This letter contains the first reference in the correspondence to Emma Isola, daughter of Charles Isola, Esquire Bedell of Cambridge University, and granddaughter of Agostino Isola, the Italian critic and teacher, of Cambridge, among whose pupils had been Wordsworth.

No, I tell you, Paolo, Agostino Sarelli, cavalier of fortune, is not thinking of bringing disgrace on a pious and modest maiden, unless it would disgrace her to be his wife.

" "Well, if it come to the trial of the sword, as come it must," said the cavalier, "say to your master that Agostino Sarelli has a band of one hundred tried men and an impregnable fastness in the mountains, where he may take refuge, and where they will gladly hear the Word of God from pure lips.

" "Ah," said Agostino, "would I had such a confessor!

A pendant to the Palazzo del Te is the Villa Farnesina, raised on the banks of the Tiber by Baldassare Peruzzi for his fellow townsman Agostino Chigi of Siena.

The façade of the Oratory of S. Bernardino at Perugia, designed and executed by Agostino di Duccio, is a masterpiece of rare beauty in this style.

After the Della Robbias, this is the place to mention Agostino di Gucci or di Duccio,[100] a sculptor who handled terra-cotta somewhat in the manner of Donatello's flat-relief, introducing more richness of detail and aiming at more passion than Luca's taste permitted.

If nothing else remained of Agostino's workmanship, this façade alone would place him in the first rank of contemporary artists.

See Perkins, Italian Sculptors, p. 109, for a description of the Arca di S. Agostino, which he assigns to Matteo and Bonino da Campione.

Bonino da Campione, the Milanese, who may have had a hand in the Arca di S. Agostino, carved the tomb of Can Signorio.

With his own hands he coloured the incomparable "Triumph of Galatea" in Agostino Chigi's villa on the Tiber, while his pupils traced the legend of Cupid and Psyche from his drawings on the roof of the great banquet hall.

"In Tabulam Eximii...." Indicator, The, Lamb's contributions to Isola, Agostino Emma, Lamb's poems to J Jerdan, William, Lamb's epigram on JOHN WOODVIL volume, 1802, poems in K Kelly, Frances Maria (Fanny), and Lamb "Kelly, To Miss" Kenney, James, his "DEBTOR AND CREDITOR" Knight, Ann. Knowles, James Sheridan.

At the Villa Agostino.

She acquired a good reputation as a historical painter and doubtless had unusual talent, but as she worked in conjunction with Stanzioni and with her husband, Agostino Beltrano, it is difficult to speak of works entirely her own.

Of the elements compounded of pastoral idealism and the graceful purity of classical myth, and combining the scenic attractions of the masque with the reasoned action and human interest of the regular drama, the Arcadian pastoral first achieved definite form in the work of Agostino Beccari.

In 1567 a return was made to the pastoral tradition of Beccari in Agostino Argenti's play Lo Sfortunato.

The following year, 1546, saw the appearance in type of two eclogues, Erbusto and Filena, by a certain Giovanni Agostino Cazza or Caccia, the founder of a pastoral academy at Novara, for whose diversion the pieces were presumably composed.

Of the Sacrifizio of Agostino Beccari[404] have already spoken at some length in the text (p. 174).

In 1567 a return was made to the tradition of Beccari in Agostino Argenti's play Lo Sfortunato.[410] With this piece also, composed in blank verse with a couple of lyric songs, we have already been sufficiently concerned (p. 175).

Vasari states that he painted the portraits of the great Consalvo Ferrante, and of one of his captains, on the occasion of their visit to the Doge Agostino Barberigo.

Confirmatory evidence of this is furnished by the statement of Ridolfi, that Giorgione took the portrait of Agostino Barberigo himself.

The date suggested1500is also consistent with our own deductions as to Giorgione's rapid development, and the distinguished character of his sitterif it be Prospero Colonnais quite in keeping with the vogue the artist was then enjoying, for it was in this very year, it will be remembered, that he painted the Doge Agostino Barberigo.

NOTES: The Doges Agostino Barberigo, and Leonardo Loredano, Consalvo of Cordova, Giovanni Borgherini and his tutor, Luigi Crasso, and others, are mentioned as having sat to Giorgione for their portraits.

It is a matter of more regret, therefore, that the likenesses of the Doges Agostino Barberigo and Leonardo Loredano are missing, for in them we might have had specimens of work comparable to the Caterina Cornaro, which, in my opinion at all events, is Giorgione's masterpiece of portraiture.

The Cobham portrait and the National Gallery "Poet" are alone left us in much of their pristine splendour, but what of the lost portraits of the great Consalvo and of the Doge Agostino Barberigo, both of which must date from the year 1500?