Nee tamen credi potest Esse Amorem feriatum, si sagittas vexerit.

Ex quo nimirum credi habetur isto Deum displicere conatum.

This painter seems to have had the same devotion to his master, Lorenzo di Credi, that di Credi had for his master, Verrocchio.

This painter seems to have had the same devotion to his master, Lorenzo di Credi, that di Credi had for his master, Verrocchio.

Lorenzo di Credi (1459-1537) himself has two pretty circular paintings here, of which No. 1528 is particularly sweet: "The Virgin and Child with St. John and Angels," all comfortable and happy in a Tuscan meadow; while on an easel is another circular picture, by Pacchiarotto (1477-1535).

But we must first glance at the pretty little Lorenzo di Credi, No. 1160, the Annunciation, an artificial work full of nice thoughts and touches, with the prettiest little blue Virgin imaginable, a heavenly landscape, and a predella in monochrome, in one scene of which Eve rises from the side of the sleeping Adam with extraordinary realism.

Certainly one can think of no one else who could have given the picture its quality, which increases in richness with every visit to the gallery; but the workshop of Verrocchio, where Leonardo worked, together with Lorenzo di Credi and Perugino, with Andrea of the True Eye over all, no doubt put forth wonderful things.

It is said that Lorenzo di Credi also lies here, and Albertinelli, who gave up the brush for innkeeping.

His body was brought from Venice by his pupil Lorenzo di Credi, who adored him, and was buried in S. Ambrogio in Florence.

Lorenzo di Credi painted his portrait, which is now in the Uffizia plump, undistinguished-looking little man.

No. 92, an Adoration of the Shepherds by Lorenzo di Credi, with a good landscape and all very sweet and quiet; No. 98, a Deposition by Filippino Lippi and Perugino, in collaboration, with very few signs of Filippino; and No. 90, a Resurrection by Raffaellino del Garbo, an uncommon painter in Florence; the whole thing a tour de force, but not important.

We have seen Lorenzo di Credi and Fra Bartolommeo under his influence.

After his death Fra Bartolommeo entered S. Marco (his cell was No. 34), and di Credi, who was noted for his clean living, entered S. Maria Nuova.

Lorenzo di Credi born (d. 1537) 1457

Credi died 1547 Sebastiano del Piombo died 1554 Rustici died 1556 Pontormo died Benedetto da Rovezzano died 1560

credi mihi ( saith one) extingui dulce erit

Plantum pedis inungere pinguedine gliris dicunt efficacissimum, et quod vix credi potest, dentes inunctos ex sorditie aurium canis somnum profundum conciliare, &c. Cardan de rerum varietat. 4355.

Of the Religionists, there are Lorenzo di Credi, Frà Bartolommeo, Perugino, and their scholars.

Is not the angel of Lorenzo Credi in Mrs. Jameson's woodcut?

Among these the most distinguished were the pure and gentle Lorenzo di Credi and Sandro Botticelli, who, after the great preacher's death, is said to have abandoned painting.

Neither Lorenzo di Credi nor Fra Baccio possessed a portion of the prophet's fiery spirit.

In a beautiful little altar-piece by Lorenzo di Credi, the Virgin is kneeling above, while Christ, seated, places the crown on her head.

The early Florentines, particularly Lorenzo di Credi, excelled in this charming subject.

In this poetical version of the subject, Lorenzo di Credi, Perugino, Francia, and Bellini, excelled all others.

In a picture by Lorenzo di Credi (Florence, Pal. Pitti) the Infant Christ lies on the ground on a part of the veil of the Virgin, and holds in his hand a bird.