year 800. N
(3) Richa I, 1754, 254, 256 (according to Rosselli’s Sepoltuario, which used old documents from 1040). Lami, Mon. II, 1758, 1059; Fantozzi, Guida, 1842, 158: History of Florence I, 1896, 89; - Richa’s assumption (I, 1754, 255) that S. Remigio was elevated to parish church status when the second ring of walls was erected in 1078 was already refuted by Fantozzi, Guida, 1842, 158, with a reference to the wording of the document of 1040; cf. also Missirini, S. Remigio, 1839, 5, 6. (4) Poccianti, vite de’sette Beati Fiorentini etc. 1589, 182; Missirini, S. Remigio, 1839, 4.
(5) cf. Building description
(6) Deed with Richa I, 1754, 257; Missirini, S. Remigio, 1839, 12.
(7) Coat of arms. The coats of arms of the Bagnesi, Pepi and Alberti families are carved into the vault keystones, pillars and pilasters. Rosselli writes in his Sepoltuario that Piero del Bene Pepi, who is named on the first southern pillar, was a member of the College of Priors in 1350. Richa I, 1754, 260 still saw the tombstone of this Piero; Cocchi, Chiese, 1903, 136, 137). The date made probable by this would be consistent with the fact that the foliage of the coat of arms in the corresponding first pillar (Bagnesi) could hardly have been created before the middle of the Trecento; of course, this coat of arms is carved from a special stone and set into the pillar, but not chiseled into it. However, very similar stem and tendril forms can also be found on the keystone of the second bay in the left aisle. The quatrefoil frame on the coats of arms above the entrance to the right choral chapel also suggests a late date. The figurative architectural sculptures - small heads on the leaf ends of the second pillar capital on the left and the half-figure of Remigius in the keystone of the last nave bay in front of the choir - are too rough to allow a more precise dating. In addition to the opinion expressed here, some older, divergent assumptions should be mentioned. Richa I, 1754, 258, passes on an opinion, one that can probably be explained by the similarity of the two churches. According to this opinion, the legendary builders of S. Maria Novella, Fra Sisto and Fra Ristoro, had borrowed the plan for S. Maria Novella from S. Remigio; Fantozzi, Guida, 1842, 159, reversed the relationship between the two buildings, but moved S. Remigio down to 1428. Remigio to 1428, on which Marchese, Memorie domenicane, 1854, 35, stated that the architecture of the church unequivocally spoke against such a late origin and spoke in favor of placing it in the time period of S. Maria Novella. Milanesi (Vasari I, 655) balanced the “pros” and “cons” of this line of thought by saying that the connection of S. Remigio with S. Maria Novella and its architects was not proven in any case. In the meantime, the author of Notizie e guida di Firenze, 1841, 309, 310 had put forward the equally contestable thesis that the church came from the school of Arnolfo di Cambio, followed by Jacob Burckhardt, Cicerone I, 1860, 142 and the Cicerone editors (Cicerone II, 1901, 10). Biadi, Fabbr., 1824, 48 dated the building to the 13th century. Supino, Gli Albori etc., 1906, 130 in the 14th century. Cocchi, Chiese, 1903, 136, 137 added the date 1350, which I analyzed. Paatz, Werden und Wesen der Trecentoarchitektur in Toskana, 1937, 161 fn. 149. G. Marchini, Rivista d’Arte XX, 1938, 108 mentions the church as an example of how Gothic architectural forms were Italianized in Florence.
(8) The fact that the windows were subsequently extended is revealed by the younger brickwork surrounding them. The date of the extension can be deduced from the character of the stained-glass and coats of arms on the north side (late 15th century).
(9) Richa I, 1754, 257 f.; Lami, Mon. II, 1758, 1015. – cf. also Richa II, 1755, 15 (1581).
(10) Vasari (first edition, 1550, 190 and second edition, 1568, I, 191) still saw the medieval canon choir. The organ was dated in 1583 with an inscription, and the staircase is generally and correctly associated with the removal of the monks’ choir, which was also carried out in other churches at the time (Richa I, 1754, 259). The side doors also prove to be products of this construction period due to their stylistic forms. - The staircase was donated by the Bagnesi (Richa I, 1754, 258), as was a pulpit.
(11) According to the inscription in the left aisle: Richa I, 1754, 257, 258 - Cocchi, Chiese, 1903, 138 erroneously gives the date 1568.
(12) Cf. Building description
(13) These tabernacles were obtained from Rome: Richa I, 1754, 259; Fantozzi, Guida, 1842, 159, 160.
(14) Biadi, Fabbr., 1824, 48, 49.
