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Florentine Franeia Bigio. He betrays these influences in the air and drawing of his figures, into which, however, the Florentine weight and breadth of drapery are but partially introduced. Nor has he any longer his old strength as a colourist, his fine rich tone being exchanged for one of a more clouded glassy tinge. In the production of the frescos for S. Bernardino, Pacchia competed in 1518 with Bazzi and Beccafumi. Without being able to surpass the Lombard who took the Leonardesque manner to Sienna, and became one of the greatest masters of his time, Pacchia clearly outstripped Beccafumi whose talents were marred by exaggeration and unhealthy fancy. He repeated with slight change, on one wall, the Annunciation of S. Spirito, 1 but he designed a Nativity on the other, as may be seen from the annexed outline, with a vivid memory of the Florentines. 2 At a first glance, indeed, we are reminded of Andrea del Sarto; but, in reality, it is the scale of art represented by Franeia Bigio at the Servi of Florence which Del Pacchia adopts. With that, and a mixture of Siennese affectation, and with some traits derived from Pinturic- chio, he produces an agreable and sufficient originality. Having acquired this tendency in his later years, he pre served it unchanged in frescos at the Oratorio dell’ Oca in Fontebranda of Sienna, where he illustrated three scenes from the legend of S. Catherine of Sienna, with considerable skill and animation. 3 1 The lower part and ornament are somewhat injured in the fresco compartment containing the an gel. The Virgin’s blue mantle is repainted. 2 The female handing a cup to S. Anna, is retouched, and the head particularly injured. Del Pacchia also painted a S. ISernardino in the same locality (Doc. Sen. III. 60). 3 S. Catherine cures Matteo di Cenni of the plague (too injured to give an idea of Pacchia’s style). Dominicans, assailed on the road by robbers, are liberated by S. Ca therine. In the foreground to the left, a Dominican is held by the head by two of the thieves. In the distance to the right, some friars are journeying on horseback, and nuns kneel in prayer. S. Agnes of Montepulciano, on the bed of death, is visited by S. Catherine, her foot being raised by miracle as the saint approaches to kiss it. Two females, kneeling on the left, are full of Jife and movement; and a fine feminine form, near this group, points to