If really by Perugino,[104] this must be one of his early works. It is painted in _tempera_. The Flemish process of oil-painting found its way to Venice, where Perugino is known to have been in 1494, and where he probably learnt it. The superiority of the new method may be seen in a moment by comparing the cracked surface and faded colours of this picture with 288, which was painted when Perugino had obtained complete mastery over the new medium, and which is still as bright and fresh as when it was painted. The style of this picture is, however, thoroughly Peruginesque. It is interesting to compare the Umbrian type of the Madonna--innocent and girl-like, with an air of far-off reverie--with the types of other schools. The Umbrian Madonna is less mature, more etherealised than the Venetian. She is a girl, rather than a mother. Therein she resembles the Florentine type; but an air of dreamy reverie in the Umbrian takes the place of the intellectual mysticism of the Florentine. In Perugino "the Umbrian type finds its fullest and highest representative. Dainty small features, all too babyish for the figures that bear them; a mouth like a cupid's bow; a tiny and delicate chin; eyes set well apart, with curiously heavy and drooping lids; faint pencilled eyebrows; a broad smooth forehead,--these are the main elements in Perugino's Madonnas" (Grant Allen in the _Pall Mall Magazine_, 1895, p. 620). 184. PORTRAIT OF A YOUNG LADY. _Nicolas Lucidel_ (German: 1527-1590). Lucidel (a name which is supposed to be a corruption of Neufchatel) studied painting at Antwerp, and afterwards settled at Nuremberg. This picture, dated 1561, was formally ascribed to Sir Antonio More and supposed to represent Jeanne d'Archel; but it reveals (says the latest edition of the Official Catalogue) "in its style and its Upper German costume, the handiwork of Lucidel." "The picture is much obscured," says Sir Edward Poynter, "by a coarse brown varnish. A beautiful example of this master, in the collection of Lord Spencer, is remarkable for the purity of its colour, and doubtless this portrait had originally the same qualities" (_The National Gallery_, i. 294). 186. PORTRAITS OF JAN ARNOLFINI AND HIS WIFE. _Jan van Eyck_ (Early Flemish: about 1390-1440).