A history of painting in Italy : Umbria, Florence and Siena from the second to the sixteenth century . la, whose letter toLeonico Tomeo is known by fragments only, is quoted by theAnonimo, who repeats Vasaris opinion; ^ but in doing so he callsAvanzi Padoano, whilst Rizzo ^ prefers Savonarolas authorityand gives the frescoes to Altichiero alone. Brandolesi affects tobe able to distinguish between the works of Avanzi, Altichiero,and Sebeto,^ the latter being no other than Altichiero confounds the chapel of St. George with that of SanFelice.^ Kugler follows Mr. Ernst Forster in the
A history of painting in Italy : Umbria, Florence and Siena from the second to the sixteenth century . la, whose letter toLeonico Tomeo is known by fragments only, is quoted by theAnonimo, who repeats Vasaris opinion; ^ but in doing so he callsAvanzi Padoano, whilst Rizzo ^ prefers Savonarolas authorityand gives the frescoes to Altichiero alone. Brandolesi affects tobe able to distinguish between the works of Avanzi, Altichiero,and Sebeto,^ the latter being no other than Altichiero confounds the chapel of St. George with that of SanFelice.^ Kugler follows Mr. Ernst Forster in the opinion thatAvanzi is the only painter of the Cappella San Giorgio,^ and theMarchese Selvatico, translator of the latter, joins issue with himin favour of Altichiero.^ The commentators of the last editionof Vasari are of the opinion held by Campagnola and Rizzo; ^ Anonimo, , pp. 6 and 101. Campagnola wrote in the sixteenth century. * Rizzo in Anonimo, , p. 6. ^ Bkandolesi, , p. 53. * Lanzi, , ii., p. 76. ^ Vide Kunsiblatt, No. 6, 1838.« 8vo., 1846, Padua. Vasari, vi., pp. VI.] ALTICHIERO AND AVANZI 231 and finally, Bernasconi and Laderchi ^ complete the list of some-what angry disputants who poison their debate with the furtherquestion as to whether Jacopo Avanzi is identical with Jacopodegli Avancii and Jacobus Pauli of Bologna. It has alreadybeen stated in these pages that Jacopo degli Avancii of Bolognaand Jacobus Pauli are two persons. It will be admitted byartists that the frescoes of San Giorgio and the Crucifixionsof Jacopo degli Avancii of Bologna are creations of two verydifferent hands; and for such the debate will have no in-terest. The Cappella San Giorgio, situate near the Basilica of SantAntonio at Padua, was erected in 1377, almost simultaneouslywith the Cappella San Felice. A graven inscription above theportal declares that Eaimondino dei Lupi of the Soragna of Parma(brother of Bonifazio) founded it in memory of his parents, forthe use
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