A pretty picture gained. Go, six months hence! Your hand, sir, and good-bye: no lights, no lights! {390} The street’s hushed, and I know my own way back, Don’t fear me! There’s the gray beginning. Zooks! -- 17. Cosimo of the Medici: Cosimo, or Cosmo, de’ Medici, surnamed the Elder, a celebrated Florentine statesman, and a patron of learning and the arts; b. 1389, d. 1464. 23. pilchards: a kind of fish. 34. John Baptist’s head: an imaginary picture. 67. Saint Lawrence: church of San Lorenzo, in Florence, famous for the tombs of the Medici, adorned with Michel Angelo’s Day and Night, Morning and Evening, etc. See ‘Hawthorne’s Italian Note-Books’. 88. Old aunt Lapaccia: Mona Lapaccia, his father’s sister. 121. the Eight: ‘gli Otto di guerra’, surnamed ‘i Santi’, the Saints; a magistracy composed of Eight citizens, instituted by the Florentines, during their war with the Church, in 1376, for the administration of the city government. Two were chosen from the ‘Signori’, three, from the ‘Mediocri’ (Middle Classes), and three, from the ‘Bassi’ (Lower Classes). For their subsequent history, see ‘Le Istorie Fiorentine di Niccolo Machiavelli’. 122. How say I?:--nay, worse than that, which dog bites, etc. 127. remarks: observations. 139. Camaldolese: monks of the celebrated convent of Camaldoli. 143. Thank you!: there’s a remark interposed here by one of the men, perhaps “YOU’RE no dauber”, to which he replies, “Thank you”. 145 et seq. The realistic painter, who disdains nothing, is shown here. 189. Giotto di Bondone (1266-1337): a pupil of Cimabue, and regarded as the principal reviver of art in Italy. He was a personal friend of Dante. See note under ‘Old Pictures in Florence’, St. 2. 223. I’m grown a man no doubt, I’ve broken bounds: all the editions are so punctuated; but it seems the comma should be after “man”, connecting “no doubt” with “I’ve broken bounds”. 235. “Giovanni da Fiesole, better known as Fra Angelico (1387-1455). Angelico was incomparably the greatest of the distinctively mediaeval school, whose ‘dicta’ the Prior in the poem has all at his tongue’s end. To ‘paint the souls of men’, to ‘make them forget there’s such a thing as flesh’, was the end of his art. And, side by side with Angelico, Masaccio painted. His short life taught him a different lesson--‘the value and significance of flesh’. He would paint by preference the BODIES of men, and would give us NO MORE OF SOUL than the body can reveal. So he ‘laboured’, saith the chronicler, ‘in nakeds’, and his frescoes mark an epoch in art.”--Ernest Bradford (B. S. Illustrations).