by the effects of time. The altarpiece of S. Agostino may thus be assigned to an interval stretching from 1512 to 1517. It testifies that to the last Perugino could by personal exertion still yield a work of undoubted merit. It is to be deplored that records should fail to reveal to us the details of his life in the final period of his pictorial activity. Were these to be discovered, we might perhaps affix to a picture in the Museum of Marseilles, the same date as to the principal portions of that of S. Agostino. This was long an ornament of the monastery of S. Anna at Perugia, and was transferred in the eigh-. teenth century to S. Maria fra Fossi. 1 It represents the Marys of scripture as mothers, Christ and many of the apostles as infants. S. Anna recommends the Virgin who sits on a wide throne with the Saviour on her knee; S. Simon and S. Thaddeus playing as babes on the step. To the left, S. Mary Cleofas caresses S. James the less, and S. Joseph protects S. Joseph Justus. To the right, S. Mary Salome stands with S. John in her arms, the old S. Joachim behind her, and the boy S. James the elder, at her side. All the figures are of the size of life, very fairly arranged, and in good proportion. The drawing is grand; the handling free and bold; and the colour is laid on without much impasto, but with great breadth of touch and at one painting. 2 belong to the altarpiece), now in the Perugia gallery, and are by the same hand as the predella. The altarpiece of S. Agostino is mentioned by Vasari (VI. 44). 1 Mezzanotte ub. sup. p.150. 2 No. 169. Museum of Marseil les. The names of the saints are written in the nimbuses, the whole scene within an arched space. One sees the drawing beneath the flesh tints. The children, generally, are a little broad and heavy, particu larly SS. Simon and Thaddeus. On the upper border of the pedes tal of the throne one reads: “Pe trus de Castro Plebis pinxit”, wood, - life size. Two or three vertical splits. Some heads are spotted, and the landscape behind the throne is in a great measure re painted. An old copy of the picture is in the Castelbarco gallery at Milan. An old copy also, on canvass, of S. Simon and Thaddeus, assigned to Raphael (Passavant II. 5) is in the sacristy of S. Pietro at Perugia. Finally a small old copy of the whole piece, on paper stretched on canvass, is in the Duke of Nor thumberland’s collection at Aln wick.