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116 THE FIFTEENTH CENTURY. Chap. Y. But Giovanni Boccati did not merely receive this Flo rentine bias at second hand from Benozzo. He also shared some of the errors of the master of Borgo S. Sepolcro; and in the altarpiece of S. Domenico his infant Christ wears an aged look, and presents hard wooden forms like those of Francesca. 1 Yet Boccati is but a second-rate in whom the varied influences of Sienna, Umbria, and Florence do not yield anything like per fection. The grace of the Umbrians verges in him upon vulgar exaggeration; the singularity of the Siennese in costume becomes almost grotesque in his person; the ac curate drawing of the Florentines is unknown to him, and he has not an inkling of the science of perspective. Yet, he had a moderately successful career at Perugia, in the public Gallery of which he has, we think, left at least two Madonnas attended by angels; 2 whilst some of his panels have found their way to Orvieto 3 and to Rome. 4 In Girolamo di Giovanni of Camerino, who has been generally taken for the son of Giovanni Boccati, we trace other tendencies; and the solitary specimen which bears his name, at S. M. del Pozzo in Monte S. Martino 1 Note his short frizzled hair and protruding belly, the thin lip ped open mouth showing the teeth; the grotesque short waisted dress of the angels and their long thin necks, and generally, the wrinkled faces. The drapery too is remark able for straight and broken lines of excessive frequency. 2 One of these (No. 21) is in prayer adoring the infant, stretch ed on her lap in a tabernacled throne attended by six angels play ing and singing; an angel with a lute on the left, another beating a drum on the right foreground, others picking flowers. The Sa viour plays with a bird. His shape is long, angular, and lean. The colour is softly fused, but flat and reddish in the flesh tints which are altered by varnishes. The second of these (No. 70) is aVirgin giving the breast to the infant, with angels offering flow ers, others in front seated and playing. Much ornament is lavish ed on the dresses. 3 Private chapel of the Casa Pietrangeli at Orvieto. A Virgin and child between SS. Savino, Ju- venale, Augustin and Jerom, an gels with flowers, and two seated in front playing. This is a some what injured panel (Virgin’s head new), on gold ground, without the painter’s name, but dated 1473. 4 Rome, belonging to Monsignor Jladia, S. Paul the Hermit, and S. Christopher, two oblong panels of high enamel surface colour. They are assigned to Piero della Fran cesca, but are, probably, by Gio. Boccati, — would, indeed, be his best, if authentically shown to be his.