Ciiai’. VIII. BERNARDINO PINTURICCHIO, 295 infant, and raising its veil, causes it to awake and look round at the Virgin. In rear are two shepherds in prayer, in the sky, three injured angels. In the distance the angel announces to the pastors. To the left an edifice. The panel, in its old gilt frame, is broken and angular in drawing, the colour washy and of slight relief. It seems to be of Pinturicchio’s later time, carried out in part in his atelier by Matteo Balducci or some other. Monte Oliveto, near S. Gimignano. Virgin enthroned between two saints (life size, wood, distemper), ascribed by Rumohr to Pacchia- rotti (Forsch. III. 45), but more properly by Gaye, (Carteg. II. 434) to Pinturicchio. It is to be borne in mind that this master had many journeymen at Sienna (Matteo Balducci amongst others) and that his style was not without influence on Pacchiarotti. We do not trace the hand of any pupil in particular at the Piccolomini library, nor can we do so in the panel at Monte Oliveto. Like the foregoing it still hangs in its old frame. The Virgin sits on the clouds and prays. Rays issue from her almond shaped glory in which there are eleven cherubs’ heads. The distance is one of Pin turicchio’s usual ones. To the left in front kneels a Pope of slender frame with the twelve apostles in the embroidery of his stole. To the right, a kneeling bishop. The touch is very careful in every part, the colour rosy and light and fairly relieved by light and shade, the draperies straight. The landscape has the green freshness of spring. The general aspect is that of a bright hut opaque miniature. Sienna. S. Maria degli Angeli, better known as II Santuccio. A Nativity called Pinturicchio (Taia, Guida ub. sup. 104. Faluschi, Guida ub. sup. and Verm. 184) of a low tone and flat, and more like a work by Pacchia than any other Siennese. Home. Vatican Museum. No. 19. Originally at La Fratta, near Perugia (wood), a Coronation of the Virgin with the twelve apostles below in two groups, (life size) and five friars including S. Francis praying on their knees in front. This picture has been catalogued by Orsini and Mezzanotte (Vita di Perugino pp. 127. 8) as by Van- nucci. It has become untransparent and heavy from successive varnishes, but was originally a fine Pinturicchio of about the year 1500. The figures are pleasant and of a youthful mould. • Rome. Galleria Borghese. No. 49. 51. Scenes from the life of Joseph, part of a “cassone”, hastily handled in the manner of Pintu ricchio. Rome. Museo Cristiano. Press XIII. Marriage of S. Catherine. Small tempera panel quite like a Pinturicchio.