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tained by a copious use of strong varnish in the oils, and a substance at once viscous, flowing, and difficult to model. Time dealt severely with this example, and what it has spared has suffered from restoring; but besides, Mariotto gave evidence of an extravagant fancy in the confused arrangement and strange dresses of the angels surrounding the apparition of the Eternal; thus casting into the shade the 'finer points made in the fair types of the Virgin and angel. The subsequent removal to a gallery where the effect of a low centre of vision is negatived by hanging “below the line” combines with other disadvantages to give Mariotto’s work an unfavorable aspect. 1 The circumstances under which he brought it, after incredible labour, to completion were such that a valuation by competent persons became necessary, and Pietro Perugino, Ridolfo Ghirlandaio, and Francesco Granacci, had to give their opinion before the price was finally settled. 2 In a more quiet and less fanciful mood, Albertinelli had occasion to furnish to S. Giuliano a “Trinity” 3 on gold ground, and an enthroned Madonna adored by two kneeling saints, which from thence have been transferred to the Academy of Florence. 4 1 Florence, Academy of Arts, Ga- lerie des grands Tableaux. No. 73. The glory has become quite black, and disharmony is increased by the flaying and repainting of the lower parts. 2 Vas. VII. 185. 3 Florence Academy. Galerie des grands Tableaux. No. 70. Wood, oil; the gold ground renewed to the detriment of some outlines. The face of the Eternal is fine, and well preserved; in type like one of Fra Bartolomeo’s in S. Romano at Lucca. Two angels at his feet are pleasing and reminiscent, as regards action and form, of the Raphaelesque. The arrangement is on the Frate’s principles; — the drapery broad; but the colour is of the same kind as in the annun ciation (Vas. VII. 183). In the Berlin Museum. No. 229. A round of the Trinity under Ma riotto’s name is very like the above in respect of arrangement, though more like a work of Granacci in touch and mode of colouring, 4 Florence Academy of Arts. Ga lerie des grands Tableaux. No. 72. Mentioned by Vasari (VII. 183). Wood, oil, figures life size. The Vir gin is enthroned with the infant be tween SS. John the Baptist, Julian, Dominick, and Nicholas. A bold handling here reminds us of the Madonna at the Louvre of 1506, with something akin toRidolfoGhir- landaio. The figures are firm and well proportioned, the chiaroscuro well defined, the colour a little bold.