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354 THE FIFTEENTH CENTURY. Chap. X. in the Umbrian mould of Perugino and Pinturicchio, hang the crown of heaven above the Virgin’s head. Two more hold up the drapery of her cloak as she stands erect with the child in her arms. In front of her, two boys of slight proportions have each a foot on the step of her pedestal, one to the left looking up with joined hands, the other playing a mandoline. 1 Other pieces of the same sort, in which the rigidity of the Forlivese school is apparent, adorn the Gallery, ex. gr. two panels with SS. Hypollitus and Romualdo, Benedict and Lawrence in couples; 2 a Baptist in the desert, 3 a Magdalen in a landscape, 4 in all of which the colour reminds one of Palmezzano’s for its flatness, rawness, and cold shadows; whilst the method of rendering form and drapery unites Umbrian peculiarities with the angularity of Cotignola. With such things before us, we cannot assign to any one else but Bertucci the Ado ration of the Magi in the Berlin Museum, which has been catalogued under Pinturicchio’s name, and the Glorifica tion of the Virgin in the National Gallery attributed to Spagna. The first was commissioned for the Manzolini family in S. Caterina of Faenza; 5 the second was for a time in the Ercolani collection at Bologna. The Adoration is composed and drawn after the fashion of Pinturicchio’s Siennese works, but tinted like Bertucci’s, and filled with figures of his tenuous outline. The Glorification is still more remarkable. 0 The Virgin and child are not un- ' The altarpiece is 6 feet 2 in ches by2feet Ona“cartellino” are the words: “Joanes Baptista de Favetia pisit ano domini 1506”. 2 Size, 4 feet 4 by 1 foot 9 inches. The colour of strong impasto, un glazed, like the works of Panetti of Ferrara. 3 The movement, pose and dra pery quite like those of Pintu ricchio; — size, 3 feet 7'/ 2 by 1 foot 10 inches. 4 Same size and appearance as the foregoing. In the same gallery is a fragment (wood) inclosing a round of the Virgin and child by a local painter imitating Pintu ricchio and Spagna, and the youth of Raphael. 6 VermigliolijVita di Pintu ricchio; p. 28. The picture is No. 132, in the Berlin Museum (wood, oil). The style of drawing, cast and detail of drapery, value of local tone, and technical execution, are all like those of Bertucci’s Virgin of 1506. 6 No. 282. National gallery, purchased from the collection of Lord Orford at Wolverton, same style and handling as at Berlin and Faenza.