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system of the Van Eycks did not consist merely in the use of linseed oil as a vehicle to colours. The use of lin seed oil in certain portions of pictures was not unknown, as we are told by Cennini, to the Florentines of the four teenth century. Domenico seems to have extended this prac tise; and the solitary picture which we possess is clear ly painted in a tempera composed of vehicles differing from the old ones. These modifications were tried at the same time by cotemporary painters, but were carried out with most success by Domenico’s pupil Piero, della Fran cesca, who, in 1466, accepted a commission to paint a church standard in oil, 1 and who succeeded admirably in that medium in the portraits of the Duke and Duchess of Ur- bino, which now adorn the Uffizi at Florence. How far the system of Piero della Francesca varied from that of the Van Eycks and Antonello must remain a matter for future study. Rumohr is right in saying of Domenico’s picture in S. Lucia de’ Bardi at Florence that the head of S. Lucy is not unworthy of Angelico, whilst the other figures, the Virgin and child, S.S. John Baptist, Francis and Nicholas, display the mannerism of Andrea del Castagno. The fi gure of S. Lucy is indeed in some measure select in the spirit of Masolino and Angelico, or of Fra Filippo’s youth. The attitude is noble, and the drapery participates at once of the'simplicity of the Dominican or of Masolino, and of the research peculiar to Andrea del Castagno. The same remark, however, applies to the Virgin and child. Her hand simply supports the body of the naked standing Christ. He looks at the Baptist who points at him and seems to say „Ecce Agnus Dei.“ There is more mater nal affection than purely religious feeling in the group of mother and child, but there is a pleasing inward repose in it. S. Nicolas in episcopals is a short, stout, yet weakly being, aged and not noble. But the painter falls into ex- 1 For the company of the Nun-1 commission in (Jiornale Stor. ziata at Arezzo. See the original | 1862. ub. sup. p. 9.
