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Same Gallery, originally in S. Lucia of Montepulciano. No. 1298. Predella, containing the Annunciation, Nativity, and Adoration of the Magi — a fine original. Florence — Galleria Lombardi, once belonging to the Albergotti fa mily at Arezzo. A Virgin and child, with four angels above the group — a feeble production, so much below the mark of the mas ter, that we might believe it executed by a pupil. Florence — Galleria Torrigiani. No. 8. Magnificent life size portrait of a man in a red cap and vest, three quarters to the left. It is described as a portrait of Signorelli himself, but seems to be that of a person of higher condition. It is very broadly modelled, a little grey in tone, and is one of Signorelli’s Florentine creations. An antique arch adorns a distance to the right. In front of it are two nude figures, one of which leans on a staff. The red cap is a little restored. Milan — Brera. No. 93. Round (wood). The Virgin, child, and angels, in Signorelli’s softer mood, as illustrated in the altarpiece of Arcevia. Finely and carefully drawn, and copiously ornamented with gold. Altenburg (in the Saxon Duchy of that name) — Town Museum, bequeathed by the late Herr von Lindenau. Five parts of a pre della by Signorelli (wood), representing: No. Ill, Christ on the Mount; No. 112, the Flagellation; No. 113, the Crucifixion; No. 114, the Entombment; No. 115, the Resurrection. This predella is said to have been originally at La Fratta near Perugia. The subjects are slightly but rapidly handled, in oil. The figures generally are Herculean. The movement of the Christ in the Resurrection is bold, as in the later works of Michael Angelo, and the scourgers in the Flagellation are remarkable for the coarse energy of their action, and the vulgar development of muscular strength. Same Gallery. Not numbered. Four small panels, in the form of pointed niches, about one foot high, containing each a saint — SS. Bernardino, Louis of France, and two females of the Franciscan order. These are painted in oil, in the style of the foregoing, and were perhaps part of the same altarpiece. Paris — Louvre. No. 402. Predella, representing the Virgin’s birth. This is one of the best examples of Signorelli. The compo sition is fine; the figures are dignified without mannerism. Paris — Louvre. Musde Napoleon III. Ex-Campana. No. 163. Adoration of the Magi, rude; said to have been (see Catal. of Ex- Campana Collection anno 1859) commissioned in 1482 for S. Agostino of Cittk di Castello.
