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Chap. X. GERINO DA PISTOIA. 351 and Raphael is most striking in the Last Supper at 8. Onofrio of Florence, attributed by so many critics to Yannucci and Sanzio; and it is not unlikely that Gerino with other pupils of Vannucci should have had a share in its execution. He produces, indeed, something like it in the frescos of S. Lucchese near Poggibonsi. He laboured in the convent of that name about 1513, and two scenes from the life of Christ with that date and his signature are preserved in a refectory, now turned to the profane uses of a canteen. They are hastily done, of strong colour, and mannered in drawing, though still Peruginescpic, and showing the gradual descent of Gerino into the slough of conventionalism and ease. 1 In later years, a fresco of S. Agatha and 8. Eulalia, (1520), in 8. Paolo, and a Coronation of the Virgin on the first staircase of the Palazzo della Comunita, at Pistoia strongly show the feeble side of his cha- racter. 2 He is less Peruginesque and more Florentine, MCCCCCVIII1”. There is no ba lance of light and shade. The saint in armour has a round Peruginesque head, similar in this particular to those of the Virgin and child, and of S. Paul. The face of S. Peter is pinched and small (injured by old restoring). The picture has been recently cleaned, but remains in its old gilt frame. See for a panel in the style of the above a so-called Perugino in the gallery of Count Sergei Stro- ganoff at S. Petersburg (antea, Perugino p. 253). 1 In one arch is Christ amongst the apostles, and raising one of them who kneels before him, all in a landscape (figures less than life size). In another is the Miracle of the loaves and fishes. On. a bor der in which are a Virgin and child, and a S. Francis, one reads: “Hoc opus pinsit Gerinus Pistori- ensis. 1513”. The whole of the remains is much injured. In the church of the fortress of S. Lucchese (on an altar to the right) is a panel, in tempera, re presenting the Noli me tangere with the Eternal above in a circu lar glory, and in a border, (in rounds) SS. Francis and Anthony the abbot. This piece is scaled in many places. It reminds one some what of Lorenzo di Credi, but it may be by Gerino or one of his school. 2 The two saints are Iittlo below life size, of a dull reddish flesh tone; inscribed: “Jacopo di Cris- tofano Donzello de Sinnioria a fatto fare questo altare per sua devotione. 1520”. The character of the figures is more than ever small, the handling like that of a later picture at the Uffizi in Flo rence. In the fresco of the Coro nation, SS. Appollonia and Eulalia kneel at the sides of the fore ground. A wall painting on one of the altars to the right, in S. Andrea of Pistoia has recently been unco vered. (It had been partially con cealed by a canvass of more mo dern date.) It is much repainted, but exhibits something of Gerino,
