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it plain and hanging. It is for this reason surcharged, broken or festooned. Without entering into detail, one may note the heavy squareness of the-Virgin and of the young king erect on the right, the bony dryness of the kneeling one, and the gaunt leanness of the angels. All the hands and feet are short in shape and cramped in the Umbrian fashion. The landscape, a vale, on the rocky sides of which the king’s suite descends, is a mixture of Raphael and Pinturicchio. The colour, abraded down to the cloth, leaves the drawing bare, and seems to have been originally of a pale yellow, slightly shadowed with grey. 1 The two altarpieces of the Spineta and of the Ancajani, executed for convents in the vicinity of Spoleto, where Spagna usually lived, naturally suffer by comparison with pictures by Perugino and Raphael; y.et they are of the greatest interest as evidence of the process by which an industrious and conscientious workman succeeded in com bining the manner of his master with that of his comrade, and laid the foundation of a prosperous career by steadi ness and attention. The mode in which he concentrated the individuality of Raphael, Perugino and of Pinturicchio in productions of his own, is further illustrated in the large panel of S. Girolamo at Perugia, 2 where a vast inlaid throne, protected by a rich dais, is occupied by a beauti ful Virgin and child full of Raphaelesque freshness. A S. Jerom in sweeping draperies stands reading intently 1 The angles of the -frame con tain two sybils, SS. Benedict, and Scolastiea. The ornament of the frame, which is of Spagna’s time has been renewed or retouched. A drawing (No. 62. MS. Payne Knight. Brit. Museum) is preserv ed and has been assigned by Passavant (Raphael, II. 547 and Waagen, Treasures I. 226) to San- zio. It is described as a study for the young king standing to the right in the Ancajani altarpiece. The attitude is not exactly the same, however, and the drawing is inverted. But this is a feeble school work. The character of Spagna is more decidedly apparent in (No. 63. MS. Payne Knight, Brit. Mus,) a draw ing of a group of horsemen and two figures on foot, in black point on slightly tinted yellow paper, with thelightsin white. This sheet, once assigned to Raphael is now under the name of Pinturicchio. The style is that of Spagna. 2 Now No. 25. in the Perugia Gallery.