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Chap. VII. PIETRO PERUGINO. 251 della. In the distance to the left the guard runs as in the Vatican Resurrection and Munich predella (in the latter the position in the picture is reversed). In the distance to the right, another guard seated, sleeps with his hands on his shield. In the foreground, right, a fine youth asleep leaning on his target, counterpart of that in the Resurrection at the Vatican called the portrait of Raphael, and with a slight variation, like the same figure, bearing the name of Raphael on the target, in the Munich predella. In the foreground to the left, a young soldier in helmet and breastplate as in the Va tican Resurrection and Munich predella, but with a shield behind his left arm (at the Vatican there is no shield; at Munich the shield is on the right arm). The Samaritan woman at the well. The Saviour, conventional and ill-conceived. The Samaritan woman, graceful in movement. The Baptism of Christ. The usual arrangement, but in that respect as well as for proportions more particularly akin to the fresco of the Nunziatella at Foligno. The distance a fine landscape. Nativity, the familiar composition of that subject with a neat type of the Virgin, warmly coloured and firmly handled. London. Late Northwick Collection. No. 257. No. 75 at Manches ter, and originally at Lucca, wood-tempera, life size. The Virgin and child, under a dais festooned with corals and flowers, between SS. Jerom and Peter, hasty, brownish red in flesh tone, and somewhat dimmed by age. The type of the Virgin is poor (mantle much restored). London. Dudley House. Two rounds of the Virgin and Evangelist in one frame, with a modern inscription: “Petrus Perusinus pinxit”, unimportant, and of the sehool. London. Collection of the late 11. A. J. Munro, Esq. (Mrs. Butler Johnstone), wood, oil. Crucifixion, the Virgin and S. John, and SS. Jerom, and Francis kneeling at the sides. This picture is assigned to Perugino, but has the character of Tiberio d’Assisi (small). Same Collection. (Small panel.) S. Francis receiving the stigmata, is in the style of Timoteo Viti. Hampton Court. No. 355. Portrait of a lady, bust, wood, oil. School of Francia and Lorenzo Costa, recalls Boateri though beneath him in execution (see a Holy family by this rare Bolognese at the Pitti). Hampton Court. No. 233. A female saint bearing a cross. Wood, oil, the flesh tint abraded. This piece is also Bolognese and brings to mind the manner of Chiodarolo, another follower of Francia and Costa.] Hampton Court. No. 582. Portrait of a gentleman, small panel, representing a man in full front dressed in black, with a bridle bit in his hand. It is not by Perugino, nor by any Italian.
