Down to recent years Pintoricchio was quite overlooked or treated with contempt, and for the purely scientific school he has still little merit. He certainly is not able to inspire that sort of interest that we feel in painters who worked, looking backward to see what had been done, and forward to discover what yet remained to do. We do not strive with him and triumph with him over defeated difficulties. He was a craftsman, as were all artists worthy of the name at that day, and his work is always painstaking and adequate, with nothing sloppy or careless in its execution; but painting as a craft, with its secrets and its possibilities, was not his first object, so that, without being able to divide his work into any distinct periods, we find that his earlier life, when he was still learning, was on the whole the time when he was most successful in the artistic sense; and in such frescoes as the "Journey of Moses" and the "Life of San Bernardino" he gives promise of an excellence which is not afterwards adequately realised. He was an illustrator, and as such, perhaps, never touched the highest side of painting. We find in him the natural tendency of a decorator who undertakes large commissions as a matter of business, to repeat forms and situations; yet, with every temptation to mechanical treatment and repetition, it is the true artist in Pintoricchio which saves him from becoming monotonous. To the very last, as in the "Return of Ulysses," or the "Holy Family" at Siena, his invention and fancy are alert, varying every accessory, displaying a freshness and an enjoyment in his creations which are irresistibly attractive. In all his illustration the lyric faculty is his. He follows the lives, the history, the fashions of his time with minute persistence, but always with some charm added to prosaic actuality. He is to painting what the ballad-singer is to poetry: slight, garrulous, naïve, infectious, he has a haunting melody of his own, and through his eyes we watch the widening of one aspect of that golden day. Ruskin speaks of the value to us of the impression made by a scene upon the mind of the artist; it is the impression stamped by the strange and enchanting grace of that world of the Renaissance upon one man, and handed on by him with spontaneity and undoubting delight, which is so precious to us in his work. CATALOGUE OF THE WORKS OF PINTORICCHIO ARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY ARE CONTAINED NOTE Where numbers are given thus [No. 6], they are the numbers of the Catalogue of the Gallery. These cannot, of course, be guaranteed, as alterations are not infrequently made in the arrangement of the pictures. No pictures have been included, other than those which the author accepts, save in two well-known cases on pages 160 and 161. CATALOGUE OF WORKS Except when in fresco, the paintings are all in tempera on wood. AUSTRIA-HUNGARY BUDA-PESTH.