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Santo were partly painted by him, says Vasari; but this is probably an error. Again Bernardo is said to have been his brother’s companion in the frescos of the Strozzi chapel, yet, there, the student fails to discover more than one hand. Can it be that Bernardo was, as a painter, a mere subordinate? Be this as it may, the visi tor to the Florence Academy of Arts will find a trip tych representing the Virgin and child between Saints, 1 signed: “Nomine Bernardus de Floretia pinxit h. op. anno Dni. M.CCCXXXII Some of the numerals are gone. The figures are small, not inelegant, but without the grandeur which marks the panel works of Andrea. Another Virgin with saints, 2 in the convent of Ognissanti at Florence, placed in a very dark spot, over the entrance to the door of the choir, and only visible with a lantern, bears the inscription: “A. D. MCCC...XXIIII. Frater Nicolaus de Mazzingliis de Carpi me fieri fecit pro remedio animae matris, fratriim. Bernardus de Florentia pinxit.” A third picture of more interest and importance is that of the late Mr. Bromley’s collection representing the cru cifixion between eight saints inscribed: “anno Dni MCCCXLVII. Bernardu pinxit me quem Flo rence finsit.” 3 The crucifixion is the usual Giottesque dramatic com position, the Saviour being quite Giottesque in type; and the work coloured in light and luminous tones seems to be that of a comrade of Taddeo Gaddi. It is a fine and well preserved work of the period, which has little affi nity with those of Andrea Orcagna, and certainly would not reveal him as an assistant in any of the pictures of that master. Another work in possession of Sir Charles Eastlake, a 1 No. 53. Salle des petits ta bleaux. S.S. Peter and Paul and 4 angels in adoration. 2 Half lengths of a saint with a book, and a saint in episcopals | are at each side of the Virgin and child. 3 The saints are S.S. Lawrence, Andrew, Paul and Peter, Bartho lomew, George, James and Stephen.