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Raphael de Caponibus. Taken in connection with a se cond, of 1502, at Sta. Maria degli Angeli in Sienna by “Raphael de Florentia”, and a third in S. Spirito of Florence, dated 1505, this picture has already been cited as a mixed Florentine and Umbrian creation, different from those usually attributed to Raffaellino. If it should appear that del Garbo and the authors of these three Madonnas are one person, we have a specimen of the man ner in which artist-journeymen assumed a different style as they passed from one school to another, and thus al most defy identification. 1 2 A series of frescos in the sis terhood of S. Giorgio at Florence, dated 1504, would have been a guide in this uncertainty, being the only inscribed paintings to which history alludes. 3 In their absence we must fall back upon such panels as Vasari mentions. It cannot be denied that the incidents depicted in S. Martino de’ Buonomini at Florence are sufficiently like the work of a pupil in Filippino’s shop, to warrant assigning them to Raffaellino, 4 but apart from these, the master's pro ductions are abundant enough for a sure selection. Claus- tral rules exclude visitors from the refectory of Sta. M. Maddalena de’ Pazzi at Florence, where a fresco of Christ distributing the loaves and fishes covers one of the prin cipal walls, 5 * but the figures of SS. Ignatius and Roch at the sides of the statue of S. Sebastian in a chapel of the same convent, sufficiently testify that del Garbo could languidly follow the manner of Filippino. 8 Affectation in forms, mannerism in drawing, and flatness of tempera are equally characteristic in this as in the more graceful angel and Virgin annunciate flanking a Giottesque S. Lucy in S. Lucia de’ Bardi. 7 1 Antea, Vol. II, 445 and foil*. 2 The Nativities in S. Lorenzo, Florence (described antea vol. II. 455) are in poor condition. Re cently, a S. Lawrence in majesty between SS. Stephen and Leo nardo, has been restored to its old place in S. Lorenzo. It is dated MDXI, and may rank on a par with the Nativities. 3 Yas. VII. 192. 4 See antea. Vol. II. 458. 5 Vas. VII. 193. 4. 6 Tempera, wood. Vasari VII. 194, and Richa, Chiese, I. 141. 7 Altar, to the left of entrance.
