492 THE FIFTEENTH CENTURY. Chap. XIV. surface lias also been deeply damaged by retouching. The painter seems to be Sogliani or some other imitator of the same sort. S. Petersburg. Prince Gortscliukoff. Round of the Virgin, child, infant Baptist, and two female saints. Wood, oil. The composi tion, after the fashion of the Frate, the forms and faces reminis cent of Raphael; the young S. John heavy and grotesque. The want of feeling and other features here betray Andrea del Sar to’s pupil Puligo. London. National Gallery. No. G45. Virgin and child, once in possession of Mr. Beaucousin in Paris, like a Mariotto, but possibly by Sogliani when imitating Fra Bartolommeo. Paris. Ex-Pourlal'es Gallery. Wood, oil. Virgin, child, the boy S. John, and S. Joseph in distance. Named Albertinelli. This is a rudely executed adaptation of Mariotto and Fra Bartolommeo by Sogliani. In the number of Mariotto’s pupils Vasari names Vi sino, whom elsewhere he has called a disciple of Francia Bigiod Amongst his performances the historian mentions one “of Christ taken from the cross together with the thieves, in which there is an ingenious and intricate ar rangement of ladders”. 1 2 This description points to a panel now in the Galleria del Seminario at Venice, 3 not unlike the joint “Descent from the Cross” by Filippino and Perugino, but carried out v with a view to emulate Andrea del Sarto and Michael Angela. Visino thus proves how an inferior talent assumes the garb of better ones, with a strange diversity at various periods. A Virgin and child, classed not improperly as Pon tormo in the Academy of Arts of Bologna, but attributed by many to Visino or Bugiardini, is another example of the mixture above noted. There is something of the Mi- chaelangelesque, a little of Fra Bartolommeo, more of del Sarto, particularly in tone. The authorship may therefore be the same as at Venice. But Visino is not 1 Vas. VII, 187. 8. j 3 14 figures under the bead: 2 lb. ib. ib. I “School of Perugino.”