A new history of painting in Italy : from the II to the XVI century . oID _ GENTILE DA FABRIANO 145 in Florence had taught him something more than he had learnt at home,yet that, like his precursor Nuzi, he could not alter his Umbrian nature,nor forget his primitive education so far as to adopt any of the inno-vations due to Uccello, Brunelleschi, Masaccio, or Donatello. He mayhave been struck by a miniaturist like Lorenzo Monaco. He may haveadmired the creations of Angelico, but he remained inferior to the firstand a fortiori at a respectful distance from the second. A Virgin and Child betwee
A new history of painting in Italy : from the II to the XVI century . oID _ GENTILE DA FABRIANO 145 in Florence had taught him something more than he had learnt at home,yet that, like his precursor Nuzi, he could not alter his Umbrian nature,nor forget his primitive education so far as to adopt any of the inno-vations due to Uccello, Brunelleschi, Masaccio, or Donatello. He mayhave been struck by a miniaturist like Lorenzo Monaco. He may haveadmired the creations of Angelico, but he remained inferior to the firstand a fortiori at a respectful distance from the second. A Virgin and Child between four saints, described and praised byFacius, long adorned the office of the Notaries at Siena, and is variouslystated to have been painted in But Vasari adds that Gentileworked in S. Giovanni at It is, however, not as yet distinctlyproved that Siena was ever visited by Gentile still inhabitedFlorence in 1425. An inscription, printed by many authors, long authen-ticated a Virgin and Child attended by saints, the centre of which hasdisappeare
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