the tomb of the Archbishop Filippo, of that family,*) and Andrea Ciccione, his worthy successor on the throne of Neapolitan architecture and sculpture, and not less distinguished for his virtues and piety. His most important works are the Gothic tombs of Ladislaus of Hungary, King of Naples, and of the celebrated Ser Gianni Caracciolo, both at S. Giovanni a Carbonara. The former was erected on the death of Ladislaus in 1414, by command of his sister and successor, Joanna II, who is represented * The scene of a ludicrous story told by Boccaccio. The night after the Archbishop was buried, one Andreuccio, a countryman of Perugia, who had come to Naples to buy horses, and had been tricked out of his purse by a Sicilian courtezan who pretended to be his sister, fell, after two or three intervening misadventures, into the company of a couple of miscreants, who, needing a confederate, persuaded him to join in an attempt to possess themselves of a ruby ring, valued at fifty gold florins, which had been buried with him. They came to the chapel at midnight; the two robbers lifted and propped up the lid of the sarcophagus, and then frightened Andreuccio into entering it and stripping the body. Andreuccio, however, secreted the ring, and pretended that he could not find it. Persisting in his story, and feigning to continue a fruitless search, they lost patience, dropped the lid upon him, and went their way, leaving him stretched, half dead with fright, on the Archbishop's body. Presently, however, another party of plunderers arrived with the same object, guided by a priest, who after lifting and propping up the lid as before, stepped boldly into the sarcophagus. Andreuccio (personating the dead Archbishop) caught him by the leg, pulling him downwards; the priest yelled out in an agony of horror, and freeing himself with a violent effort, rushed out of the church, with his accomplices at his heels, as if a legion of devils were in pursuit,-while Andreuccio quietly walked out after them, with the ring in his pocket, and quitting Naples the following morning, made the best of his way back to Perugia. Decam. Giorn. ii, nov. v. seated beside him under the lofty arch that supports the sarcophagus, on which he reappears, but stretched out in death. Four large Caryatides, Temperance, Fortitude, Prudence and Magnanimity, support this immense structure, which is crowned by the equestrian statue of the monarch, armed cap-a-piè, and holding his drawn sword. It is a grand conception, but the execution is of unequal merit, and the same may be said of the tomb of Caracciolo, the favourite of Queen Joanna, which adorns the extremity of the tribune or choir, behind the high altar.* Ciccione died in 1455, and in him this Neapolitan branch of the Pisan school may be considered extinct, his pupil Agnolo Aniello Fiore, (son of the painter Colantonio,) having transferred his allegiance to the Majani, sculptors of the new Tuscan school, long resident at Naples, and whose influence, through Agnolo, may be seen in the chef d'oeuvre of the celebrated Giovanni di Nola, pupil of the latter, the tomb of Don Pedro de Toledo in S. Giovanni degli Spagnuoli. Travellers are usually little aware of the sepulchral wealth of Naples; her churches are literally crammed with sculptures and monuments, works of the fourteenth and fifteenth centuries, which are always worthy of attention. And, probably from the suc * An adjacent chapel, added to the church in later times, is full of interesting, though comparatively modern monuments of that ancient and distinguished family, which claims descent from Tancred de Hauteville, and one of whose daughters gave birth to S. Thomas Aquinas. cessive and reiterated influence of the Normans, French and Spaniards, more of the old chivalric and Gothic feeling may be found among them than elsewhere in Italy, save in a few districts comparatively remote from republican influence, where a tincture of the ancient spirit has survived and mingled with the Cinquecento.* I have thus traced the different lines of the Pisan school, as founded by Niccola and Giovanni, and subsequently developed in the distinct branches of Florence, Siena and Naples, to the period when the influence of Ghiberti and Donatello became predominant throughout Italy. But I wish you to observe, that I by no means identify these last most admirable artists with the tide of corruption which set in during their life-time, or, to speak more plainly, with the new Cinquecento Architecture ori * I may cite the monumental effigy in S. Cyriaco, at Ancona, of the good knight Francesco Cognomento, who died there, an exile from his native Fermo, in 1530,-and that, more especially, of Guidarello Guidarelli, now preserved in the Academy at Ravenna, a work apparently of the latter half of the fifteenth century. He reposes on his bed of stone, in full armour, stretched on his back, his sword between his legs, its cross-hilt resting on his breast, and his arms crossed over it; the visor is up, the head falls to one side; the features are a little sunk, but full of fortitude, courage and dignity. And the workmanship is as beautiful as the spirit is elevated and pure. According to Ribuffi's Guide to Ravenna, it is the work of Giacomello Baldini, a native of the town, but neither Füssli nor Nagler, nor such of the historians of Ravenna as I have consulted, mention such an artist. ginated by their contemporary, Brunellesco. On the contrary, I look upon them as the legitimate heirs of Niccola Pisano, as those who carried Christian sculpture to its perfection in adhesion to his principles, and in intimate alliance with that symbolical Gothic architecture, which, though in a less perfect form, he had naturalised in Italy. It is as the ruling spirits of a new era, as the parents of two distinct lines of succession, both in Sculpture and Painting, by whom the great battle of Christianity and resuscitated Paganism was waged in European Art during the fifteenth and sixteenth centuries, that I place them at the head of the Second great period or division in its history. CHRISTIAN ART OF MODERN EUROPE. PERIOD I. ARCHITECTURE. Development of the Christian Element, Spirit-Lombard and Gothic, or Pointed Architecture-Rise of Sculpture and Painting-Expression. IV. GIOTTO AND HIS SCHOOL-RISE AND RESTORATION OF PAINTING, IN CONNEXION WITH GOTHIC ARCHITECTURE-DRAMATIC -PREPARATION FOR MASACCIO. PART I. GIOTTO. SECT. 1. First Period. —Early works at Rome and Florence. SECT. 4. Fourth Period.-His works at Florence, in the SECT. 5. Fifth and closing Period.-His latest works at PART II. THE GIOTTESCHI. SECT. 1. Pupils of Giotto.-Proselytes from pre-existent SECT. 2. School of Taddeo Gaddi; principal branch at SECT. 3. School of Taddeo Gaddi; inferior branch, Flor- |