[164] His family name was Doni. He was born about 1396, and died at the age of about 73. He got his name Uccello from his partiality for painting birds, it is said. [165] See above, Chapter III, Andrea Verocchio, for what has been said about Verocchio's "David." [166] A drawing made in red chalk for this "Dream of Constantine" has been published in facsimile by Ottley, in his _Italian School of Design_. He wrongly attributes it, however, to Giorgione, and calls it a "Subject Unknown." [167] The one in S. Francesco at Rimini, the other in the Uffizzi. [168] Two angels have recently been published by the Arundel Society who have also copied Melozzo's wall-painting of Sixtus IV. in the Vatican. It is probable that the picture in the Royal Collection at Windsor, of Duke Frederick of Urbino listening to the lecture of a Humanist, is also a work of Melozzo's, much spoiled by re-painting. See Vol. II., _Revival of Learning_, p. 220. [169] Muratori, vol. xxiv. 1181. [170] For Ciriac of Ancona, see Vol. II., _Revival of Learning_, p. 113. [171] The services rendered by Squarcione to art have been thoroughly discussed by Messrs. Crowe and Cavalcaselle, _Painting in North Italy_, vol. i. chap. 2. I cannot but think that they underrate the importance of his school. [172] He was born between 1360 and 1370, and he settled at Florence about 1422, where he opened a _bottega_ in S. Trinità. In 1423 he painted his masterpiece, the "Adoration of the Magi," now exhibited in the Florentine Academy of Arts. [173] See, for instance, the valuable portraits of the Medicean family with Picino and Poliziano, in the fresco of the "Tower of Babel" at Pisa. [174] _L'Art Chrétien_, vol. ii. p. 397. [175] The same remark might be made about the Venetian Bonifazio. It is remarkable that the "Adoration of the Magi" was always a favourite subject with painters of this calibre. [176] I may refer to the picture of the hunters in the Taylor Gallery at Oxford, the "Vintage of Noah" at Pisa, the attendants of the Magi in the Riccardi Palace, and the _Carola_ in the "Marriage of Jacob and Rachel" at Pisa. [177] "Stories of Isaac and Ishmael and of Jacob and Esau" at Pisa, and "Story of S. Augustine" at San Gemignano. Nothing can be prettier than the school children in the latter series. The group of the little boy, horsed upon a bigger boy's back for a whipping, is one of the most natural episodes in painting. [178] Riccardi Chapel. [179] For an example, the picture of Madonna worshipping the infant Christ upheld by two little angels in the Uffizzi. [180] In the Academy of Fine Arts at Florence. [181] Crowe and Cavalcaselle, vol. ii. chap. 19. Nothing was more common in the practice of Italian arts than for pupils to take their names from their masters, in the same way as they took them from their fathers, by the prefix _di_ or otherwise.