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246 THE FIFTEENTH CENTURY. Chap. VII. Joseph and another Saint, a little under life size, of a light red colour, with spare shadow, one of the late and feeble productions of the master. Perugia. S. Agoslino, above the sacristy-door, a panel of the Vir gin, between SS. Bernardino and Tommaso da Villanuova, assigned by Vasari to Perugino (VI. 45), but perhaps by Manni (see Manni postea). Corciano, near Perugia. Parish church, choir. Wood, life size figures, oil. Assumption. The Virgin, of square form and short stature, with angels, in attitudes slightly differing from those of the Caraffa altarpiece at Naples. Flat rosy flesh colour, absence of chiaroscuro. Some gaudiness would prove that the pupils of Peru gino had the chief part in the work. S. Thomas kneels below, be tween the apostles, most of whom are repeated from those of the Ascension of Lyons. In the sacristy of the church a part of the predella with the Adoration of the shepherds and the Annunciation exists. In the first, the S. Joseph is new. Borgo S. Sepolcro. Duomo. Ascension, wood, oil, in the left transept. This is a fair replica of that of Lyons, much restored, and red in consequence. (Done at Florence, says Vasari Vi. 40.) Naples. Duomo. Assumption, painted for Cardinal Oliviero Ca raffa and sent to Naples from Florence (Vasari VI. 40). Wood, oil, arched above'. The Virgin, in graceful movement, in an almond shaped glory, between four players, two angels suspending the crown above her head, four beneath her feet with instruments. Be low, S. Thomas looking from among the apostles with whom, right, S. Paul holding the sword. To the left, Cardinal Caraffa kneeling, is recommended by S. Januarius. The lower part of the foreground figures is entirely renewed together with the landscape and sky. Perugino freely employed his aids on this large piece. Naples. Museum. No. 267. Virgin seated on a grass mound, in a landscape, in which the Magi and their suite form groups. (Wood, oil.) The Virgin is a little broad of shoulder for the small ness of her head, and affected in bend and expression; but the brown tone is admirably fused, and the small figures of the dis tance are like many afterwards produced by Raphael and Spagna. Montefalco. S. Francesco. Fresco of the Nativity, with the Eter nal in a lunette. The first has been mentioned as a repetition of the subject at the Cambio. The Eternal is from the same cartoon as that in the Nunziatella at Foligno. Much drapery and other parts in the fresco have been repainted, ex. gr. in the left hand angel, at the side of the Eternal, the Virgin, child, and S. Joseph. The foreground also is new. Above the lunette, by the same hand, the figures of the Virgin and angel annunciate are parted by a monster.