productions; such as the S. Anna in the church of S. Ambrose in Florence, or the chapel of S. Catherine in S. Clement's at Rome, in which, while still young, he executed some pictures of the passion of Christ, and legends of S. Anna, to which may be added a ceiling containing the Evangelists, which are all that now remain free from retouching. This work is excellent for that time, but some doubt whether it ought to be ascribed to him; and it is inferior to his painting in the Carmine, of which we may say with Pliny, _jam perfecta sunt omnia_. The positions and foreshortenings of the figures are diversified and complete beyond those practised by Paolo Uccello. The air of the heads, says Mengs, is in the style of Raffaello; the expression is so managed that the mind seems no less forcibly depicted than the body. The anatomy of the figure is marked with truth and judgment. That figure, so highly extolled in the baptism of S. Peter, which appears shivering with cold, marks, as it were, an era in the art. The garments, divested of minuteness, present a few easy folds. The colouring is true, properly varied, delicate, and surprisingly harmonious; the relief is in the grandest style. This chapel was not finished by him. He died in 1443, not without suspicion of poison, and left it still deficient in several pictures, which, after many years were supplied by the younger Lippi. It became the school of all the best Florentine artists whom we shall have occasion to notice in this and the succeeding epoch, of Pietro Perugino, and even of Raffaello; and it is a curious circumstance, that in the course of many years, in a city fruitful in genius, ever bent on the promotion of the art, no one in following the footsteps of Masaccio attained that eminence which he acquired without a director. Time has defaced other works of his hand at Florence, equally commended, and especially the sanctuary of the church del Carmine, of which there is a drawing in the possession of the learned P. Lettor Fontana Barnabita in Pavia. The royal gallery has very few of his works. The portrait of a young man, that seems to breathe, and is estimated at a high price, is in the Pitti collection.