Chap. V. BARTOLOMMEO DI TOMMASO. 121 We have seen how nearly related he was to Bartolom meo di Tommaso of Foligno. This was a man of Umbro-Siennese education, who flourished in the earlier part of the fifteenth century, interesting less for his merit than for a clue which he affords for ascertaining the source of Alunno’s style. “Messer Rinaldo di Corrado Trinci, ultimo Signor di Foligno, creato priore di questa eolligata l’anno 1430 fece dipingere la pre sente tavola colla sua immagine posta a pie della Sedia di M. V. da Bartolommeo di Tommaso pittore della stessa Citti.” This modern inscription is on the frame of a picture in S. Salvadore of Foligno, representing the Virgin and child in a wide throne surrounded by little angels, and adored by a half length miniature of the last of the Trinci. S. John the Baptist and another saint are at the sides; and two smaller canonized personages of the two sexes are in two pinnacles removed from their 'original place. 1 We accept the tenor of this statement as a copy of the genuine one formerly on the frame; and we conceive that this otherwise unknown Umbrian is a man of no great renown, whose instincts taught him to follow the wide-spread lessons afforded by his earlier countrymen and such Siennese as were affected by the models of Taddeo Bartoli and Domenico di Bartolo. In the full face and arched brows of a short-waisted but long, stiff Virgin, whose arm and hand are filed to a reedy thinness, wo notice the origin of the Umbrian soft ness remarkable at a later period in Alunno, the longing for grace of Boccati and Matteo of Gualdo, and their ill- chosen features and drapery. The angels, of the same class, are yet nearer to those of Alunno, whilst the awkwardness repaint ed yellow. These two pieces are now united in the galleria eom- munale of Perugia. No. 91. 2. 3. We may add to the list a tavola, No. 122. in the Perugia gallery, re presenting the Virgin and child, and Baptist which may, possibly, be due to Matteo, and two scenes from the life of S. Francis, No. 565 cabts. in the gallery of Munich, on gold ground, assigned to Antonio Pollaiuolo. 1 There is an outline of this Vir gin in Rosini (ub. sup. III. 34).