Chap. IX. LO SPAGNA. 311 frame; and he often fails to give it the proper life and breadth. The round faces are not unfrequently vulgar in look and in feature, and there is a want of breed in the coarse feet and in the large long palms of short fingered hands attached to thick-set wrists. His study of drapery is superficial, and the result too often unmeaning festoon. The flesh-tints also are not those of healthy individuals in whose veins the red blood flows, on wliQse cheek it mantles. They are pale and sickly, shadowed with earthy grey, and therefore slight in relief. They are untransparent and raw. 1 Spagna’s adaptation of Peru- gino’s manner was thus incomplete, as he did not master the science of colouring, nor compensate for its absence by feeling. His cold and mechanical treatment seems incompatible with the attainment of perfect atmosphere. In order to copy the Narni altarpiece, it was necessary that Spagna should visit that place. Two saints, the Beato Bernardino da Feltre, and S. Anthony of Padua in S. Girolamo of Nami might prove that he had been there, though they cannot be taken as good specimens of his skill. 2 At Todi, it is said that he painted six of the cathedral chapels; and the remnants of a Trinity in fresco trans ferred with success to a wall in the Duomo, shows that 1 Three of the male saints in the glory to the right are discoloured by sunlight. The picture is 9 '/ 2 feet by 7y 4) wood, with the “MDXI” at the base. The figures now in the pilaster frame seem the same as those in Dudley House. But they are in oil whilst those of Dudley House are distemper pieces. The pilaster saints at Todi are more modern in appearance than the rest of the picture, and perhaps they are copied from older ones. They are at all events replicas of those which belong to Lord Ward. 2 Bernardino is represented on panel with the symbol of the Mons Pietatis, which he founded, in his hand. At his feet a miniature figure kneels in prayer. The me dium is oil, the work done at One painting, of a low reddish tone showing the under preparation. . . Some flakes of colour are scaled off. This piece is to the left in the church as one faces the high altar. The panel in which S. Anthony stands with a child at his feet, is let in to a circular panel. He holds the lily and shows the flame. The tone is also low and of thin sub stance. A third panel of a saint holding a calix in the same church seems by another and coarser hand.