_After the picture by Baroccio, once in the Ducal Collection at Urbino, now in the Uffizi Gallery, Florence_] Rome possesses by a better title three other pictures deserving the notice of those who desire to appreciate Baroccio. The Presentation of the Madonna (1594), and the Visitation, adorn the Chiesa Nuova, where the latter is said to have often inspired S. Filippo Neri's devotions; the Institution of the Sacrament according to the Romish rite, in the church of the Minerva, was a present from the Duke of Urbino to Clement VIII., who conferred upon the painter a gold chain. It is related that, in the original sketch, Satan was introduced, whispering treason into the ear of Judas, but was afterwards omitted, in deference to his Holiness's opinion, that the Devil ought not to be represented as "so much at ease in the Saviour's presence." On occasion of the same Pontiff's visit to Urbino, in 1598, he received from his host a golden vase for holy water, beautifully chased, with a painting by Baroccio at the bottom, wherein the infant Christ, seated on the clouds, gives the benediction with one hand, and supports the globe with the other. This charming miniature so delighted the Pope, that he had it removed from the benitier, and affixed to his daily office book. The Cathedral of Urbino contains the latest of his great church pictures, representing the Last Supper, as well as the St. Sebastian, one of his early works, and it is interesting to contrast their respective styles. The St. Sebastian was commissioned for 100 florins in 1557, whilst the inspirations of Rome still hovered over his palette, and imparted vigour to his already Correggesque manner. This hackneyed and generally harrowing subject is treated with pleasing novelty, the group consisting of the saint, a graceful figure bound to a fig-tree, an imperious judge who has condemned him, and a brawny archer who carries the sentence into effect, whilst the Madonna and Child appear on high to support the martyr's faith and hope. In the Cenacolo, the fair promise of that able production is sadly abandoned: all those great qualities of his predecessors, which he began by happily imitating, are there replaced by extravagance, and even harmony is absent from his multifarious tints. Of his innumerable minor works we cannot pause to take note, and he scarcely ever painted in fresco. It is remarkable that, although his manner was, even in its defects, well suited to the voluptuous character of mythological fable, and to many a scene of mundane grandeur, he limited himself to sacred representations, almost the only exception being portraits. Of the latter, his most successful is Duke Francesco Maria, in rich armour, as he returned from the fight of Lepanto; it has been deservedly honoured with a place in the Tribune at Florence, and an equally beautiful repetition adorns the Camuccini collection at Rome.