1.1 Adams John Quincy, Portrait of Prince Johann II von Liechtenstein, Oil on canvas, Painted 1908. © Liechtenstein. The Princely Collections, Vaduz–Vienna 12
1.2 Wilhelm von Bode, Photography by an unknown author, Date unknown. © Staatliche Museen zu Berlin, Zentralarchiv 13
1.3 Passport of Prince Johann II von Liechtenstein (1840–1929). © Liechtenstein. The Princely Collections, Vaduz–Vienna 14
1.4 Don Lorenzo Monaco (Piero di Giovanni), Maria with Child and Two Angels, Oil on panel, Painted ca. 1420. © Liechtenstein. The Princely Collections, Vaduz–Vienna 22
1.5 Marco Palmezzano, Christ as the Man of Sorrows, Oil on panel, Painted 1500. © Liechtenstein. The Princely Collections, Vaduz–Vienna 24
1.6 Letter from Wilhelm Bode with a sketch, Date unknown. © Liechtenstein. The Princely Collections, Vaduz–Vienna 29
1.7 Draft of the Liechtenstein gallery display, 1907. © Liechtenstein. The Princely Collections, Vaduz–Vienna 30
1.8 After Donatello, Virgin and Child (called the Madonna di via di Pietrapiana), Painted and gilt terracotta relief, 1446/1455. © Staatliche Museen zu Berlin – Preußischer Kulturbesitz, Skulpturensammlung und Museum für Byzantinische Kunst. Photo credit: Antje Voigt, Berlin 32
2.1 Nélie Jacquemart and Édouard André, Photograph, ca. 1890, Ateliers Langhans. Photo credit: Paris, musée Jacquemart-André, Institut de France 49
2.2 Gregorio di Lorenzo (attributed to), Bust of Lorenzo Soderini, ca. 1540, Marble. Photo credit: Paris, musée Jacquemart-André, Institut de France 53
2.3 Francesco Laurana, Bust of Neapolitan Princess, Late fifteenth century, Marble. Photo credit: Paris, musée Jacquemart-André, Institut de France 53
2.4 Pantaleone de’ Marchi, Church Stall, ca. 1480–1520, Wood. Photo credit: Paris, musée Jacquemart-André, Institut de France 61
2.5 Niccolò Pizzolo, Bishop Saint Enthroned, ca. 1440, Panel. Photo credit: Paris, musée Jacquemart-André, Institut de France 62
2.6 Donatello (attribued to), Bust of Ludovico Gonzaga, 1460–1475, Bronze. Photo credit: Paris, musée Jacquemart-André, Institut de France 64
2.7 Pietro di Giovanni d’Ambrogio, St. Catherine of Alexandria in Glory Surrounded by Allegories of Her Virtues. On the reverse: The Crucifixion with the Virgin and St. John, 1444, Canvas. Photo credit: Paris, musée Jacquemart-André, Institut de France 68
2.8 Andrea Mantegna, Ecce Homo, 1500, Canvas mounted on wood. Photo credit: Paris, musée Jacquemart-André, Institut de France 72
2.9 Andrea Mantegna, Madonna and Child with St. Jerome and St. Louis of Toulouse, 1455, Wood. Photo credit: Paris, musée Jacquemart-André, Institut de France 73
2.10 Paolo Uccello, Saint George and the Dragon, ca. 1430, Wood. Photo credit: Paris, musée Jacquemart-André, Institut de France 75
3.1 Sandro Botticelli, Madonna and Child with an Angel (also known as The Madonna of the Eucharist or Chigi Madonna), 1470–74, Tempera on panel. Boston, Isabella Stewart Gardner Museum 80
3.2 Sandro Botticelli, The Story of Lucretia, 1499–1500, Tempera and oil on panel. Boston, Isabella Stewart Gardner Museum 81
3.3 Isabella Stewart Gardner, Photograph, 1906 by Adolf de Meyer. Boston, Isabella Stewart Gardner Museum 83
3.4 Bernard Berenson, Photograph. Biblioteca Berenson, Villa I Tatti, Florence 83
3.5 Otto Gutekunst of Colnaghi, Photograph, ca.1900 by Lombardi & Co. Biblioteca Berenson, Villa I Tatti, Florence 84
3.6 Sandro Botticelli, Madonna of the Magnificat, ca.1483, Tempera on panel. Florence, Gallerie degli Uffizi 86
3.7 Dante Gabriel Rossetti, Proserpine, 1874, Oil on canvas. London, Tate Britain 87
