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with success to panel. 1 This episode is to be found in an altarpiece at S. Agostino of Perugia, in which all trace of Umbrian feeling is absent; 2 but the Madonna and saints of Sta. Giuliana at Perugia bears Domenico’s name with'the date of 1532, and suggests the same reflections; and it is clear that as he did this piece he had aban doned the nature of a Perugian for an imitation of del Sarto, such as we recognize in the Madonnas of Rosso. 3 Our English collections are not entirely bare of illustra tions of this change in Domenico. We find one in a Holy Family assigned to Perino del Vaga, in the col lection of Castle Howard. 4 In 1553, Domenico and Orazio are found joint under takers of a Crucifixion, SS. Jerom and Appollonia, for S. Francesco of Perugia; the execution of which seems to have been left almost entirely in the hands of the younger man. 5 Of this we have the less reason to doubt, as an earlier production of Orazio is preserved in a transept of the same church. The subject is the Nativity, singular 1 Vas. IX. 73. 2 This piece has been assigned on no clear grounds by Orsini to Orazio whereas it is by Domenico. It shows little feeling, is composed in the Florentine fashion, and of a reddish yellow tone. Of old there was a Visitation dated, it is said, 1545, at the back of the Ado ration. It is now in S. Pietro of Perugia and greatly damaged, but much in the same manner, and now withont a date, unless memory be treacherous. 3 The Virgin, on a round pedes tal, with the infant erect on her knee, is attended by two infant angels in flight above her. The Evangelist, with one foot on the step of the pedestal, points to the Saviour as he looks at the spectator. S. Giuliana sits with an arm on a book, and a monster in leading strings. The composition, drawing, and drapery, suggest that the cartoon of this piece was Ros so’s. The bodies are large, the heads small, the colour raw and bricky, with dark shadows. The hands are bent in M. Angelo’s fashion. In the predella in five parts, scenes from the life and martyrdom of S. Giuliana are de picted;—inscribed, on the pedestal: “AD. M.D.XXXII. f. Dominions paridisPerusinusfaciebat "(figures in oil, life size, on panel). 4 The Virgin holds the child who embraces the young Baptist, S. Joseph looking on behind, and leaning on his staff. The colour is dull, the handling mechanical. But the composition is one of the good Florentine class adapted, one should say, by Domenico Alfani (wood, oil, figures life size). 5 The contract with both is in Mariotti; Lett, note to 247. The picture, of a reddish flesh tone, is injured; it hangs at an altar in the transept of S. Fran cesco. The Christ is by no means good.