Chap. VIII. BERNARDINO PINTURICCHlO. 2G9 from faults in type and drapery; but the partial coarse ness of the first, and formlessness of the second do not conceal the painter’s individuality, or his derivation from Fiorenzo. In the Apotheosis of S. Bernardino we are often reminded of Alunno, whilst in other places we think of Perugino or of Signorelli. The spirit of the latter is in deed singularly marked in the monochromes of the bor ders. Sometimes the draperies are broadly cast, or Hoat with natural curves in a breeze; sometimes they are pal try. A pleasing face gives charm to one angel, coarse feature's detract from the beauty of another. In action and attitude, a figure like that of S. Anthony of Padua is striking for its propriety and truth. The movement of another, such as the S. Bernardino kneeling in a hip-cloth, is equally remarkable for rigid awkwardness and bony dryness. In general, at Araceli, the compositions are bet ter conceived than usual; but the dramatis personae though marshalled with more art than before, are too often stiff 1 , straight, and lean. The dim grey of flesh-shadows, and thick body of colour are more like Alunno than Fio- renzo. 1 Other frescos of uncertain date at Rome might be added to the list of those completed there by Pinturicchio, the most interesting being the Eternal and Evangelists in the ceiling of a chapel, now the sacristy, at S. Cecilia in Trastevere, 2 and a Virgin and child between SS. Stephen 1 In the ceiling, the lower part of S. John Evangelist is obliterated. The two angels at the sides of the Saviour in glory are much injured. Of the four lower ones, the first on the left has no head. The faces are reminiscent of those of Fio renzo and Perugino. But the move ment of one on the extreme right tuning his viol, is like one by Si gnorelli. The angel to the left holding the crown over S. Bernar dino, is handsome, the angel to the right less so. The draperies of the S. Anthony of Padua are well cast. The broadest style of handling to be found in the series as in the lunette where the saint sits in the wilderness dressed in a skin. The condition of the whole chapel is remarkable, although some parts have suffered from time and res toring. The resemblance of some figures to those of Perugino in the Hoses and Zipporah at the Sixtine have perhaps caused the wall paintings of the cappella Bufalini to be assigned to Signorelli, be cause, it may be recollected, the Moses and Zipporah has also been attributed to him. 2 The division of this ceiling is the same as that of the Cambio. In the central lozenge sits the (re-