3.8 Portrait of Prince Mario Chigi, Engraving by Paolocci, 1878. Getty Images 102
3.9 Front cover of the catalogue of the 1901 Colnaghi exhibition of the Chigi Botticelli 102
3.10 Thomas Gainsborough, Georgiana, Duchess of Devonshire, ca. 1785–7, Oil on canvas. The Devonshire Collection, Chatsworth 107
3.11 Sandro Botticelli, Madonna of the Eucharist. Boston, Isabella Stewart Gardner Museum 111
3.12 Workshop of Sandro Botticelli, The Antinori Nativity, ca. 1482–5, Oil and tempera on panel. Boston, Isabella Stewart Gardner Museum 112
4.1 Adolphus Pepper, Paris, La collection Spitzer. Le Cabinet de Travail, Undated [but 1891–1892], Photograph. Paris, Bibliothèque des Arts Décoratifs 123
4.2 Paris, The Musée Spitzer. The Arms and Armor Gallery, 1890. Bonnaffé, Edmond. Le Musée Spitzer Paris: Imprimerie de l’Art, 1890 125
4.3 Collection Spitzer. Rue de Villejust, 33. Exposition publique au profit des oeuvres de la Société philanthropique ..., Paris, Imprimerie Chaix (Succle Cheret), 1893. Chaumont, Les silos, Maison du Livre et de l’Affiche, Coll. Dutailly 129
4.4 Donatello (attr.), Portrait of an Unknown Soldier (presumed Portrait of Ludovico III Gonzaga), Bronze. Now: Berlin, Skulpturensammlung und Museum für Byzantinische Kunst, Staatliche Museen (former Spitzer Collection). Bode, Wilhelm von. Italienische Portraitsculpturen des XV. Jahrhunderts in den Königlichen Museen zu Berlin (Berlin, 1883): 8 132
4.5 Frédéric Spitzer’s card, Undated [but ca. 1876]. Berlin, Staatliche Museen zu Berlin, Zentralarchiv 134
4.6 Ivory Mirror Case with “Tristan and Iseult conversing”, Print. Now: Hamburg, Museum für Kunst und Gewerbe (former Spitzer Collection). Molinier, Émile, “La Fin d’un musée: la vente Spitzer,” L’Art. Revue hebdomadaire illustrée”, LIV (1893): 146 139
4.7 Prototypie Berthaud, Collection Spitzer. Plaquettes, planche XLIII. Catalogue des objets d’art et de haute curiosités antiques, du moyen-âge et de la Renaissance composant l’importante et précieuse Collection Spitzer dont la vente publique aura lieu a Paris 33, rue de Villejust... du lundi 17 avril au vendredi 16 juin 1893 (Paris: Imprimerie de l’Art, 1893) 141
4.8 Neptune on a Sea-monster, Bronze. Now: New York, The Frick Collection (former Spitzer Collection and Hainauer Collection). Ausstellung von Kunstwerken des Mittelalters und der Renaissance: aus Berliner Privatbesitz veranstaltet von der Kunstgeschichtlichen Gesellschaft 20. Mai bis 3. Juli 1898, (Berlin: Grobe, 1899) 143
4.9 James Simon’s Cabinet in the Kaiser Friedrich-Museum. Wilhelm von Bode, “Das Kabinett Simon: Die Stitfung der Herrn James Simon im Kaiser Frierich-Museum zu Berlin,” Kunst und Künstler, 3 (1905), 68 145
4.10 Adolf Hainauer’s Cabinet. Ausstellung von Kunstwerken des Mittelalters und der Renaissance: aus Berliner Privatbesitz veranstaltet von der Kunstgeschichtlichen Gesellschaft 20. Mai bis 3. Juli 1898, (Berlin: Grobe, 1899) 147
5.1 Charles Mather Ffoulke, Frontispiece from The Ffoulke Collection of Tapestries, 1913 155
5.2 Agosto Valli, La Sala dei tessuti nell’Esposizione Nazionale di Roma del 1887, 1887. Modena, Museo Civico d’Arte 160
5.3 Giovanni Francesco Romanelli and Michael Wauters, Cupid, Disguised as Aeneas’s Son, Presents Gifts to Dido, 1679, Tapestry weave: silk and wool. The Cleveland Museum of Art 161
5.4 Giuseppe Salvadori, Photograph. Salvadore and Giuseppe Salvadori Archive, Biblioteca Berenson – Villa I Tatti, The Harvard University Center for Italian Renaissance Studies 163
5.5 The gallery of Charles M. Ffoulke, Massachusetts Avenue, Washington, D.C., Photograph 172
