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160 THEJFIFTEENTH CENTURY. Chap. Vl. and whose name is more forcibly suggested than any other. The list of Fiorenzo’s productions at Perugia may be completed by a reference to an early Madonna in the Fraternita della Giustizia, 1 in which the stamp of Be- nozzo and the grimace of Alunno are to be found in con nection with some of the defects of execution common in the school. 2 We might assign to him abroad a fine pa- 1 Now No. 207, in the Perugia gallery, a gable altarpiece with the Virgin, enthroned holding the infant in benediction on her knee, adored by two angels in prayer, and two patrons in similar devo tion, nearer the foreground. At the sides are SS. Mustiola and Andrew (part scaled), Peter and Francis (the latter grimacing like one by Alunno). In a predella are Christ between the Virgin and S. John Evangelist, with SS. Jerom, Ursula (?), Bernardino and John the Baptist at the sides. The figures are small and heavy, the colours sharp in contrast, but care fully handled. 2 We may add the following: Perugia — Palazzo Commu nal e. Two panels with half- lengths of saints in prayer. Pe rugia — Sacristy of S. Agos- tino, wood, half length of the Virgin and child, inclosed in a circular ornament, with six che rubs’ heads in it. Two heads of angels of a large size at the angles of the base are reminiscent of Mantegna. The infant Christ is that of Fiorenzo or his school, and the colour is handled with some of the new mediums. Perugia. S. Giorgio, a fresco by Fiorenzo di Lorenzo, but not of his best. Sub ject, the Marriage of S. Catherine with S. Nicholas of Bari in atten dance, rude and in part repainted (the background new). Same church. Nativity, a repainted fresco in which the S. Joseph is all but new, with the date A. D. “MCCCCLXXXX”. Terni, S. Francesco, Cappella di S. Antonio, much injured altar- piece of the Virgin and child be tween SS. Bonaventura, John Bap tist, Francis, and Louis, with three saints in each pilaster, the Eternal between two angels in a lunette, and five coarsely executed scenes from the Passion in a predella. On the border one reads: “1485. Dio e Virgini opus erectu Dionisie Joanis prorate”. It is difficult to judge of the authorship. The style is between, Fiorenzo and Pintu- ricchio. llavenna, gall. comm. Triptych, gold ground, Virgin and child, between SS. Peter andPaul, the Eternal in the pinnacle be tween the Virgin and angel an nunciate inscribed: “MCCCCLXXXV die XXVIII di Jugnio”. The work is dry and hard, but we must remember the names of Bartolommeo Caporali and Lodovico deAngelis. Carlsruhe Museum. Nos.165. 166. SS. John Baptist and Evan gelist, small full lengths on gold ground, falsely assigned to Agnolo Gaddi, but of the Perugian school and in the manner of Fiorenzo. Liverpool Institution. No. 22. Piece of a predella, represent ing the birth of the Virgin assign ed to Filippino. This piece has been noticed (antea II, p. 452), under its old number (20) amongst the works of Filippino. A recent visit has altered our judgment. Though injured, it is painted in the style of the panels long as signed toPisanello in S. Francesco of Perugia and, therefore, recalls Fiorenzo di Lorenzo.
