Dr. Ulmann begins his work by devoting a whole tenth of it to a study of Fra Diamante, a painter who is a mere name, since there is not a single authentic work by him in existence. It is probable that he assisted Fra Filippo at Prato, and Vasari affirms that he helped the Frate in his last works at Spoleto. On the warrant of this, the writer proceeds to extract Fra Diamante from the frescoes at Prato and Spoleto. His method is simplicity itself: whatever, on his own confession, he finds too much ruined and repainted to yield data for a judgment, all that to him seems too poor for Fra Filippo, he pronounces to reveal the “unmistakable types and touch” of Fra Diamante. As Dr. Ulmann acknowledges that there is no such thing as an authentic example of this painter's work, it is fair to ask him where he acquired that intimate acquaintance with the style of Fra Diamante which enables him to recognise his “unmistakable types and touch.” He asserts also that Fra Filippo died while finishing at Spoleto the fresco of the Burial of the Virgin. There is no documentary proof of this, and the author does not so much as attempt to give a sufficient reason for his hypothesis.