It is not our intention to give a catalogue of even his more important productions, although a large proportion of them were executed for the decoration of his native state, which his patriotism induced him to prefer to the splendid offers made him by foreign monarchs. Among those commissioned by his sovereign was the Calling of St. Andrew, finished in 1584, and presented to Philip II., that saint being patron of the Spanish order of the Golden Fleece. It was about the same time that Duke Francesco Maria dedicated to the Madonna del Annunziata, a chapel in the church of Loreto, which we have already mentioned as decorated in fresco by Federigo Zuccaro. Its altar-picture was committed to Baroccio, the subject naturally being the Annunciation. This was in all respects a labour of love, the theme being in perfect unison with his dulcet manner, and it was accordingly considered by himself his chef-d'oeuvre, a merit which, in the opinion of many, is shared by his Deposition, and, in that of Simon da Pesaro, by his Santa Michelina. Modern connoisseurs may decide between the first and last of those three great works, as they hang side by side in the Vatican Gallery, the former of them, and the Deposition, having been returned from Paris. The Annunciation is certainly a very favourable and pleasing specimen of the Baroccesque manner, but an eye versed in the criticism of sacred art must demur to the judgment of Bellori, who found maiden humility in the Virgin, a celestial air in the angel, and spiritual character in the tinting. The principal figure is the portrait of a young lady of the Compagnoni of Macerata, whose features are equally devoid of purity and of noble expression; the colouring, though delicately beautiful in itself, is meretricious in effect, transmuting flesh into roses; and the whole sentiment of the picture is anything but devotional. On the other hand, it is distinguished above a majority of his important works by unity of composition, although, like most productions of his age, the action is exaggerated and the details mannered. A copy in mosaic was sent to replace this favourite effort, which was often reproduced by the master and his pupils. A repetition of it was presented by Francesco Maria to the court of Spain, and another, left unfinished, remains at Gubbio. The Santa Michelina, protectress of Pesaro, was painted for the church of S. Francesco there, and exhibits a striking deviation from this artist's wonted style. A single figure kneeling on Mount Calvary in ecstatic contemplation, amid the war of convulsed elements, admitted of no paltry prettiness, and could scarcely fail to attain grandeur. There is, accordingly, in the breadth of composition, and in the prevalent low neutral tone, an approach to severe art, inducing us to overlook the fluttering draperies and girlish forms that belong to the master. [Illustration: _Anderson_ NOLI ME TANGERE