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certain measure with the scene. His pose, as well as his playing, form a discord in the harmony. But for this, the result would be better. Yet as a whole the panel is one of the most pleasant by Raffaellino, very conscientious and cleverly touched, and full of freshness in every part. 1 In a round of the Virgin and child between SS. Jerom and Francis at Dresden, Raffaellino has expended less application 2 than in those of the Berlin Museum. But the Coronation of the Virgin, once in S. Salvi of Flor ence, and now at the Louvre, is a first-class altarpiece which would completely illustrate the relation of del Garbo to his master if time and restoring had not dimmed and injured the surface. Yet, the large size of the figures still demonstrates his inferiority in the technica, and in the overstudied grace which robs his personages of na tural charms in form, expression, or movement. 3 Without extending an examination which cannot bring out new features in Raffaellino, it may be sufficient to register his pictures’ at Florence, on the continent, and elsewhere, and to note that towards the close of his days he was reduced to great penuriousness, and sold the pro ceeds of his labour at low prices. He died infirm and poor, in 1524, and was buried in S. Simone at Florence by the charitable care of the Company of Mercy. 4 Florence. S. Ambrogio. To the left of the entrance, the arched upper border surrounding; a statue of S. Sebastian contains two angels in monochrome; and a medallion at the base incloses an annunciation in Raffaellino’s manner. On the second altar to the 1 Berlin. Museum. No. 90. Round (wood, tempera, small). 2 Dresden. Gallery. No. 3G. Round (tempera, wood, half life size). The S. Jerom is the best figure, the others being perhaps by one of Raffaellino’s pupils. 3 Louvre. No. 200. Arched at top, tempera, wood, life size. Four angels play instruments about the circular glory, beneath which there are three cherubim. On the fore ground, SS. Benedict, Salvi, Gio. Gualberto, and Bernard. The blues are everywhere abraded, and the draperies are throughout damaged. The lower parts are the least pre served. The predella (scenes from the life of S. Giovanni Gualberto) is missing. 4 Vas. VII. 196, and Tav. alfab. ub. sup.