Chap. VI. INGEGNO. 165 served as a model for all tlie others which are by different hands, and of more or less value (ex. gr. after this of Sir Anthony comes that of Urbino, then that of the National Gallery, followed by those of the ex-Campana collection, of the Naples and Brera Museums). But the Virgin of Sir Anthony Stirling is truly by Pinturicchio to whom it is given; exhibiting, however, all the characteristics which prove that he derived his style from Fio renzo di Lorenzo, as for instance reminiscences of such of the creations of the latter as: the panel lunette in the sacristy at S. Francesco of Perugia (now in Perugia gallery), the lunette fresco in the Sala del Censo at the Palace of Perugia. It might thus appear that the Madonnas now classed together, have all the stamp of Fiorenzo with features in addition reminding us of Pinturicchio. London. Dudley House, originally in the Bisenzio collection at Rome. Virgin and child between S. Dominick and a female saint recommending two kneeling donors. This small Madonna does not throw any light on the obscure branch of art here treated. The painter seems to have laboured after Perugino. Carlsruhe. Museum, No 154. Catalogued as Ingegno. Virgin and child attended by two angels, between SS. Benedict and Bernard, a Duke and Duchess of Urbino (?) with their respective suites kneeling at the sides of the foreground. Umbrian, of the close of the sixteenth century and riot like any other so-called Ingegno (wood-oil). Florence. Metzger and Volkman Collections. Rumohr (Forscli. II. 328) and Passavant (Raphael I. 503) notice a small Madonna bear ing the initials: A. A. P. which they interpret “Andreas Aloysii pinxit”. Paris. Louvre. No. 37. Virgin and child enthroned and saints, classed as Ingegno, in the mode observable in the ceiling of the chapel of the Cambio at Perugia by Giannicola Manni. We shall revert to this. If it can be shown that the majority of the works above noticed are by Ingegno, it would follow that the master so-called was at the school of Fiorenzo di Lorenzo, and a companion of Pinturicchio; but until better evi dence shall be brought forward than the initials of a name or the records of Assisi, doubts must continue to be en tertained. Yet, we may accept Ingegno as a password to qualify pictures of the same class in various parts of Europe.