Same Gallery. No. 134. Annunciation (wood). Umbrian in char acter, but of small importance and damaged in the flesh tints. Same gallery. No. 136. Bust portrait of a youth in a black cap, with fair hair, rough in surface and too feeble for Pinturicchio. Same Gallery. No. 142. 149. Episodes from the life of Tobias. These are good and interesting, but they exhibit marks of Tuscan, mingled with the Umbrian, education. Same Gallery. No. 132. Adoration of the Magi. Originally in 8. Caterina of Faenza, and painted for the Manzolini family of that place. We shall give reasons for assigning this picture to Giovanni Battista (Bertucci) of Faenza. Vienna. Esterhazy Gallery. No. 49. Tiberius Gracchus, given to Pinturicchio, but probably by some follower of Signorelli (see antea, school of Signorelli). Altenburg. Lindenau Gallery. Wood, oil. Panels representing busts in rounds and figures of virtues in variously shaped panels, originally part of a ceiling, said to be by Pinturicchio and cer tainly like a production of one of his scholars such as Balducci. Schleissheim. Gallery. No. Ili6. Virgin and child, between S. Jerom and John. A poor imitation of Pinturicchio and much re painted. Paris. Louvre. No. 292. Virgin and child, no doubt by Spagna (see postea). Paris. Louvre. Musee Napoleon III. Nos. 172. 173. The judg ments of Solomon and of Daniel, catalogued as of the school of Perugino (wood). These are fairly composed and carefully executed in Pinturicchio’s manner, and if not by him, might be by Tiberio d’Assisi. Same Gallery. No. 174. Virgin and child in the same class as the foregoing, perhaps a little better. Same Gallery. No. 175. Virgin and child, half length, in a glory of cherubs. A poor work, somewhat like a production of Mainar- di’s school. Same Gallery. No. 181. Wood, arched. Nativity assigned to Pin turicchio, but by one of his disciples, coarse and much repainted. Same Gallery. No. 182. Virgin, child and donor (wood), much re touched, but in the manner of the foregoing. Same Gallery. No. 195. Virgin and child between S. Gregory and another saint, more in Pinturicchio’s style than the above.
