Chap. VIII. BERNARDINO PINTURICCHIO. 297 forward with a cord. An executioner pushes him from behind. As he walks, the Saviour turns round to the Virgin on the left, who follows the procession attended by the Marys. In the distance Gol gotha appears. The officers of the execution raise the crosses. A castle crowns a hill, and flights of birds are in the heavens. On the border one reads: “Questa opera e di mano Del Pintoricchio Da Perugia MCCCCCXIII”. This miniature panel which seems to have been in Pinturicchio’s atelier at his death, is equal in fresh ness, carefulness, power and richness of colour to the works of his best time. The females move with a grace akin to that of Peru- gino. The Christ is noble in action whilst the naked man pushes him, but other figures are strained and somewhat angular in drawing. There is great richness in the ornaments and land scape. Gubbio. Duomo. Nativity in an arched rectangle supported on pillars, in the ornament of which one reads: “Leone X sedente’’. Vermiglioli assigns this (p. 112) to Pinturicchio though it is clearly of a later time by some itinerant limner in possession of a tracing belonging to the master. The picture is in oil, sharply outlined, incorrectly drawn, and dusky in the shadows. The painter seems the same who worked imitating Spagna at Viterbo. Viterbo. Ckiesa degli Osservanti. Here is also a Nativity. The style is that of Spagna’s pupils, such as ’Jacopo da Norcia, or the Perugian Orlandi who was assistant to Sinibaldo Ibi. Assisi (near). Torre d'Andrea. Church of S. Bernardo, two miles from S. Maria degli Angeli. On the high altar is a distemper on panel representing the presentation of Christ in the temple (eleven figures) with S. Bernardino kneeling in the middle of the foreground. This is a mediocre production by a pupil. Bettona (near), Ex-church of S. Simone. The walls of this aban doned church are filled with paintings in the mixed manner of Pin- turicc.hio and Spagna (see the latter, postea). ' Amelia (near Spoleto). Church of ex-convent of the Minori Beformati. Wood. Altarpiece. Virgin and child between S. John Baptist and S. Francis, in the mixed character of Pinturicchio and Spagna, and possibly by Tiberio d’Assisi. In a lunette is the Eternal between two angels (goldground, in part repainted). Dresden. Museum. No. 24. Catalogued as unkown, but in the Umbrian school. (Wood, tempera). This is a portrait of a youth with long hanging hair in a red cap and dress by Pinturicchio. The distance a landscape. Berlin. Museum. No. 143. The Virgin and child (wood, tempera), the most favourable specimen of Pinturicchio in this gallery.
