ery much improved the art, relieving it greatly from their uncouth manner and doing honour to his country by the name that he acquired and by the works which he performed. Of this we have evidence in Florence from the pictures which he painted there–as for example the front of the altar of Saint Cecilia and a picture of the Virgin, in Santa Croce, which was and still is (i.e. in 1550) attached to one of the pilasters on the right of the choir.”
Six Centuries of Painting
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Unfortunately the very first example cited pulls us up short alongside the official catalogue of the Uffizi Gallery (where the picture was placed in 1841), in which it is catalogued (No. 20)
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