In our attempt to unravel the skein of Italian art in this collection and to sketch its history in strict chronological order we may now consider two small predella panels of (_a_) _St. Francis receiving the Stigmata_ and (_b_) _An Incident in the Life of St. Cosmo and St. Damian_ (No. 1414) by Francesco Pesellino (1422-1457). The former deals with a subject we have already met with in this Gallery (No. 1312); the latter is a new theme. St. Cosmo and St. Damian were wealthy men and spent their time in doing charitable works as doctors without monetary reward, and are thus sometimes known as “the Holy Money-despisers.” According to the legend here represented, a Christian was one day praying to these saints in the church dedicated to them in Rome in the fervent hope that he might be healed of cancer in the leg. While thus at prayer he imagined that his leg was amputated and replaced by that of a dead Moor. In this small panel the saints are shown in the act of placing the black man’s limb on the body of the Christian, who, no doubt, will before long be healed. St. Cosmo and St. Damian being patron saints of the Medici family are often met with in Florentine art. We have already in this collection looked at a picture (No. 1293) by Fra Angelico illustrating their martyrdom. Pesellino, who studied the art of Fra Angelico, Masaccio, and Domenico Veneziano, and followed somewhat closely in the steps of Fra Filippo Lippi, can hardly have painted the small three-panel picture officially ascribed to him of (_a_) _The Dead Christ_, (_b_) _A Cardinal supporting the Bodies of Two Men who have been hanged_, and (_c_) _A Cardinal appearing in a Vision to a Bishop_. This small work (No. 1415), which was formerly in the Campana collection, has been claimed by Dr. Venturi and Mr. Berenson to be by the Umbrian artist, Fiorenzo di Lorenzo. The _Madonna and Child and St. Augustin, St. John the Baptist, St. Anthony, and St. Francis_ (No. 1661), which is officially catalogued as being by an Unknown Florentine artist, and has been variously attributed to Andrea del Castagno, Fra Filippo Lippi, and Andrea Verrocchio, may be assigned to that nameless contemporary of Pesellino whose artistic personality was a few years ago constructed by Mrs. Berenson under the name of “Compagno di Pesellino.”