of Fiorenzo’s style may be distinctly traced to the school of Bonfigli; 1 and other less valuable productions. 2 But a more interesting relic of Fiorenzo’s prime is the Eternal in a circular glory, between SS. Romanus and Roch, in S. Francesco of Diruta. Nail holes, and partial scaling of the intonaco scar the surface; and the preservation of the fresco from tptal obliteration is probably due to the chance which led the owners of the altar to hang a modern canvass in front of the wall. The painter’s name is absent; but is no doubt Fiorenzo; and the date (1475) in the border, above a view of the town of Diruta, tells the period of completion. Nothing can be more clear than the influence, even thus early, of Pe- rugino; and the perfection attained might entitle Fiorenzo to rank immediately after Vannucci in Perugian annals. The figures are not models of artless simplicity. On the contrary an effort at arrangement in pose and action is apparent in them ; there is a studied gracefulness and affec tation not only in the frames but in the play of limbs and extremities; and the foreshortened head of S. Romanus with its retreating lines reminds one of those so frequently produced by the master of Raphael. The draperies are reminiscent of those in which Palmezzano revives the ori ginals of Melozzo or Piero della Francesca. The cool red shadows, laid in upon the verde, are well fused with the 1 Now Perugia gallery. No. 64. The S. Sebastian is long, lean, bound to a column resting against a pilaster in an architectural background. The tempera is spare and positive in contrasts of tone. Strange that the somewhat man nered drawing of the figure should recall the defects apparent in figures by Liberale of Verona. 2 For example: Perugia gallery. No. 107. S. Bernardino, a dry and feeble work on panel. No. 100. S. Sebastian, wood, injured. No. 101. Virgin, and child in great part lost (wood). Unnumbered: Fresco from the suppressed convent of S. Giuliana of Perugia representing the dead Christ on the Virgin’s knee between a male and a female saint (part of the Virgin’s head is gone). The manner is that of Fio renzo, but the names of Lodovico Angeli and of Bartolommeo Capo- rali are not to be excluded. No. 15. Three saints, Margaret, An thony and Catherine in one frame, dirty and of little importance, of Fiorenzo’s school, and perhaps by one of the above mentioned sub ordinates.