.MTM5Ng.MTIwNzI2

vaguely in the 17th century reproduction drawing published by De Nicola in "Arte" in 1906; Then he says Petrarch himself in the saint and, somewhat later (Schulenberg) none other than in the Enea Ambrosiane. Note that the purchaser, the cardinal of San Giorgio in Vietatro, Joseph Stefaneschi, included Giotto and Martini in his unclear On the other hand, Vasari saw Laura and Petrarch as painted by the hand of Martini in the Cappellon degli Spagnouoli in Santa Maria Novella, where the frescoes were done by the Florentine, Andrea di Buonaiuto, after the death of Simoni. And Vascari likewise has Martini going to Pandolfo Malatesta in Avignon to paint Petrarch--an invention or an inconsistency with what is related in a letter to Francesco [[Beuni?}} (Sun. I6) from which we gather that, unknown to the poet, Pandolfo had already sent a well-paid painter (to what place is not mentioned but evidently in Italy) with the same assignment; that he had there, renewed the enterprise, with another artist whom he had known personally in Milano (1356), being dissatisfied with the first painting. (Of this second, whose work was ill-starred,