Chap. Vi. FIORENZO DI LORENZO. 159 broken folds bound with unnecessary tightness to the frames and limbs, but particularly on the colour both as regards its technical method and dull opacity. With respect to the latter a novelty is apparent in the me dium employed; but the absence of feeling for colour, the flatness due to scarce half tone or shade, the gau diness and want of atmosphere, are familiar in Fiorenzo di Lorenzo, whilst they are foreign to Perugino. 1 The picture represents, we have said, an Adoration of the Magi. The Virgin sits under the pent-house with the in fant on her knee, in benediction. Her head and dress are like those of the Berlin Madonna, which we have attempted to describe. The infant's type is similar to that in the lunette at S. Francesco of Perugia. 2 The kneeling king on the left, with his heavy face, would look more natural but for the wooden drapery bundled about his lower extremities, and S. Joseph on the right leaning on a stick, would be more pleasing if the same fault were not striking. The king, standing next to the kneeling one, exposes a front face immoveable in features and expres sion; whilst the third king holding a cup, and a more distant figure to the right of him, are marked by some of the mildness of air which Pinturicchio improved upon. Finally, a man to the left may be noticed as the so-called portrait of Perugino. The passion for discovering like nesses and making deductions from such discoveries, is general. There is a distant resemblance in the mask to the known one of Vannucci, but his presence in a picture of this time would not prove that he painted it any more than it would disprove the authorship of Fiorenzo di Lorenzo, whose genius is more distinct 1 The draperies are broader than usual in Fiorenzo, the colour is not given in the usual tempera method of the old Umbrians, hut is hard in, substance and high in surface. The distance is a land scape with hills, water and a tree. A star shines in the middle of the sky. The panel is well preserved, but a split parts it vertically in the centre, dividing the figure of the kneeling king into two. 2 Now in the gallery of Perugia, as stated antea.