5.6 Corridor by front entrance, Twombly Estate, showing the Aminta tapestries, Photograph 175
6.1 View of via Gregoriana and Palazzo Zuccari from above the Spanish steps, Rome, Photograph, ca. 1904. Courtesy of Bibliotheca Hertziana, Rome 182
6.2 “P.G”, possibly Giovanni Piancastelli, credit slip describing work for moving, storing and shipping Borghese artworks from Rome to Florence, August, 26th, 1891. Courtesy of Archivio Storico Eredità Bardini, Florence 188
6.3 Count Grigorij Sergeevic Stroganoff’s ex libris. Detail from the volume Notes et Souvenirs d’un vieux collectionneur par le Comte Michel Tyskiewicz, Paris, 1898, donated by Mr Salomon Reinach to Count Stroganoff on December 1898 and subsequently owned by Ludwig Pollak. Archivio Simonetti of Giovanni Carboni, Rome 191
6.4 Alessandro Castellani (Rome 1823–Naples 1883), Letter to Stefano Bardini, April 18th, 1883. Courtesy of Archivio Storico Eredità Bardini, Florence 193
6.5 Alessandro Castellani (Rome 1823–Naples 1883), Letter to Stefano Bardini, April 18th, 1883. Courtesy of Archivio Storico Eredità Bardini, Florence 194
6.6 Attilio Simonetti (Rome 1843–1925), Letter sent to Wilhelm von Bode (Berlin), June 19th 1889. Courtesy of Berlin Zentralarchiv 198
6.7 Leda and the Swan, Modern reprint from Bardini’s historical photo from Archivio Fotografico Museo Bardini, Florence (n. 5660). Ny Carlsberg Glyptotek, Copenhagen, (Kat. 366, Inv. 1834) Courtesy of Fototeca Musei Civici Fiorentini 205
7.1 Transactions in paintings made by Agnew’s in association with Murray vs numbers of paintings transacted, ordered by year, 1893–1918 215
7.2 Sandro Botticelli and Studio, Virgin and Child with the Infant Baptist, Tempera and oil on panel, Diameter 116.2 cm. Sold at Christie’s, New York, 14 April 2016 (lot 104) 216
7.3 Transactions in paintings made by Agnew’s in association with Murray 1893–1918, ordered by national school and historical period 217
7.4 Transactions in paintings made by Agnew’s in association with Murray 1893–1918, ordered by national school, historical period and year of transaction 218
7.5 Transactions in pre-nineteenth-century paintings made in association with Murray 1893–1918 vs transactions in pre-nineteenth-century paintings made 1871–1893, ordered by national school 220
7.6 Independent vs ‘on commission’ transactions in pre-nineteenth-century paintings made by Agnew’s 1871–1895, ordered by national school 221
7.7 Hans Memling, Tommaso di Folco Portinari; Maria Portinari, ca. 1470, Oil on panel. Metropolitan Museum, New York 222
7.8 Raphael Sanzio (attr.), Portrait of a Young Man, ca. 1510, Oil on canvas, Transferred from panel. The Hyde Collection, Glens Falls, NY 224
7.9 Transactions in paintings made by Agnew’s in association with Murray 1893–1918, ordered by type of business relationship and year 228
7.10 Nicolas Poussin, The Inspiration of the Poet, ca. 1629–1630, Oil on canvas. Musée du Louvre, Paris, Acquired 1911 232
7.11 Jacometto Veneziano (attr.), Portrait of Luca Pacioli and Giudubaldo da Montefeltro, 1495. Panel. Museo di Capodimonte, Naples 234
7.12 Jean-Marc Nattier, Portrait of a Woman, Called the Marquise Perrin de Cypierre, 1753, Oil on canvas, with later additions. Metropolitan Museum, New York 236
7.13 Rembrandt (Studio), Man Wearing a Plumed Helmet and Gorget, ca. 1635, Oil on panel. Detroit Institute of Arts 240
7.14 Titian, Tarquin and Lucretia, ca. 1571, Oil on canvas. Fitzwilliam Museum, Cambridge 243
7.15 George Knapton, Lucy Ebberton, ca. 1745–50, Oil on canvas. Dulwich Picture Gallery, London 245
7.16 Pieter Nason, Portrait of a Man, 1663, Oil on canvas. Dulwich Picture Gallery, London 245
