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finely foreshortened, the Evangelist grandiose in movement as in the fresco of the Cambio. The flesh tones are powerful and well fused, and of a lower substance than the draperies. The picture belongs to Perugino’s fine time being brighter in .colour than the altarpiece of the Vatican (1496), browner than the Madonna of S. Pietro Martire (1498). The arrangement of the group of the Virgin and child is very charming and original, condition excellent, signed: “Petrus Peruginus pinxit.” The figures are life size. Bologna. S. Martino Maggiore. Assumption, by Perugino, accord ing to Mezzanotte (37. 8.) and Orsini (199.), is by Lorenzo Costa. Venice. Academy. No. 265. Previously in the Manfrini collection. Christ washing the feet of the apostles. This piece is certainly not by Perugino, but by a Lombard, and has something of Boccaccino. Venice. Collection of the Duchess of Berri. Round, Virgin, child, and youthful Baptist, feeble and not by Perugino. Venice. Manfrini Collection. No. 322. Round, wood, oil. Virgin with the child, reading from a book held by an angel, with a second angel in rear, of small merit, by a feeble Peruginesque following the school of Manni and Eusebio. London. National Gallery. No. 181. Wood, tempera. The Virgin, child, and S. John. Landscape distance; bought by Mr. Beckford at Perugia. This panel, of pale bright tone, is very carefully executed and signed on the border of the Virgin’s dress: “Petrus Peruginus”. If it be admitted that Spagna was Perugino’s pupil and the com panion of Raphael, one might suppose that he had a share in this work which shows more conscientiousness than freedom of hand. Still it has much of the spirit of the master. London. Lord Taunton. Formerly at Stoke Park. Wood, oil. Christ supported on the tomb, reminiscent of that of S. Agostino, inscribed: “Sepulcrum Christi. Petrus Perusinus pinxit.” Origi nally in Venice and, before it was retouched throughout, undoubt edly one of Perugino’s fair creations. London. Collection of Alexander Barker, Esq. Predella; tempera on canvass, in five parts, numbered at Manchester: Nos. 70—4. Noli me tangere, conceived without the religious poetry of the ear lier time. Christ stops in his walk, leans his left hand on a stick and listens to the Magdalen who kneels in prayer. In the distance between the two, the sepulchre guarded by angels, right and left a couple in converse. The warm tone of the tempera is like that of the predella of the Transfiguration (unnumbered in Perugia gallery) or that of the Louvre distemper of 1505. The Resurrection. Christ rises with the banner out of the sepulchre, as in the Rouen pre-