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370 THE FIFTEENTH CENTURY. Ciiap. X. bastian at the Uffizi is apparently by the same hands. 1 The remaining pictures of Orazio may be left to the com pass of a note. 2 After his father’s death, about 1533, 3 he lived for nearly thirty years, dying at Rome in 1583, with the doubtful celebrity, attached to his name, of first president in the Academy of Perugia, founded A. D. 1573. 4 1 Uffizi. No. 1182. Small panel, oil. S. Sebastian, nude on the tree, and archers drawing their bows,like the same subject at Panicale. The figures are dry and lean, and re mind one in some things of Signo relli’s at S. Domenico of Citta di Casteilo. 2 Perugia. S. Francesco, altar of S. Francis (wood, oil). Virgin, child, youthful Baptist, S. Joseph, and three other saints; the co lour, clear and rosy, the Virgin and child in the manner of, and imitated from, Rosso. Same church. Archangel Michael trampling on the seven sins. Perugia. S. Pietro. The Resurrection and the Assump tion, two pieces in a low baroque style, by Orazio. The two rounds with miracles of SS. Peter and Paul at the sides of the high por tal, are ugly and totally repainted. Perugia. Gallery. No. 140. Wood, oil. A copy from Raphael’s En tombment in the Borghese Palace at Rome, washy and cold. No. 142. Adoration of the Magi, wood, oil, feeble, and injured. No. 159. Holy Family, baroque, imit. Parme- giano and Rosso. No. 132. Virgin, child, Baptist, and S. Joseph, cu riously mannered, and by some follower of Raphael del Colle. Nos. 144. 5. C. Decollation of S. Cathe rine, and two other subjects, are more like predella fragments by Domenico than by Orazio. No. 163. Predella, formerly under the Vir gin and saints, No. 37, at the Louvre, attributed to Ingegno,like the foregoing. No. 76. Five half lengths in a lunette, from S. M. Nuova of Perugia, by Orazio. Pe rugia. S. M. Nuova. Sacristy. SS. Sebastian,Rocli,and three children, assigned to Sebastian del Piombo, is by one of the Alfani. Perugia. Confraternita di S. Agostino. Vir gin, child, SS. James, Philip, Au gustin, Dominick, and Francis, a weak picture of Orazio’s latest time, a caricature of the forms common in Parmegiano. Louvre. No. 26. Marriage of S. Catherine, dated 1548, originally in S. Fran cesco of Perugia. For additional productions consult the Guides. 3 Domenico is described as the author of frescos, dated 1525, in the villa of Prepo, near Perugia (Mariotti p. 248). In 1527, he re ceived a commission for an altar- piece for Castel Rigone which was valued in 1534 (ib. ib. 246). It was long supposed to have found its way to the gallery of the Uffizi at Florence, but the round of the Holy Family there (No. 1110) is not that of Castel Rigone, though it is a fine Perugian work in Do menico Alfani’s style. Missing are the frescos of Domenico painted in S. Fiorenzo of Perugia, some of which had been taken from the wall on the demolition of that church (figure of S. Andrew), see Mariotti, p. 248. In 1535, Dome nico painted the arms of Paul the Third on the Public Palace of Pe rugia; in the following year, a sta tue of S. Louis in S. Francesco (ib. 242). In 1536 also, Domenico married the mother of his legiti mized children (ib. 250). In 1549 he valued a picture by Lattanzio Pagani and made a will (ib. 248 to 250). In 1553, Domenico was still living (ib. 247). 4 Orazio was born about 1510. In