8.1 Giuseppe Maria Crespi, Donna col Bambino, (Last known location Gemäldegalerie, Staatliche Museen zu Berlin, inv. 1994), Photograph. Image Courtesy of Fotetca Zeri, Fondazione Federico Zeri, Università di Bologna, Italy 270
8.2 Photograph of the Venetian Room at Villa Vittoria, Rome. Image Courtesy of Gallerie degli Uffizi, Gabinetto Fotografico, Fondo Vittorio e Giuseppe Jacquier 276
8.3 Photograph of the Venetian Room at Villa Vittoria, Rome. Image Courtesy of Gallerie degli Uffizi, Gabinetto Fotografico, Fondo Vittorio e Giuseppe Jacquier 277
8.4 Photograph of Villa Vittoria, Rome. Image Courtesy of Gallerie degli Uffizi, Gabinetto Fotografico, Fondo Vittorio e Giuseppe Jacquier 278
8.5 Photograph of Samuel Henry Kress Apartment at 1020 Fifth Avenue, New York City. Image Courtesy of the National Gallery of Art, Washington DC, Library, Image Collection 286
8.6 Photograph of Villa Vittoria, Florence. Image Courtesy of the Contini Bonacossi Family 287
9.1 Business card with drawings and measurements of furniture (recto and verso), Florence, ASEB, Corrispondenza, 1885. 310
9.2 Letter from Napoleone Aglietti to Stefano Bardini dated 21 May 1889 proposing various objects available for purchase, Florence, ASEB, Corrispondenza, 27 May 1889 312
9.3 Postcard from Napoleone Aglietti to Stefano Bardini dated 25 August 1889 proposing a ‘quattrocento’ wooden tabernacle available for the cost of 500 lire, Florence, ASEB, Corrispondenza, 25 August 1889 317
9.4 Drawing attached to a letter from Napoleone Aglietti to Stefano Bardini dated 25 August 1889 illustrating a ‘quattrocento’ wooden tabernacle available for the cost of 500 lire, Florence, ASEB, Corrispondenza, 25 August 1889 318
9.5 Letter from Napoleone Aglietti to Stefano Bardini dated 4 September 1891 proposing a ‘quattrocento’ wooden crucifix available for the cost of 500 lire, Florence, ASEB, Corrispondenza, 4 September 1891 323
9.6 Letter from Napoleone Aglietti to Stefano Bardini dated 10 March 1888 illustrating a ‘quattrocento’ terracotta fragment available for the cost of 150 lire, Florence, ASEB, Corrispondenza, 10 March 1888 325
9.7 a. Postcard from Napoleone Aglietti to Stefano Bardini dated 4, 10 March 1888 (detail)
b. Letter from Napoleone Aglietti to Stefano Bardini dated 4, 10 March 1888 (detail)
c. ASEB Inventory photograph of terracotta statuary fragments, ca. 1967
d. Author’s photograph of the main fragment in deposit, 2018 326
9.8 a. Letter from Napoleone Aglietti to Stefano Bardini dated 26 August 1891 proposing a ‘quattrocento’ iron cranequin, available for the cost of 150 lire, Florence, ASEB, Corrispondenza, 26 August 1891
b. Author’s photograph of cranequin on display in the Museo Bardini, 2018 327
10.1 Bernard Berenson, ca. 1919–20, Photograph by Naima Löfroth. Florence, Harvard University Center for Italian Renaissance Studies, Villa I Tatti, Berenson Archive 331
10.2 Sir Joseph Duveen, 1920s, Photograph. Los Angeles, Getty Research Institute, Special Collections, Duveen Brothers Records, Duveen Brothers Stock Documentation from the Dealer’s Library, 1829–1965. Series X. Lord Joseph Duveen Papers, 1919–1933 332
10.3 Harold Woodbury Parsons, ca. 1932, Photograph. New York, Archives of American Art, Henry Sayles Francis Papers 333
10.4 Gentile da Fabriano, Stigmatization of Saint Francis, ca. 1420, Tempera and gold leaf on panel. Fondazione Magnani-Rocca, Mamiano di Traversetolo, Parma 339
10.5 Italian School, Late nineteenth century (manner of Filippino Lippi), Madonna and Child with the Infant Saint John, Oil on panel. (Formerly) New York, Christie’s, May 31, 1986, lot 78 345
