hand, “Dicesi e morto in Roma.” 5 Niccolo di Ser Lapo in his return for 1430 adds, that Masaccio still owes him money, “but he died in Rome, and I don’t know whether I shall ever get any part of my debt, as his brother says, he is not the heir.” 1 The following relates to pictures either absent or not genuine: Of Masaccio’s remaining works noticed by Vasari at Flo rence none have been preserved. 2 A life size Virgin enthroned with the infant Saviour in the act of benediction, hangs in the chapel to the right of the choir in the church of S. Giovanni, Masaccio’s native place, and is shown as one of the productions of his youth. It is, however, a feeble work by one of his imitators. A male portrait of a member of the Panichi family at Florence is exhibited under Masaccio’s name in the gallery of Modena, 3 hut is clearly not by the master. Common and poor likewise are the so-called Masaccios at Munich. A portrait of a man, 4 is by a third rate Siennese of the fifteenth century. A miracle of S. Anthony of Padua 5 is by a weak imitator of Pesellino. Masaccio’s own portrait, half figure in a red cap, is not like that of the Carmine, and is a bad picture by one who studied the works of Ghirlandaio. 6 “Faith and devotion” 7 has more a German than an Italian character. S. Bernard, in the Berlin Gallery 8 is not in the style of Masaccio, but is by some weak Florentine painter of his time. A good portrait in the National Gallery called that of Masaccio himself (No. 626 bust seen in front), in a red cap and brownish dress, has the character of Botticelli and 1 Ibid. “Rede di Tommaso di Ser Giovanni dipintore den dare lire sessanta otto. Questo Tom maso mori a Roma non so se mai n’arb alcuna cosa, poichfe dice il fratello non essere rede.” 7 The student will seek in vain for his picture of “Christ casting out a devil” once in the house of Ridolfo Ghirlandaio (Vasari. Vol. III. p. 155), of S. Ivo of Britain, once on a pilaster of the Badia (Ibid. p. 156), of the nati vity between S.S. Catherine and Julian with scenes from the lives of these saints in the predella, formerly in S. Maria Maggiore (Ibid. p.p. 157 and 90). None of the pictures in- the Carmine of Pisa are in existence (Ibid. p. 157), but a S. Paul with the sword and book is preserved in the Academy of Pisa whose character is as it were that of Masaccio in minia ture (the figure is seen to the knees), yet on the whole the work seems more like that of a pupil. 3 No. 26 of Cat. 4 Cabinets No. 542. 5 Cabinets No. 538. 6 Cabinets No. 558. 7 Cabinet XIX. 8 No. 1066.