Chap. VI. THE ANTONIASSI. 160 Castel Nuovo, on the road from Rignano to Rome, there is a Christ enthroned in benediction, assigned to Pcru- gino, but in type recalling certain figures by Bartolom meo Caporali in Castiglione del Lago. A long inscription on this panel closes with the date 1501. In the same church a S. John the Baptist and S. John Evangelist illustrate the same artistic direction, and remind one, as do the works of Antoniasso, of the better frescos at S. Croce in Gerusalemmo in Rome. The third Antoniasso is Marcus, the painter of a Re surrection between SS. Stephen and Lawrence, with the Eternal in a lunette between SS. Francis and Anthony, a domed altarpiece in the refectory of the convent of S. Clfiara at Rieti. The predella contains the Capture, the Flagellation, the Crucifixion, the Pieta, and the Entomb ment; and on a border one reads: “Marcus Antoius Magri Antonatii romanus depinxit MDXI.” The central Christ is ill-proportioned, the sleeping soldiers ill-arranged by one who has seen the works of Perugino. The Antoniassi are a local Roman family and worthy of being remembered, not because they have done much independently, but because they probably acted as as sistants to the great men who visited Rome at the close of the fifteenth century. They are entitled indeed to the same degree of attention as Bartolommeo Caporali, or Melanzio who has been mentioned in these volumes in connection with poor wallpaintings at Subiaco.