152 THE FIFTEENTH CENTURY. Chap. VI. the general style of Bonfigli and the handling of Fiorenzo seem commingled, and a perspective of classic edifices re sembles one by Piero della Francesca, or that in frescos at the Schifanoia of Ferrara. A rude execution and hard dry figures characterize the rest of the series. These panels, suggesting a very different authorship from that of Pisanello, to whom they have been ascribed, introduce us to Fiorenzo di Lorenzo, who thus becomes implicitly connected with their production in the atelier of Bonfigli. 1 We therefore assume of necessity that Fio renzo received tuition from Benedetto; and this view is confirmed by authentic pictures exhibiting a modification of the old Umbrian and Bonfigli’s, style, with a partial adherence to the innovating principles on which Van- nucci remodelled Perugian art. There is such an in crease of gentleness and freshness, so much additional truth and symmetry and grace in his types; so marked an improvement in his drawing, in the absence of seeking observable in draperies which play quite freely round the limbs, and have the branching fold of Peruginos’, that it is obvious Fiorenzo derived some advantage from his great cotemporary. As a colourist in tempera, for he al ways remained true to the old system, his tones are gay in key, even mellow, though frequently contrasted some what sharply. Using the verde ground for half tints, and covering it with warm flesh lights, he gives the shadows a brown orange tone. He seems in fact to have embo died the same class of features as are found developed by Pinturicchio, and may therefore be considered as the immediate precursor of a master who, during a progres- 1 Since these lines were penned, the panels have been transferred, as we have seen, to the gallery of Perugia where the name of Man tegna has been substituted for that ofPisanello. The only justification for thus calling local Perugian pictures by such a name is to be found in the remarks above made, ex. gr. in the existence in these pieces of mixed Paduan and Fer- rarese peculiarities (such as may be noted in certain frescos at the Schifanoia).