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Chap. XVI. STEFANO FIORENTINO. 401 terial to the present inquiry, as both chapels are white washed. 1 There are old paintings in the Palazzo del Comune at Pistoia which reveal the presence of Floren tine artists, amongst others, a second rate Madonna between SS. James and Zeno, in the Salone, dated 1360; but though this fresco makes some approach to those already noted in S. Maria Novella at Florence, they are still insufficient to entitle the author to the name of a great artist. The frescos of the Buontempi chapel in S. Domenico of Perugia, have been noticed as attributed without suf ficient reason to Buffalmacco. Were they by Stefano, he would appear to the student as a painter of the fifteenth century, and therefore not a pupil of Giotto. 2 At Rome, at Milan, at Assisi, Stefano is said to have painted, but the alleged fruits of his labour have all disappeared. 3 1 Ciampi, ub. sup. p. 95, also Tolomei. p.p.16—17, andTigri, p. 123. 2 Rosini has fallen into this error. See Storia. ub. sup. Tom. II. p. 127. He gives, p. 125, an engraving of a picture at the Brera which is signed Stefanus, but dated 1435. Rosini also gives an engraving of a picture representing the Vir gin with the infant sitting near her, having brought in a bird. This piece is exactly suited to the description of a lost fresco by Stefano in a tabernacle of old near the Ponte alia Carraia at Florence. 3 Vasari (Vol. II. p. 15) describ ing the subjects of frescos in S. Spirito at Florence repeats what Ghiberti (Vol. I. p. XIX) says of frescos at S. Agostino of Florence. S.S. Spirito and Agostino are one and the same church, in which, however, the frescos in question no longer exist. At Assisi, a painting by Solimena covers the niche of the choir in the lower church originally painted by Ste fano. At S. Peters and Araceli, Rome, there is nothing. 26 VOL. I.