From the hand of the same saintly painter are the _Adoring Angel_ (no No.), which until 1909 was in the Victor Gay collection, the _Martyrdom of St. Cosmo and St. Damian_ (No. 1293), part of the predella of a dismembered altarpiece, and the large fresco painting of the _Crucifixion_ (No. 1294) which hangs on the Escalier Daru. The latter was purchased, together with Domenico Ghirlandaio’s _Bottle-nosed Man_ (No. 1322, Plate III.), in 1879 for £1960. The _Beheading of St. John the Baptist_ (No. 1291) and the _Resurrection_ (No. 1294A) are unauthentic. In Benozzo Gozzoli (1420-1498) we have an assistant and follower of Fra Angelico. He worked at different towns in Italy, notably at Montefalco, Orvieto, Florence, San Gimignano, Rome, and Pisa, where he died. Although his earlier work reminds us of Fra Angelico, than whom he is much more dramatic and much less spiritual, in later life he depicts the costumes and life of his time in a more realistic and objective manner. His _Triumph of St. Thomas Aquinas_ (No. 1319), which originally hung in the Cathedral at Pisa, deals with a subject often met with in the art of the period. The great Dominican teacher, whom the heathen philosophers, Aristotle on the left, and Plato on the right, recognise as their master in philosophy, is enthroned, his books of theological learning on his knees. At his feet, subdued, is Guillaume de St. Amour, the author of a book entitled _De Periculis Novissimorum Temporum_, in which he exposed the various abuses then prevalent among the mendicants. The dramatic action seen in the lower part of the panel embraces Pope Alexander IV. presiding over the religious council of Agnani, and the envoys of St. Louis (Louis IX. of France) who took steps to end the religious conflicts of 1256. A large altarpiece (No. 1320) representing the _Madonna and Child Enthroned_, _St. Cosmo_, _St. Damian_, _St. Jerome_, _St. John the Baptist_, _St. Francis d’Assisi_, and _St. Lawrence_ in the central panel is also assigned to Benozzo. The frame also contains seven predella pictures, and at either end is the coat of arms of the Medici family. The great French Museum, which is weaker than the National Gallery, the Berlin Gallery, and certain other national collections in Italian primitives, affords us no example of the art of Andrea del Castagno (fl. 1410-1457), whose compositions are characterised by harsh colour, hard lines, and crude forms. Nor do we find here any painting by that very rare artist, Domenico Veneziano (1400?-1461), who, it has been said, was the first Tuscan artist to work in an oil medium. PAOLO UCCELLO