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the same, and so far from having been painted in 1302, was only erected after 1382, when Albornoz obtained the purple hat. That chapel is now called del Crocefisso and is covered, as Yasari truly says, with frescos representing incidents from the life of S. Catherine. One of the paint ings , in the vaulting of the arch leading into the chapel, is devoted to the Cardinal’s consecration by a Pope, at whose side S. Francis stands. The counterpart, on the vaulting at the other side, represents three bishops, amongst whom S. Louis is conspicuous. The compositions, as a whole, are the weak production of a third rate artist of the close of the fourteenth century, ill arranged, rudely executed, and patchy in colour; though as regards the latter defect, time may have helped to alter and darken the sur face. Some figures, taken separately, may be called ani mated and fair in movement; but the proportions are defective, and the outlines coarse. As to the chapel of the Maddalena in the same sanctuary of Assisi, it may he re membered that the frescos there have been described as productions of an immediate pupil of Giotto; and if it were proved that Buffalmacco executed them, as some assert, 1 then, instead of being the pupil of Tafi, he must have been the apprentice of a far greater master. The chapels of S. Caterina and of the Maddalena are by two different painters, one of whom flourished in the first, the other in the second half of the fourteenth century; one, formed on the manner of Giotto, the other, to be confounded in the ruck of common painters of which Italy might, at that time, boast a considerable number. The frescos of the Cappella Buontempi at Perugia are of another order altogether. The subjects are taken from the life of S. Caterina of Sienna, a holy personage, who lived from 1347 to 1380, and whose life can hardly have become a subject for pictorial delineation before the very close of the century. 2 Very few of the figures which adorned the chapel, now the bell room, remain; but remnants of a female in a white and black dress, of an elegant, and well pro portioned form, surmounted by a fine oval head of aquiline features, may still be seen. A natural and easy attitude — the saint holds her dress with the right and a key in her left hand — a broad style of drapery, remind the 1 See notes toVasari. Vol. II. p. 61. 2 Yet Rosini (Vol. II. p. 52) does not hesitate to give these figu res to Buffalmacco. Nay, he pre sents them engraved as a speci men of the painter’s art.