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and saints of 1447 in the gallery of the Uffizi, and the ascension of the Virgin, with four holy attendants, on one of the altars of the Duomo of Pienza. The former has been injured by partial retouching, but contains in its pilasters some slender and fairly thrown personages, after the manner of Domenico di Bartolo, 1 whilst the latter, one of the best examples of Vecchietta, seems to date from the same time, and comprises, amongst the heavenly choir accompanying the Virgin, some not un graceful angels. 2 Vecchietta’s productions were now so highly valued at Sienna, that in March 1460,’the supreme government took upon itself to address Messer Goro Loli Piccolomini with the prayer that he might recommend the “singular talent” of Lorenzo di Pietro to Pius the Second, as the most fitted to superintend the rebuilding of the Papal lodge at Sienna. 3 Pius, however, had perhaps less confidence in the artist’s powers than the lords of Sienna. Perhaps he did not believe that the author of the Pienza altarpiece could turn out a great architect. Certain it is that he preferred Agostino di Federigo. 4 This contempt of his claims irritated or discouraged Vecchietta; and he formed the resolution to abandon his country for ever; whilst at the same time the members of the Siennese council apparently felt that they had been slighted by the Picco lomini. We may conjecture, at least, that such was the course of events, because, Agostino di Federigo, who had 1 The Uffizi altarpiece (No. 27, corridor) is in a modem frame, and an inscription, repainted (it is said on the old one), run» as fol lows: “Opus Laurenti Petri Se- nensis, 1457. Questa tavola l’ha fatta fare Giacomo d’Andreuccio Setajuolo per sua divozione.” The figures are life size. To the right of the Virgin and child are SS. An drew and Lawrence and the kneel ing Dominick; to the left, SS. Bar tholomew, James, and a kneeling king. Four small saints are in the pilasters. Some heads, that of S. Lawrence for instance, are new. 2 The Pienza altarpiece, a gable, represents the Ascension, with SS. Pius, Agatha (part of her blue dress scraped off), Calixtus, and Catharine. It is signed: “Opus Laurentii Petri sculptoris de Se- nis.” The colour is light and flat, and much gold or painted orna ment is lavished in every part. The figures are 3 / 4 life size. 3 Doc. Sen. II. 308. 4 lb. ib.