=*=192. _Giotto._ St. Francis receiving the Stigmata. A genuine picture, painted for the saint’s own church of San Francesco at Pisa; one of the earliest representations of this subject, often afterwards copied. Christ, as a six-winged seraph, red-feathered, appears in heaven to the Saint; rays proceed from his five wounds to the hands, feet, and side of St. Francis, which they impress with similar marks. A mountain represents La Vernia; two tiny buildings, the monastery. Compare with this subject two smaller treatments in the same room, both on the lowest tier: one, to the L as you go towards the door, 431, of the school of Perugino, where an attendant Brother (Leo) is seen astonished at the vision; the second on the R, 287, attributed to Pesello, and closely similar in treatment. Careful comparison of these pictures will serve to show the close way in which early painters imitated, or almost copied one another. The base (or predella) of the Giotto also contains three other subjects: Innocent III, asleep, is shown by St. Peter the falling church sustained by St. Francis; he confirms the Franciscan order; St. Francis preaches to the birds. All very spirited. Notice these little pictures for comparison later with others painted in the Dominican interest by Fra Angelico. Continuing along L wall are some small pictures of the Sienese school, which should be carefully examined. (Do not suppose that because I do not call attention to a picture it is necessarily unworthy of notice.) Most of these little works breathe the pure piety and ecstatic feeling of the School of Siena. =**=426. _Perugino._ Tondo, or round picture; the Madonna Enthroned; L, St. Rose with her roses; R, St. Catherine with her palm of martyrdom; behind, adoring angels. An exquisite example of the affected tenderness, delicate grace, and brilliant colouring of the Umbrian master, from whose school Raphael proceeded. An early specimen. Observe the dainty painting of the feet and hands, which is highly characteristic. Beneath it, 1701, _Gentile da Fabriano_. Presentation in the Temple. Look closely into it. A delicate little example of the Umbrian rival of Fra Angelico. The arrangement will explain many later ones. Every one of the figures and their attitudes are conventional. 427. _Perugino._ Madonna and Child, with St. John Baptist and St. Catherine. The introduction of St. John shows the picture to have been probably painted for a Florentine patron. Not a pleasing example. Beneath it, _Vittore Pisano_, characteristic portrait of an Este princess, in the hard, dry, accurate manner of this Veronese medallist, who borrowed from his earlier art the habit of painting profiles in strong low relief, with a plastic effect.