Chap. VI. FIORENZO DI LORENZO. 151 but derives a certain quaintness from strange dresses and lean figures. It is somewhat inharmonious in the tones of a tempera resembling that of Fiorenzo di Lorenzo. 1 The “Resurrection of the girl” is superior to the birth of S. Bernardino. 2 The well from which she has been taken is in front of a triumphal arch, ornamented in good florid classic style, and inscribed: “S P. Q. R. divo . Tito . divi. Vespasiani . Tullio Vespasiano, Augusto . A. D. MCCCCLXXIII ” The child sits in the centre of the space; her mother, S. Bernardino and another Franciscan kneeling opposite, attended by a tall page in the tights and chaperon of the time, and lean ing on a long stick, whilst wondering spectators prostrate or standing, balance the group on the other side. Through the arch, the eye wanders over pastures, trees, and hills, commanded by a castle. The motives which guide the attitudes and expressions are pleasantly suggested. The forms themselves are precisely and carefully made out, and charm by a freshness of colour for which Fiorenzo di Lorenzo is more remarkable than Bonfigli. In spite of occasionally broken and angular folds, the cloth falls with a neatness and simplicity that seem to foreshadow Perugino. In the third miracle, 3 a female, kneeling with her back to the beholder, and a boy startled by a dog recall Fiorenzo and even Pinturicchio, whilst a man in profile near the frightened child and another standing on the right of the picture more decidedly display some of the defects of Bonfigli. 4 The peculiar features of Matteo da Sienna or of the Ferrarese are found united with no happy result in the “rescue”; 5 whilst in the vision of the saint appearing in heaven and healing a sick person, 0 1 In the pictures at S. Bernar dino for instance, for which see postea. 2 No. 210. 3 Perug. gall. No. 233. 4 A landscape of rock is arrang ed with the tunnelled holes pecu liar at a later period to the distan ces painted by Pinturicchio. 5 Perug. gall. No. 214. 6 Perug. gall. No. 213.