100 THE FIFTEENTH CENTURY. Chap. V. tered the atelier of Gentile as his apprentice. A charm ing familiarity soon united the two men; and the master sat to his pupil for a likeness which came later into the Bembo collection. 1 They afterwards lived together in Florence, and when Jacopo married, the master held the first of the children at the font. The year in which Gentile settled at Florence is ap- proximatively ascertained by the register of the guild of barber-surgeons, in which he matriculated in Nov. 21. 1422. 2 But his fame survived his departure from Venice; and all he did was so eagerly sought there that the demand was supplied even from Fabriano. Marc Antonio Pasqua- lino, whose father had been Gentile’s sitter, thus obtained two portraits; 3 and we can only deplore that they should have shared the fate of so many others collected with trouble and cost in the galleries and churches of Venice. From his shop in the Popolo S. Trinita at Florence, Gentile doubtless sent forth much that is undiscover- able at the present day. In 1423, he completed an order for the church of his adopted parish; and the Adoration of the Magi, engraved in these pages, is now the orna- mffit of the Florentine Academy of Arts. 1 He enriched the foreground of the composition by the introduction of a copious retinue of followers, grooms, and huntsmen, ac- 1 Anonimo, ed. Morelli, ill). | sup. p. 18. Jacopo remained with : Gentile till 1424. In a record of that yearlie is called Jacopo da Venezia, olim famulo magistri Gentili pitto- ris de Fabriano (com. to Vas. IV. 165). But he called himself Gen tile’s pupil also on a crucifixion at Verona the inscription of which is copied in Ricci; Mem. ub. sup. I. 173. 2 Tavola alfabetica, ub. sup. It is from this register that we know the name of Gentile’s father which as stated in the text ant. was :Nic- colo di Giovanni Massi. The date as given by Moreni, apud Ricci, Meraorie ub. sup. pp. 149 and 165, is incorrect. 3 Anonimo, ub. sup. p. 57. 4 No. 32. Gal. des gr. tableaux. One part of the predella, the pre sentation in the temple, is in the Louvre, No. 202; an inscription at the base of the adoration runs as follows: “Opus Gentilis de Fa briano MCCGCXXIII mensis Mali.” The front face of a turbaned man immediately behind the last of the kings is engraved by Vasari as Gentile’s portrait. This picture is noticed by Albertini, Memoriale, ub. sup p. 14.