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300 G. F. HILL.specimen appears more than once in the list,havingpassed from one collection to another. So far as it layin my power I have endeavoured to check suchduplications. Last of all come remarks on date, &c.It will perhaps seem that the enumeration of allrecorded specimens is an unnecessary encumbrance.It certainly adds considerably to the weightmaterial ;of thebut it is of interest as showing the comparativepopularity (and, more or less inversely, the rarity)of the medals, and indicating the collections in whichspecimens can be seen. If any one can suggest a simplermethod of doing this, I shall be grateful to him. I needhardly say that the enumeration- makes not the leastpretence of being complete most of the collections;outside this country are only laid under contributionin so far as their contents have been published, or theircurators have kindly provided me with casts ;and salecatalogueshave, for the most part, only been drawnupon when the descriptions are accompanied byillustrations.MATTEO DE'PASTI.Friedlander, Ital. Schaumunzen (1882), pp. 43 Annan ff. d, Med.Ital, i (1883), pp. 17 ff. 4. A. Heiss. MM. de la Ben.;iii (1887), p.(1883), Alberti, &c., pp. 16-47. C. v. Fabriczy, Ital. Medals (1904),pp. 42-6. G. F. Hill, Pisanello (1905), pp. 225 ff. P. Schubring inKunstwiss. Beitr. A. Schmarsow gewidm. (1907), pp. 103 ff. (hissculpture). Madonna Verona, v. 3 (1911), pp. 197 ff. (with referencesto recent discoveries).Matteo di Maestro Andrea de' Pasti or de Bastia ofVerona is first heard of in 1441 at Venice, where he wasworking for Piero di Cosimo de' Medici on illustrationsto the Triumphs of Petrarch. He was at Verona in1446, doing illuminations for Leonello d'Este. Hesettled at Rimini in 1446, and superintended archi-