. The study and criticism of Italian art : second series. Preaching ofthe Baptist, also at Castiglione. How differentboth from the more massive, less expressive Christin Masaccios Tribute Money ! Finally, I mustdraw the readers attention to the upper part of thefresco. There, out of a round opening, appears aprophet throwing up his hands in horror at what hebeholds. Where, in all of Masaccios undisputedworks, shall you find so Trecento a type as this ?This type appears not seldom in Masolino. Twiceyou see him, the exact type, and the self-same actionin the Raising of Tabitha alone. He resemble
. The study and criticism of Italian art : second series. Preaching ofthe Baptist, also at Castiglione. How differentboth from the more massive, less expressive Christin Masaccios Tribute Money ! Finally, I mustdraw the readers attention to the upper part of thefresco. There, out of a round opening, appears aprophet throwing up his hands in horror at what hebeholds. Where, in all of Masaccios undisputedworks, shall you find so Trecento a type as this ?This type appears not seldom in Masolino. Twiceyou see him, the exact type, and the self-same actionin the Raising of Tabitha alone. He resemblesthe Eternal in the Munich panel. Slightly different,you find him again and again at Castiglione, now asHerod, then as an Evangelist, and again as theBaptist. Thus Empoli can rejoice in two works by Maso-lino, not the most considerable, but one the mostlovely, and the other the most noble, which, so faras we know, he ever painted. But is there nothingelse of his in the neighbourhood ? Close by, atS. Miniato al Tedesco, in the Dominican Church, MASOLINO. A PIETA {Baptistery, Emboli, PAINTINGS BY MASOLINO 89 on the right as you enter the chapel to the right of thechoir, there is the fragment of a fresco representinga deacon. In the Franciscan church there is afrescoed St. Christopher. Both are in a miserablestate of ruin ; but originally they could scarcely havebeen strange to Masolinos art. AN UNPUBLISHED MASTERPIECE BYFILIPPINO LIPPI The fame which for centuries surrounded FilippinoLippis name, as one of the greatest masters of theFlorentine School, is likely, as knowledge and tasteadvance, to diminish rather than to increase. Recentcriticism has shorn him of a number of pictures tradi-tionally attributed to him ; and among this numbersome of the most charming of all those that wentunder his name—such as the series of panels con-taining the story of Esther; and although a greatmany indisputable works of his remain, they cannotseriously be compared in quality with those of his
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