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* Research for this article was made possible by grants from the Samuel H. Kress Foundation and the Penrose Fund of the American Philosophical Society, that I gratefully acknowledge. The article is part of a comprehensive study on the architecture and the fresco decoration of the Oratorio del Crocifissi that is now nearing completion. I am indebted to Professor James S. Ackerman, who gave generously of his time in reading this paper, and in making welcome and useful comments.
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