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1G4 THE FIFTEENTH CENTURY. Chap. VI. Rome. Palazzo de’ Conservadori al Campidoglio, an injured and res tored Virgin (above life size) adoring the infant Christ on her lap, with two angels at her sides. (The Virgin’s dress exclusive of the gilt border, has been repainted in oil.) This fresco, of a rough, red-brown colour, reproduces Fiorenzo’s types and character. Ver- miglioli (Vita di Pinturicqhio ub. sup. p. 73) attributes this fresco to his hero. Passavant assigns it (Raphael ub. sup. I. 501) to Ingegno. Orvieto, Casa Guallieri. Fresco, sawed from the wall of the Gual- tieri family chapel in the cappella S. Brizio of the cathedral at Orvieto. S. Michael with a sword in his right, and his left on his haunch, tramples on the dragon. He stands in armour on the fore ground of a landscape of rock and sea, interspersed with islets, as cribed successively to Raphael, Signorelli and Ingegno; it is not by any of them, but probably by Eusebio. London. National Gallery. No. 702 (from the Wallerstein Collec tion at Kensington). The Virgin and child, the latter standing on a parapet in front of its mother (half length). This piece, under the name of Pinturicchio, is similar to the following. Naples Museum (of old numbered 84). Virgin and child, which again is similar to the following. Paris Louvre. Musee Napoleon III. (ex-Campana). No. 174. Virgin and child, of which there is a poorer repetition in the same collec tion under No. 175, and yet another: Milan Brera. Galleria Oggioni, Virgin and child slightly altered by oil varnish. Of the same size as that of the National Gallery, and repeating the same subject, we have a panel at: Urbino. Convent of S. C/iiara, on the back of which are the words: “Fu eompra da Isabeta da Gobio matre di Rafaello Santo da Urbino fiorini 25. 1488”. It is a flat and feeble tempera of grey tone on gold ground superior however to the last mentioned. But better than all of the others, and apparently the original from which they were taken, is: London. Sir Anthony Stirling. Half length of the Virgin in half of an almond shaped glory (with eight cherub heads in the field of it, and rays engraved in the gold ground). The Virgin supports the infant in benediction, in front and to the left of her, whereas in the other examples the child stands to the right. In this panel of Sir Anthony Stirling’s the movements are more gentle, and the character is more tender; the forms are better rendered, and the features are more expressive; the drapery is more natural and better cast, the colour is more pleasing, and the drawing more correct than in any of the foregoing. This panel seems indeed to have