works which Nelli, Gentile da Fabriano, and Piero della Francesca left in Urbino must have influenced his early impressions; and it is singular that nothing is said by them of these, and others who painted in the duchy, beyond the passing notice bestowed with little discrimination on all his contemporaries. The marked exclusion from this list of Justus of Ghent is plausibly conjectured by Passavant to indicate a professional jealousy of one who treasured as his secret the so-called oil painting brought by him from Flanders, and certainly never attained by Giovanni. Sanzi's manner partakes generally of the Umbrian character,--grave, reflective, self-possessed, without aiming at dramatic effect or artificial embellishment, yet not deficient in variety, or graceful expression. More severe than Perugino, he approaches the serious figures of Melozzo da Forlì, but subdues their naturalism by an infusion of devotional sincerity and simple feeling. He is partial to slender forms and delicately drawn feet and hands, but the contours are dark and hard, the flesh-tints dull and heavy, tending to cold gray in the shadows, and generally deficient in middle tints and reflections. His female faces are oval, often of a dusky complexion, and their foreheads singularly full. In the nude, he was in advance of his age, and in landscape he attained great proficiency. Pungileone enumerates about twenty of his pictures, many of them still in their original sites, and exhibiting considerable inequality of merit. But his _capo-d'opera_, and one of the most important monuments of Umbrian art, is the fresco in the Tiranni chapel, at S. Domenico of Cagli. In the recess over the altar is the Madonna, enthroned between two angels, in one of whom is understood to be portrayed the young Raffaele, then a child of eight or nine years old. At the sides stand Saints Peter, Francis of Assisi, Thomas Aquinas, and John Baptist. On the lunette above, Christ has just emerged from his tomb in the mountain rock: a glorious Deity, the conqueror of death, he bears in his left hand the banner of salvation, while his right is raised to bless a redeemed world, and scattered around lie six guards asleep, foreshortened in various and difficult attitudes. The vaulted roof displays a choir of angelic children, sounding their instruments and chanting songs of glory to the Saviour, who occupies its centre, holding the book of life: and on the external angles are small medallions of the Annunciation. There is, perhaps, no contemporary painting superior to this in grandeur of composition and stately pose of the figures; nor is it less admirable for novelty of composition and variety and ease of movement. The design is at once correct and flowing, and the expression, though fervid, oversteps not truth and nature. Passavant well observes that the breadth, vigour, and dexterous treatment of this painting proved its author to have been well practised in fresco, although but one other such work of