(15) Vasari, first edition, 1550, 190, second edition, 1568, 194 - Richa I, 1754, 258; Fantozzi, Guida, 1842, 160; Cocchi, Chiese, 1903, 139.
(16) The relationship to S. Maria Novella, which has been overemphasized in the literature, is limited to this (cf. fn. 7)
(17) Fantozzi, Guida, 1842, 159; the painter is not mentioned in Thieme-Becker.
(18) According to the parish priest, the reliquaries were taken from S. Jacopo tra’Fossi when it was abolished. Garneri, 1924, 170 mentions the altarpiece, which had long since disappeared (cf. Verl. Ausst.).
(20) Richa I, 1754, 258.
(21) Biadi, Fabbr., 1825, 49: transferred here from the façade wall in 1821. Fantozzi, Guida, 1842, 160, 161. Cruttwell, Churches, 1908, 236: Byzantine, 14th century. Toesca, Storia dell’arte I, 2, 1041: successor to the Master of the Rucellai Madonna ? Weigelt, The Sienese painters of the 14th century, 1930, 65 fn. 2 (against Soulier, who had attributed the Madonna to the school of Duccio). Offner, Burl. Mag. LXIII, 1933, 80: end of the 13th century. Procacci, Boll. d’A. XXIX, 1935/36, 372 f.: freed from overpainting; by a contemporary of Cimabue. Catalog of the exhibition “Firenze Sacra,” 1933, p. 82 and appendix p. 10, no. 744: Florentine, late 13th century. Catalog of the Giotto exhibition, Florence, 1937, p. 38, no. 91: as well. For type cf. E. Sandberg-Vavalà, L’iconografia della Madonna col Bambino, 1934, 66f.
(22) Richa I, 1754, 258.
(23) Biadi, Fabbr., 1824, 49; Missirini, S. Remigio, 1839, 10; Fantozzi, Guida, 1842, 161; Garneri, 1924, 170.
(24) One of them exhibited in 1933; see catalog of the exhibition “Firenze Sacra” 1933, appendix p. 11.
(25) Missirini, S. Remigio, 1839, 20ff. Fantozzi, Guida, 1842, 161.
(26) Richa I, 1754, 259: ordered in the will of Niccolò Gaddi, 1591, designed as an illustration of a Dante (which is reproduced). Missirini, S. Remigio, 1839, 12 ff.; Thieme-Becker VI, 1912, 501. On sketches in the Uffizi cf. S. de Vries, Riv. d’A. XV, 1933, 348, 385; Venturi, Storia IX, 7, 1934, 666; Mostra del Cinquecento Toscano, Firenze, 1940, p. 200.
(27) Richa I, 1754, 259; Fantozzi, Guida, 1842, 162. Garneri, 1924, 171: Trecento. –Inscription from 1912.
(28) Bald. IV, 316; Richa I, 1754, 258; Fantozzi, Guida, 1842, 162; Garneri, 1924, 171. The date 1629 is taken from that of a painting by Morosini formerly located on the opposite altar; cf. below.
(29) Catalog of the exhibition “Firenze Sacra”, 1933, pp. 60, 82. It is uncertain whether these works remained in the church or were transferred to the Museo Nacional. Cf. Exhib., Sacristy.
(30) Cruttwell, Churches, 1908, 236: comes from the Loggia del Grano.
(31) Richa I, 1754, 258: at the second altar on the right. Also Foll.-Rastr. V, 1794, 155, erroneously described by Garneri, 1924, 170 as still being in its old place.
(32) Vasari I, 640: l’arco sopra la porta. Richa I, 1754, 258 and Foll.-Rastr. V, 1794, 154, 155 describe these paintings on the vault of the first bay instead of in the arched field of the portal. Biadi, Fabbr., 1824, 48 first mentions them as having been removed. Removed in 1821 during the restoration ?
