This paper follows the part I (Tetsugaku, N, 70.1979), and connsists of five chapters. 1) The profile of Coppo reconstructed by E. B. Garrison. The profile, reported referring to some objections expressed by R. Salvini and others, can be considered to be typical one, and offers the basis for further discussions. 2) Coppo and 'Baldi Saint Francis Master' 3) Coppo and Meliore, and the Florentine Baptistery Mosaics In these chapters, relatively new attributions are reported and discussed. These attributions show that Coppo's early stage was connected to other florentine painters more closely than it was once thought. The baptistery Mosaics are considered co-operative works through which these florentine painters' close inter-relationships are established. There, Coppo played a leading part. 4) "Madonna Hodegitria" seated on the "Lyre-backed Throne" Coppo's "Madonna" s are discussed from the iconographical and formal points of view. Coppo integrated many motifs which differ in its origin, expressing human feelings of mother and child. This can be considered Occidental character and a revolusion in the Duecento painting. 5) Conclusion we cann't say whether Coppo painted himself the "Orvieto Madonna" or not. We can recognize in it the development of Coppo's art, but in the "Pistoia Cross" we cann't recognize any development.