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for one of his inferior talents, introduced no life into wooden figures, which were but mechanical and imperfect copies of conventional forms. Pietro Antonio lived to the close of the fifteenth century, and perhaps longer; and his industry, not confined to the circuit of Foligno or Assisi, took him as we believe to Narni, Trevi, and to other cities of this part of Italy. 1 Pier Antonio, however, was surpassed in ability by his cotemporary and fellow-townsman Niccolo Alunno of Fo ligno, whose earliest attempt discloses a certain ripe ness of power in 1458. Six years before this, S. Maria in Campis had been decorated in the manner previously described; and we should think that Alunno was en gaged there, because the influence of Benozzo, which had clearly extended to the painters of that chapel, is equally evident in the composition and spirit of Niccolb at a later time. Benozzo had inherited in some measure the mystic ten derness and softness, the kindly religious feeling of An gelico. When he appeared in the neighbourhood of Fo ligno, he found an art there in which expression of sweet melancholy, purity and resignation was the principal object aimed at. Between this Umbrian feature and the sentiment of Fra Giovanni there was so natural an affinity that their combination might have been foretold. Alunno embodied, and gave a more rational form to the manifestation of modest composure and maternal af fection in the Virgin, or of veneration and sympathy in an- 1 In a room, of old the refectory of S. Francesco of Foligno, is a life size Virgin with the child attended hy seven angels, much injured, but in the style of Piero Antonio, and dated 1486. A mutilated Virgin and child, angels, Jlaptist and another saint of the same character may be seen in S. Domenico of Foligno. A Virgin and child between SS. Francis and Jerom attributed to Spagna, but doubtless by Pier Antonio fills the lunette of the por tal at S. Girolamo of Narni. In the same style above one of the al tars in S. Martino of Trevi is a much damaged fresco representing the Virgin and child, SS. Francis and another friar, and six angels; further, on another altar, the Char ity of S. Martin, much injured fresco, slightly reminiscent of Ti- berio d’Assisi. In the same manner one sees at S. Girolamo, near Spello, above the door, a S. Francis receiving the stigmata.