. The study and criticism of Italian art : second series. ththe Squarcioneschi is patent and must have beendirect; moreover, it seems to me that he was par-ticularly impressed by Mantegnas frescoes in theEremitani at Padua, and by the same masters altar-piece in St. Zenos, at Verona. As these were donebefore 1460, and as these are the works Girolamoretained most in his mind, it may indicate either thatleaving this region for Tuscany at so early a date, hesaw none of Mantegnas later works, or that, being atthe most sensitive age at about 1460, he was mostimpressed by what he saw at that time. E
. The study and criticism of Italian art : second series. ththe Squarcioneschi is patent and must have beendirect; moreover, it seems to me that he was par-ticularly impressed by Mantegnas frescoes in theEremitani at Padua, and by the same masters altar-piece in St. Zenos, at Verona. As these were donebefore 1460, and as these are the works Girolamoretained most in his mind, it may indicate either thatleaving this region for Tuscany at so early a date, hesaw none of Mantegnas later works, or that, being atthe most sensitive age at about 1460, he was mostimpressed by what he saw at that time. Even onthis later hypothesis, Girolamo could not have beenborn much later than, let us say, 1442,—which wouldmake him nearly ten years older than Liberale. If Girolamo was so much older than Liberale, andas an artist not inferior, and if he possessed thevalued Paduan science, which Liberale certainly hadnot brought with him to Tuscany, then it is scarcelypossible to avoid the conclusion that Liberale owedmuch to Girolamo da Cremona. GIROLAMO DA CREMONA. Lombardi photo.] THE ANGEL OF JUDGEMENT [Cathedral, Sieua. RUDIMENTS OF CONNOISSEURSHIP (a fragment) The materials for the historical study of art are ofthree kinds: i. Contemporary documents. 2. Tradition. 3. The works of art themselves. These materials are not presented ready for student is confronted with a quantity of dataof every kind supposed to concern his subject, andhe cannot accept them all offhand as being of equalvalue. Examination soon reveals that some of thedata offered are suspicious, some doubtful, and otherspositively apocryphal. He is obliged, therefore,before going further, to sift his materials, separatingthem into two groups : one immediately and dis-tinctly valuable for his studies ; the other not whollyuseless, but only of remote and indirect consequence. The process of sifting is different in each of thethree kinds of materials dealt with by the student ofthe history of art. I CONTEMPORARY DOCUM
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