rito which time has not spared, was removed hy death from the practise of an art which he seemed destined to pursue with success. 1 Fea, who described with more in dustry than critical acumen the Basilica of Assisi, pretends to have discovered there a crucifixion with the usual figures of Mary and the Evangelist, by Giovanni. But in all the frescos or pictures of the sanctuary, not one presents the character of the time or of the manner of Agnolo Gaddi. 2 The same authority vouches for the fact that the fresco of the massacre of the Innocents, in the South transept of the Lower Church of Assisi, was by one Giacomo Gaddi. It may be sufficient to remember and to repeat that the fresco in question, which is one of those assigned by Rumohr to Giovanni da Milano and in these pages to Giotto, could not possibly have been painted by any of the pupils of Taddeo Gaddi. In Venice and in the states of the republic where Taddeo had a branch of his mercantile house and where, according to Vasari, Agnolo spent some of his time, there are very few traces of their art, and it would appear that they devoted them selves specially to trade. The only painting in Venice which displays the style of the Gaddi is a pediment now attached to an altarpiece by Antonio and Giovanni da Murano in the chapel of S. Terasio of S. Zaccaria. Here is a half figure of S. Stephen with three somewhat da maged scenes from his life at each side. In the Venetian state, traces of a style derived from the school of the Gaddi may be found in the paintings of the Cappella Vecchia in the castle of S. Salvatore near Conegliano. In this chapel, erected and decorated by the family of Colalto, the walls are filled with scenes from the life of the Virgin, the passion of Christ «nd the miracles of a sainted bishop. Though damaged in part and of a low order, these frescos are impressed with the stamp of the Florentine school of the close of the fourteenth century, and particularly of that of Agnolo. 1 Vas. Vol. II. p. 156. 2 See quotation from Fea’s Descrizione della Basilica d’Assisi in note 3 to Vasari, Vol. II. p. 156.