10.6 Workshop of Dieric Bouts, Virgin and Child, ca. 1475, Oil on panel. Harvard Art Museums/Fogg Museum, Cambridge, Massachusetts 351
10.7 Baron Maurice de Rothschild, 1914, Photograph 355
10.8 Raimond van Marle, ca. 1925, Photograph 360
10.9 Captain Harold Woodbury Parsons, American Red Cross/Italian Division, and unknown Italian boy, January 1919, Photograph. Library of Congress, Prints & Photographs Division, American National Red Cross Collection 362
11.1 John Adams Jackson, Dante, Marble, ca. 1865. Special Collections, Wellesley College 370
11.2 Photographs of John Adams Jackson and his Culprit Fay, ca. 1869–1871, From Miss Daily’s Album. Joseph Downs Collection of Manuscripts and Printed Ephemera, Winterthur Library 375
11.3 Susan Horner, View to and from the Palazzo Pitti, Drawing, 1862, From Susan Horner’s Diary. British Institute, Florence 380
11.4 Isaac Eugene Craig, Head of a Woman, Oil on paper (?), between 1867–1890, From Jane M. Healey Jackson’s Autograph Album. Special Collections, Wellesley College 383
11.5 John Adams Jackson (?), Tombstone for Thomas Ayrault Jackson, Marble, 1867, English Cemetery, Florence 385
11.6 Elizabeth Adams, Head of a Woman, Oil on paper (?), December 13, 1865, From Jane M. Healey Jackson’s Autograph Album. Special Collections, Wellesley College 386
11.7 Edwin White, Easel, Oil on paper (?), 1869, From Jane Healey Jackson’s Autograph Album. Special Collections, Wellesley College 386
11.8 Giuseppe Garibaldi, Inscription and carte-de-visite, May 28, 1867, With Caroline Healey Dall’s signature, June 11, 1893, From Jane Healey Jackson’s Autograph Album. Special Collections, Wellesley College 390
11.9 William J. Stillman, Portrait of John Adams Jackson, Drawing, 1865, From Jane Healey Jackson’s Autograph Album. Special Collections, Wellesley College 391
11.10 The Browning Room in College Hall, Wellesley College, Photograph, between 1880–1914. Wellesley College Archives 401
11.11 John Adams Jackson, Reclining Nude, Drawing, between 1860–1879, From Jane Healey Jackson’s Autograph Album. Special Collections, Wellesley College 405
11.12 Margaret Hastings Jackson’s Lodgings in Claflin Hall, Wellesley College, Photograph, between 1916–1918. Special Collections, Wellesley College 410
12.1 Andrea della Robbia, Madonna and Child also Called The Madonna of the Lilies, Glazed terracotta, Church of San Andrea, Rovezzano. Photograph, Fratelli Alinari, ca. 1915–1920. Archivi Alinari, Firenze 433
12.2 After Luca della Robbia, Madonna and Child with Six Angels, ca. 1860, Terracotta. Detroit Institute of Arts 436
12.3 Luca della Robbia, Madonna and Child Surrounded by Six Angels, ca. 1427–1430, Terracotta. Musée du Louvre, Paris, Acquired in 1862 (Campana 7). Photograph, Fratelli Alinari, ca. 1920–1930, Archivi Alinari, Firenze 437
12.4 Luca della Robbia, The Visitation, ca. 1445, 151 x 148 x 60 cm., Church of San Giovanni Fuorcivitas, Pistoia 440
12.5 Luca della Robbia, Virgin and Child in a Niche, ca. 1460, Glazed terracotta with gilt and painted details. The Metropolitan Museum of Art, New York, Bequest of Susan Dwight Bliss, 1966 442
12.6 Mino da Fiesole, Virgin and Child, ca. 1464–1469, Carrara marble. The Metropolitan Museum of Art, New York, H.O. Havemeyer Collection, Bequest of Mrs. H.O. Havemeyer, 1929 443
12.7 Andrea della Robbia, Prudence, ca. 1475, Glazed terracotta. The Metropolitan Museum of Art, New York. Purchase, Joseph Pulitzer Bequest, 1921 445
