The only signed picture by this painter still in existence. He was a native of Cremona and worked there: he and his brother pleased the Cremonese so much by painting in the Town Hall that the artists were given an exemption from taxes. But he may be classed as a Venetian, for he was an imitator of Giovanni Bellini. This picture at once recalls Bellini's No. 280, and is in fact a copy of a Madonna by that painter in the Chiesa degli Scalzi at Venice. 287. LUDOVICO MARTINENGO. _Bartolommeo Veneziano_ (painted 1505-1530). The Martinengo family seems to have patronised this painter, as the Senator Count Martinengo, of Venice, possesses as an heirloom a small picture by the master which is signed "Bartolommeo mezzo Veneziano e mezzo Cremonese." The present picture (dated 1530) is signed "Bartolom. Venetus," so that he was perhaps a Cremonese by birth and a Venetian by artistic training, being probably a pupil of Giovanni Bellini (see Morelli's _Italian Works in German Galleries_, p. 138). A portrait of a young man, at the age of twenty-six (as the inscription tells us), in the costume of the Campagnia della Calza (the guild of the stocking). 288. THE VIRGIN AND CHILD, MICHAEL AND RAPHAEL. _Pietro Perugino_[133] (Umbrian: 1446-1523). Pietro Vannucci, a native of Castello della Pieve, was called Perugino, from the town of which he afterwards became a citizen. His earliest master was probably Fiorenzo di Lorenzo, and he is known to have also worked under Piero della Francesca. Afterwards he went to Florence, where, it is said, he studied with Leonardo da Vinci under the sculptor Verrocchio. There is, however, no trace of any such discipleship in his works, which, on the contrary, show an untouched development of native Umbrian art, so that Perugino becomes the typical representative of what Ruskin calls the "purist ideal." It is probable that his first visit to Florence was not paid till he was already established in independent practice. "He there remained," says Vasari, "for many months without even a bed to lie on, and miserably took his sleep upon a chest; but, turning night into day, and labouring without intermission, he devoted himself most fervently to the study of his profession." And in time he became himself a famous master, with Raphael for his pupil, and "he attained to such a height of reputation that his works were dispersed, not only through Florence and all over Italy, but in France, Spain, and other countries." He was himself too of a roving disposition, and he multiplied his engagements beyond his power of fulfilling them. In 1475 he received his first public commission at Perugia, but the frescoes then painted for the Palazzo Communale have perished. In 1480 he was employed by