Not that I expect the great Bigordi, Nor Sandro to hear me, chivalric, bellicose; Nor the wronged Lippino; and not a word I Say of a scrap of Fra Angelico’s: But are you too fine, Taddeo Gaddi, To grant me a taste of your intonaco, Some Jerome that seeks the heaven with a sad eye? Not a churlish saint, Lorenzo Monaco? -- St. 26. Bigordi: Ghirlandajo; see above. {note to St. 23.} Sandro: Sandro Filipepi, called Botticelli (1437-1515), “belonged in feeling, to the older Christian school, tho’ his religious sentiment was not quite strong enough to resist entirely the paganizing influence of the time” (Heaton); became a disciple of Savonarola. Lippino: Filippino Lippi, son of Fra Filippo (1460-1505), “added to his father’s bold naturalism a dramatic talent in composition, which places his works above the mere realisms of Fra Filippo, and renders him worthy to be placed next to Masaccio in the line of progress.”--Heaton. Fra Angelico: see under the Monologue of Fra Lippo Lippi. Taddeo Gaddi: “foremost amongst these (‘The Giotteschi’) stands the name of T. G. (1300, living in 1366), the son of Gaddo Gaddi, and godson of Giotto; was an architect as well as painter, and was on the council of Works of S. Maria del Fiore, after Giotto’s death, and carried out his design for the bell-tower.”--Heaton. intonaco: rough-casting. Lorenzo Monaco: see under the Monologue of Fra Lippo Lippi. 27. Could not the ghost with the close red cap, My Pollajolo, the twice a craftsman, Save me a sample, give me the hap Of a muscular Christ that shows the draughtsman? No Virgin by him the somewhat petty, Of finical touch and tempera crumbly-- Could not Alesso Baldovinetti Contribute so much, I ask him humbly? -- St. 27. Pollajolo: “Antonio Pollajuolo (ab. 1430-1498) was a sculptor and goldsmith, more than a painter; . . .his master-work in pictorial art is the Martyrdom of St. Sebastian, in the Nat. Gal., painted for the Pucci Chapel in the Church of San Sebastiano de’ Servi, at Florence. ‘This painting’, says Vasari, ‘has been more extolled than any other ever executed by Antonio’. It is, however, unpleasantly hard and obtrusively anatomical. Pollajuolo is said to have been the first artist who studied anatomy by means of dissection, and his sole aim in this picture seems to have been to display his knowledge of muscular action. He was an engraver as well as goldsmith, sculptor, and painter.”--Heaton.