Chap. XI. UCCELLI’S JOTTKNEY TO URBINO. 297 of interest produced during a long course of years have been totally lost to posterity. 1 Uccelli, in his later years was invited by the brother hood of Corpus Cristi at Urbino to paint an altarpiece. His name did not escape the attentive Giovanni Santi, who gives him a good word in his Elogio; 2 whilst the re cords of the brotherhood contain items of payments to him for his work and for his journey from Florence in 1468. 3 The altarpiece is no longer to be found; and there is no authentic picture of the master in Urbino. Yet in S. Agatha of that city a predella was long preserved as a part of an altarpiece executed by Giusto of Ghent. It may now be seen in the college of the II. P. Scolopi contiguous to S. Agatha. The subjects, six in number, are derived from a legendary description of the theft of a pyx: First we note, in a room, a dame, at a counter, present ing, apparently to a silversmith, the pyx with the wafer of the host upon it. Next comes a scene in two parts. To the left is an interior where the silver of the pyx is smelting on a fire to the right. Blood flows out of the pot, and the miracle seems to fill the purchaser with a very natural terror. The female, with two children stands by as if in thought. Outside, in the second part, soldiers are bursting the door. 1 “ L’antiqua ehiesa di S. M. Maiore fu . . . .: nella quale e una tavola di Masaccio: la predella et l’archo di sopra e di Paolo Uccelli.” Albertini. Memo- riale. ub. sup. p. 12. Vasari also mentions a work by Uccelli (Vol. III. p. 90.) saying, it was a fresco in a chapel at the side of the door leading to S. Giovanni, representing the annunciation. In the ceiling, Uccelli painted the four Evangelists. Richa (Vol. III. p. 281.) notes the existence of a picture by Uccelli in S. M. Mag- giore on a pilaster to the loft of the portal. All these works, how ever, have disappeared. The same fate has attended: the paintings of Uccelli in the Spedale di Lemmo (Vas. Vol. III. p. 89.) ; in the convent of Annalena, now razed (ibid. Vol. III. p- 89), sce nes from the life of S. Francis in S. Trinita; the monochrome fres cos , since whitewashed in the cloister of S. .Miniato; the altar dossal in the Cappella de’ Pug- liesi at the Carmine (ih. Vol. III. p.p. 90. 91.); canvasses represent ing animals, in the Casa Medici (ih. Vol. III. p. 91.); scenes from the life of S. Benedict in the Mo nastery of the Angeli (ib. Vol. III. p. 95.); and an incredulity of S. Thomas in the Mercato Vecchio (ib. Vol. III. p. 98.) 2 See the passage in Pungi- leoni. Elogio Storieo di Gio.Santi. 8°. Urbino. 1822. p. 73. 3 Ibid. p. 74. The dates of pay ments are August 10. and Oct. 31. 1468.