was his early guide. [Footnote *140: We do not know who Perugino's Perugian master was; but it was more likely to be Fiorenzo di Lorenzo than Bonfigli.] [Footnote *141: There is no trace of Masaccio's influence in Perugino's work. He was influenced by Signorelli, and slightly by Verrocchio.] * * * * * Let us turn to Urbino. Lanzi tells us that Giotto, Gentile da Fabriano, and their respective followers, left works in that little capital; where Pungileone has shown that Ottaviano Nelli exercised his profession from 1428 to 1433, and Paolo Uccello of Florence in 1468, with other artists detected by the same zealous antiquary. Of such works, however, nothing can now be traced. The oldest paintings I could discover there were those in the oratory of St. John Baptist by Lorenzo and Giacomo di San Severino, Lanzi's blunders regarding whom have been corrected by the Marchese Ricci. The principal composition is the Crucifixion, with a dramatic action influenced by Giottesque feeling: the three other walls seem to have been occupied by a history of the titular saint, two passages of which are almost destroyed. Those remaining, though not exempt from retouching, are sufficiently preserved to enable us to detect a masterly and novel arrangement, and a character of devotion more consistent with the Umbrian manner, though marred by hard colouring. The date 1416 is added to the painter's epigraph. We learn from an old chronicle that Antonio da Ferrara painted the Montefeltro chapel in the church of S. Francesco in 1430, a fact scarcely reconcileable with Vasari's assertion that he was a pupil of Angelo Gaddi. He is also said to have executed an _ancona_ for the church of S. Bernardino, portions of which may probably be recognised in some figures still in the sacristy. In that of S. Francesco at Mercatello, among several memorials of a similar period, are {1843} two frescoes characterised by grand design, ample draperies, and full colouring, but deficient in delicacy. The _lunette_ of the marriage of St. Catherine outside the door is somewhat later, and very superior, and may be from the pencil of Pietro della Francesca. Of none of these works, nor of two good panel pictures in the same church, have I been able to find any account. In the hospital of S. Angelo in Vado is a panel altar picture in utter ruin, which has possessed surpassing beauty. The martyrdom of St. Sebastian is there powerfully conceived, and executed with the finest feeling. The inscription seems to have been, _Hieronymus Nardia Vicentis fecit_; the date probably towards the close of the fifteenth century. Such is the beggarly account we have to offer of early art in the country of Raffaele, and thus might we dismiss the speculations of those who would fondly trace its primary influences on his dawning genius.