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the Louvre, which certainly has something of Bugiardini, though feeble even for him, and of a hard dull reddish tone. 1 A letter of Giovan Battista di Paolo Mini, dated Sep tember 29. 1531, addressed to Baccio Valori, tells of a visit from Michael Angelo to Mini together with Bu giardini; and a second, interchanged between the same persons in the following October, mentions the Rape of Dinah, which Giuliano was then finishing from a design by Fra Bartolommeo. 2 The picture is now in the Belve dere at Vienna; and done clearly from the Frate’s sketch, but without style or harmony of colour, 3 and far less successful than the Martyrdom of S. Catherine taken about the same time from a composition of Michael An gelo’s for the Cappella Rucellai at S. Maria Novella of Florence. It is a pity, indeed, that so grand a distribu tion, one so complete in the relation of the groups to the architecture, should be marred by the want of power ex hibited by Giuliano. 4 Few of Bugiardini’s panels or canvasses in addition to those we have mentioned remain to be noticed. We mark one in the Casa Susanni at Mantua, 5 others in the Co- the historian Guicciardini (circa 1634 ? Vas. ib. 349). These are all missing, as well as the frescos at Baccio Valori’s country-house and other things too numerous to men tion (Vas. X. 347, 348, 349, 360). We have seen that he restored the four battle pieces of Uccelli at Gualfonda (see antea). 1 Louvre. No. 526. A white hand kerchief is on the head, inscribed: “Micha. Ange. Bonarottanus. Flo- rentinus sculptor, optimus anno AStatis Suse 47” (ergo done 1522). The style is that of a man anxious to work in M. Angelo’s way, hard in drawing, dull red in light; inky in shade, surface smooth as in Bronzino and Pontormo. 2 This correspondence is in Gaye Carteggio II. 228 and foll s . 3 Vienna Belvedere. Venez. Sell. Zim. II. No. 2. 28 figures, wood, oil, of glassy colour, very feeble and with little of Fra Bartolommeo left. 4 The panel is on the wall to the left of the entrance, the figures large as life. Vas. (X. 351) assigns the drawing of the foreground fi gures to Michael Angelo. The whole composition seems his. The saint remains magically in air be tween the wheels in the midst of the court, where the crowd of people and soldiers lie prostrate. Above a screen balcony, the angel appears; and on the balcony and at the win dows of the palace looking on to the court are frightened spectators. This is the most important of Bu giardini’s works. The figures are slender and full of movement. The surface of colour smooth as marble and now of sombre tone. 5 Virgin, child, youthful Baptist and an angel, wood, called Fran-