12.8 Attributed to Andrea della Robbia, Madonna and Child, Glazed terracotta, Diameter 21 1/2 in. Published in Wilhelm R. Valentiner, The Rita Lydig Collection (New York: Privately printed, 1913), opposite p. 23 (17) 448
12.9 Style of Andrea della Robbia, Probably Benedetto Buglioni, Madonna Adoring the Child, with an Angel, Glazed terracotta, diameter 37 in. Published in Wilhelm R. Valentiner, The Rita Lydig Collection (New York: Privately printed, 1913), opposite p. 24 (18) 448
13.1 Flagellation of Christ, Marble relief, Acquired 1892 by the Berlin Museums, here attributed to Thomas Waldo Story. © Staatliche Museen zu Berlin, Preußischer Kulturbesitz Skulpturensammlung und Museum für Byzantinische Kunst 457
13.2 Flagellation of Christ, Marble relief, Present state after the May 1945 Friedrichshain Bunker fire. © The State Moscow Pushkin Museum of Fine Arts 457
13.3 Donatello, Feast of Herod, Marble relief, ca. 1435. Musée des Beaux-Arts, Lille 465
13.4 Flagellation of Christ, Bronze plaquette. © Staatliche Museen zu Berlin, Preußischer Kulturbesitz Skulpturensammlung und Museum für Byzantinische Kunst 468
13.5 ‘The Florentine Picture-Chronicle’: Jephthah Sacrificing His Daughter on an Altar, Circle of Maso Finiguerra, ca. 1440–1475. © Trustees of the British Museum, London 473
13.6 Virgin and Child with Angels (Hildburgh Relief), Marble, here attributed to Thomas Waldo Story. © Victoria and Albert Museum, London 477
13.7 Virgin and Child with Angels, Painted stucco. © Victoria and Albert Museum, London 480
13.8 Virgin and Child with Angels (Gigli-Weissbach-Hall version), Painted stucco. © AFEB 1195, Album “Stucchi.”, Lynn Catterson, 2014 481
13.9 Thomas Waldo Story, The Flagellation of Christ, Relief from the Morgan Library Doors, Bronze, ca. 1900. © Photograph courtesy of the Morgan Library, New York 486
13.10 Virgin with Saints Steven and Catherine, Marble, here attributed to Thomas Waldo Story. Formerly in Carlo di Carlo collection 490
13.11 Julian and Waldo Story, James McNeill Whistler, Frank Miles, and Honorable F. Lawless in Whistler’s London studio, Photograph, Retrieved from the Library of Congress 491
14.1 Pazzi Madonna and Lynn Catterson, Lo Sguardo, Berlin, Bode Museum. Photo Credit: Lauren Fae Silver, 2009 513
14.2 Attributed to Donatello, Madonna and Child called the Pazzi Madonna, Berlin, Staatliche Museen, Skulpturensammlung 514
14.3 Donatello, Maria with Child of the Pazzi Madonna type, Tondo, Stucco. Amsterdam, Rijksmuseum, Purchase 1906 515
14.4 An Italian gilt and painted stucco relief of the Madonna and Child, After Donatello, ca. 1386–1466, In later frame. Sotheby’s, Important Old Master Paintings and Sculpture, 26 January 2012 517
14.5 Madonna and Child (after the Pazzi Madonna), Florentine workshop, After Donatello. Paris, Musée du Louvre 518
14.6 Donatello-circle / 15C imitator, The Virgin and Child, Polychrome cretaceous marly limestone with added stucco. Prague, National Gallery 519
14.7 Unknown Photographers, Album page of photographs of the Pazzi Madonna, AFEB, Album Stucchi, p. 40r 520
14.8 Historical properties owned by the Pazzi family, delineated on map 521
14.9 Attributed to Michelozzo di Bartolomeo, Virgin and Child (called the Orlandini Madonna), ca. 1426, Marble. Berlin, Staatliche Museen, Skulpturensammlung 525
14.10 Cesare Corsi, Tabernacle with Virgin and Child, with Winged Cherub in bracket, 1905, Marble, Terracotta and glazed terracotta, Mounted on the wall of the former Istituto San Silvestro in Borgo Pinti, 78r, at the corner of Via Laura 529
14.11 Emilio Marcucci, Design for the Competition for the Monument to Donatello, [to be erected in the Martelli Chapel in San Lorenzo], Print, 1886 544