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Chap. XI. PERUZZI. 401 and other portable pictures. We might except the “Charity” in the Museum of Berlin, 1 but Peruzzi may have left much to his apprentices, when busy in more important under takings. 2 Of his return to Borne in 1535, when he gave himself exclusively to architecture, of his sickness and death in Jan. 1537, Vasari has a correct account. 3 Peruzzi lour hard, but of a rosy tone with sharply defined shadows. There is something Raphaelesque in the Virgin’s face, forms and move ment; the child is like those of Bazzi and Peruzzi. The hand ling, however, is not equal to the conception, and unworthy of Pe ruzzi. It seems like a production by an artist in possession of a de sign from the portfolio of a greater master. Della Valle finds an ap proach to the stylo of Pacchia- rotti. This is possible, if he can he supposed to have painted on the outlines of Peruzzi or Bazzi. The annotators of Vasari (XII. 50) de clare themselves in • favour of An drea Puccinelli, the regularity and softness of whose work, though not exactly his colour, may be found in the picture we are now considering. There were two broth ers Puccinelli, sons of a dancing master at Sienna, Andrea, of whose companionship with one Baptista di Fruosino, in 1507, there is a record (Doc. Sen. III. 32). In 1524, however, Andrea is in company with his brother Raf- faello, and they both paint a Bap tism of Christ for S. Giovanni of Sienna, appraised by Beccafumi and anotlier(ib- ib. ib.). The brothers came to Florence in 1525, Andrea being registered in the guild of painters, and Raffaello being men tioned by Vasari (XII. 50) as in practise there. The Baptism of Christ still exists in the Pieve of S. Giovanni at Sienna. It is remi niscent of the manner of Beccafu mi with more powerful shadows than those in the Virgin, child, and saints assigned to the same VOL. III. hand, in the Sienna Academy (No. 330, with a predella numbered331). There is no lack of regularity in the heads, the forms and move ment being quieter than one finds them amongst Siennese, and in this respect more in the spirit of the Florentines of the following of Mariotto Albertinelli. The colour, however, is washy, bringing ns back to that of Vincenzio Civer- chio’s creations (one of which with the date of 1525 is at Pallazuolo). The annotators of Vasari (XII. 50) register an altarpiece by Andrea, in the Oratorio della Chiocciola, near Sienna. There is a Holy Fa mily by him (No. 1205) at the TJf- fizi of Florence. 1 Berlin. Museum. No. 109. The name of Peruzzi is justified by the Siennese stamp of the picture, which, however, is also reminiscent of Del Pacchia. There is no trace of Peruzzi’s boldness or plasticity, hut rather an Umbrian prettiness, and something suggesting that school in the drawing of extremi ties and in the drapery. 3 Florence. Pitti. No. 345. Holy Family. This is a Siennese work without the exact stamp of Pe ruzzi. Venice. Seminario. Pene lope spinning. If not by Peruzzi, it is like him, and the name is not inappropriate. Dublin. National Gallery. Nos. 48, a Sybil, and 56, an allegory of Sculpture. These are very different from works of Peruzzi, and date from the seven teenth century. 3 Vas. VIII. 232. 3. 26