(33) Sources. Vasari I, 627: by “Tomaso di Stefano detto Giottino” on the canon choir. Richa I, 1754, 258 and Fantozzi, Guida, 1842, 166: in the sacristy - Older literature. Lanzi, Storia pittorica dell’Italia I, 1795/96, 40. Rumohr, Ital. Forsch. II, 1827, 172 (under the name Pier Chellini). Gaye I, 1839, 502, 508; Crowe-Cavalcaselle I, 1864, 416; Schubring, Jb. pr. Ks. XXI, 1900, 17lff. (Upper Italian inspiration; perhaps the foundation of Caroccio de Albertis, who died in 1371 and was buried in the church in 1373, as reported by Richa I, 1754, 260). Cruttwell, Churches, 1908, 236, 237: in the Uffizi since 1842. -The Maso-Giottino question. There are doubts as to whether Vasari’s Giottino and Giotto’s pupil Maso (reported by Ghiberti) were the same person, and whether both the works mentioned by Vasari and the Sylvester frescoes in S. Croce, authenticated by Ghiberti for Maso, could be attributed to this master. These doubts have gradually led modern scholars to distinguish between two masters, the older Maso, who lived in the first half of the 14th century (main work: the frescoes of St. Sylvester) and a younger painter, perhaps called Giottino, who lived in the second half of the 14th century. Fundamental for this recognition was the work of Suida, Rep. f. Kw. XXVII, 1904, 483 ff., Month. f. Kw. I, 2, 1908, 1009 ff. and VII, 1914, 1 ff.; cf. also Schlosser, Art historical Jb. of the. k. k. Central commission IV, 1910, 198 f. While Suida does not comment on the Lamentation in the above-mentioned works, Schlosser, op. cit., declares it not to be by the hand of the painter of the Sylvester frescoes, but to be a work by Giottino, perhaps restored in 1392 by Niccolò di Pietro Gerini (cf. S. Pier Maggiore, p. 642, and fn. 82). Rintelen, Art historical. Displays, 1906, 43 had declared it to be an Upper Italian work from around 1400. Since Wulff, Rep. f. Kw. XXIX, 1906, 477, it has usually been regarded as a mature work by the master of the Sylvester frescoes. This opinion has persisted for a long time (although this painter is often called Giottino at first, later mostly Maso, depending on the attitude of the scholars). Thus, for example, Venturi, Storia V, 1907, 499 f.; Sirèn, Giottino, 1908, 4, 46 ff. and Giotto and … followers, 1917, 195, 209 ff.; Thieme-Becker XIV, 1921, 93; van Marle III, 1924, 412, 418; Sirèn, Dedalo VIII, 1927/28, 412. Recently there has been a tendency to move the painting away from the Sylvester frescoes and attribute it to a younger painter, perhaps Giottino Vasari. Thus, Longhi, Pinacotheca, 1928, 143/44 and fn. 1 and Critica d’Arte 25/26, 1941, 180 fn. 4; Offner, Burl. Mag. LIV, 1929, 230, fn. 10 L. Colletti, Riv. d’A. XIII, 1931, 331 ff (close to the Maso, Upper Italian influence). Catalog of the Giotto exhibition, Florence, 1937, no. 155 (as Giottino).
(34) Ricordi di Neri di Bicci, ed. Poggi, Il Vasari III, 1930, 143, and Poggi’s notes on it. cf. also volume III, p. 717.
(35) Bald. IV, 316; Richa I, 1754, 258, 260 (inscription); Fantozzi, Guida, 1842, 160. Mentioned erroneously as still in its old location by Garneri, 1924, 170. Perhaps removed when the relics from S. Jacopo tra’ Fossi were transferred to this altar (1849?); on this cf. fn. 18.
(36) Richa I, 1754, 258; Bindi, Fabbr., 1824, 49: removed in 1821. Missirini, S. Remigio, 1839, 9 (probably erroneously) mentions it as still existing.
(37) Richa I, 1754, 259; L’Antiquario fiorentino, 1771, 57; Foll.-Rastr. V, 1794, 155. No longer mentioned by Biadi, Fantozzi and the more recent sources. Removed during the restoration of 1821? The only evidence against this is the mention in the Guida of 1841 (p. 310), but this could be explained by the uncritical adoption of older descriptions.
(38) Vasari I, 607 (2nd edition): inscribed panel by Orcagna on the side door. Richa I, 1754, 258: Annunciation by Orcagna in the sacristy; also Fantozzi, Guida, 1842, 160. K. Steinweg, Orcagna, 1929, 9, 20. – The painting by Mariotto was acquired in 1842 from S. Remigio, where it was considered a work by Orcagna; according to Procacci, La R. Galleria dell’ Accademia di Firenze, 1936, 35/36. It was in the Uffizi for a long time (as no. 316). Attribution to Mariotto probably by Sirèn, Arte XI, 1908, 193. Recognized by all the following, e.g. Khvoshinsky-Salmi, 1914, 61; van Marle IX, 1927, 218; Thieme-Becker XXIV, 1930, 112; Berenson, Ital. pictures, 1932, 331.
(39) Vasari II, 521; Vol. I, 502, Richa I, 1754, 258: missing. Likewise Gottschewski-Vasari II, 31.
(40) Ricordi di Neri di Bicci, ed. Poggi, Il Vasari III, 1930, 143.
(41) Vasari VI, 450. Richa I, 1754, 258 and Foll.-Rastr. V, 1794, 154: missing. Likewise Gottschewski-Vasari VI, 245 and Thieme-Becker XVIII, 1925, 277.
(42) Missirini, S. Remigio, 1839, 11.