The influence of Alessio Baldovinetti is reflected in the pictures of Cosimo Rosselli (1437-1507). Nothing is officially ascribed to him in this collection, but the _Annunciation, with St. John the Baptist, St. Anthony, St. Catherine, and St. Peter Martyr_ (No. 1656), which is here catalogued as by an Unknown fifteenth-century Florentine painter, is apparently his work. It is inscribed with the date A.D.M.CCCCLXXIII. THE GOLDSMITH PAINTERS During the generation which preceded the activity of Domenico Ghirlandaio (1449-1494) (who appears in the official Catalogue under the name of Grillandaio) the art of the painter had often been combined with that of the architect and sculptor. In time the influence of the goldsmith is seen in the inclination of the more prosaic painters, among whom Ghirlandaio holds an important place, to subordinate the pictorial qualities of their compositions to the gold-worker’s love of ornamental detail and fanciful jewellery. Paintings carried out in the goldsmith’s shop thus contained in the action of the figures, the treatment of the draperies, and the fanciful head-dresses, imitations of silver and bronze work. Domenico Bigordi owed the name of Ghirlandaio, by which he is now generally known, to his having been apprenticed to a goldsmith who acquired fame as a maker of the jewelled coronals (_ghirlande_) that became fashionable. This pupil of Alessio Baldovinetti, who was a craftsman quite as much as a painter, is to-day best known by the large number of frescoes he painted in Tuscany. [Illustration: PLATE III.—DOMENICO GHIRLANDAIO (1449-1494) FLORENTINE SCHOOL No. 1322.—PORTRAIT OF AN OLD MAN AND HIS GRANDSON (“THE BOTTLE-NOSED MAN”) (Portrait d’un Vieillard et de son petit-fils) An old man, wearing a red robe edged with fur, looks down tenderly at his golden-haired little grandson who lifts up his face to be kissed. Through an open casement is seen a landscape. Painted in tempera on panel. 2 ft. 0½ in. × 1 ft. 6¼ in. (0·62 × 0·46.)]