CATALOGUE OF DRAWINGS. 11 r 110. ANDREA DEL SARTO. [See No. 104.]—Monk and Soldier. 111. ANDREA DEE SARTO.—Bishop and Saint. 112. LORENZO GHD3ERTI (?) (painter, sculptor; b. Florence. 1378, d. about 1455; taught drawing, modeling, and metal-casting by step-father Bar- toluccio, goldsmith; 1398, driven from Florence by the plague to Rimini where he made some frescoes; competed for commission to make bronze doors of Florentine Baptistery; Ghibertl, Brunelleschi [see No 620], and Donatello [Florentine sculptor, 1383-1466] were adjudged the work, but the two latter withdrew; labored about forty years upon the doors, which have excited universal admiration;—style still somewhat stiff, but growing towards vigor and grace.—Groups. 113. LORENZO GHIBERTI (?). [See No. 112.]—Groups. 114. 115. ANTONIO POLLAJUOLO (sculptor, painter, engraver; b. Florence, 1433, d. 1498; with his brother Pietro educated by his father as gold­ smith; studied modeling and casting under Ghiberti [see No. 112]; assisted upon famous Ghiberti Gates in Church of S. Giovanni; studied painting under his brother Pietro [1428-1498]; the Pollajuoli said to have been the first Italians to practice human dissection for art study;— strongly influenced by training in plastic work and by study of the antique; the first to use oil instead of tempera as a vehicle).—Nude Youths Leaning on Staves. 116. ANDREA DEL SARTO.—Old Man with Staff. 117. ANDREA DEL SARTO. [See No. 104.] —Man Seated, Writing on his Knee. 118. ANDREA DEL SARTO.—Youthful Head. 119. SCHOOL OF MICHAEL ANGELO. [See No. 92.]—Statue in Niche. 120. SCHOOL OF MICHAEL ANGELO. —Prophet with Book. 121. TOMMASO DA S. GIOVANNI, called II MASACCIO, "the dirty fellow" (b. Val dArno, near Florence, 1402, d. about 1^40; name taken from his slovenly habits; studied under Masolino da Panicale [Florentine, 1378-1415] and Brunelleschi [see No. 620], from works of Ghiberti [see No. 112] and Donatello [Florentine, 1383-1466]. and from antiques at Rome;—began a revolt against rigidity and conventionality, seeking greater naturalness, more skillfully chosen attitudes, and better reasoned draperies; called one of the Fathers of Painting, both for his distinct advance upon previous styles ard because many of his successors, par­ ticularly Raphael, formed their styles by studying his).—Ecce Homo [ —the Dead Christ Supported by two Cherubs. .