artist of incompletely formed talents. They seem incom patible with the supposition that their execution should have been entrusted to Dello after he had earned fame in Spain and returned to Florence in 1446. It may be true that Dello’s portrait was painted by Uccelli when he com pleted the series of the Genesis. The portrait now pointed out as that of the Spanish “Cavaliere” is aged enough for Dello’s years at that time, but the existence of the likeness does not help the critic to decide the question at issue. A picture which might do honour to Dello, were, it proved to be by him is that exhibited under his name in the collection of Mr. Barker in London. It represents the adoration of the Magi 1 and displays, in richness of composition, in details of costume and landscape, a style that might suggest the classification of the painter amongst those who held the manner of the Peselli. Though embrowned by time, the picture is fine and far superior to the frescos of the cloister of S. M. Novella. Its technical execution points to a realistic artist of the middle of the fifteenth century whom we should not wonder to find issuing from the Peselli’s school. Vasari assigns to Dello the usual industry of painting chests and furniture. He even says that he thus adorned a room in the house of Giovanni de’ Medici, but it would be hard to point out any works of this kind at the pres ent day. Dello’s Pieta in the SS. Annunziata, which is noticed by Vasari, 2 cannot be found, nor do we know of the existence of frescos painted by him (according to Richa) in S. Agata. 3 1 A round. I 3 Richa. Cliiese. Vol. 2 Vas. Vol, III. p. 46. | p. 285. V.