grotesque, and perhaps there is something of that aloofness which the deafness, which led to his nickname, so often gives. [15] In the group of Apostles in the "Assumption" at Naples is one, the fifth on the left, which he is said to have meant for himself, but it is less characteristic than those already noticed. That he was a lovable man is, I think, evident. We hear of no quarrels with his fellow-artists; Perugino secured him some of the best positions in the Sixtine, Signorelli was his child's sponsor. He had clearly the art of managing his assistants, who everywhere worked intelligently under him. With Fiorenzo his artistic relations must have been of the closest. Pope Alexander valued him, and Cæsar's mention is an affectionate one, while the letter of Cardinal Baglioni is full of friendliness. Besides this, few things are more interesting in the history of artists' friendships than the close confidence and affection which all study of the frescoes at Siena convinces us existed between him and the young Raphael. Sigismondo Tizio, in his MS., gives his opinion that Bernardino surpassed Perugino as a painter, but that he had less sense and prudence than Vannucci, and was given to empty chatter. A small number of Pintoricchio's works cannot be dated, and we must be satisfied with mentioning them, and considering the times at which they might have been produced. His name is written variously in the documents of the time. In the grants of land signed by Cardinal Camerlengo, it is Pentoricchio, and Pentorichio on the fresco of Geometry in the Borgia rooms. Cardinal Baglioni writes it Pintorichio. In Grania's petition it appears as Pinturicchio. He himself signs his last picture, the "Cross-bearing Christ" in the Palazzo Borromeo, Pintoricchio, and to this form I have adhered. In the documents he is usually styled Messer Bernardino. CHAPTER II DERIVATION AND CHARACTER OF HIS ART Umbria is a land of late development in the history of Italian painting, and of a sharp division in the character of its art. No town of the importance of Siena, second only to Florence, held sway in that part of Italy, nor do we find any name in its early history which we can place side by side with Giotto, Orcagna, or Duccio di Buoninsegna. It is difficult to account for this: the Umbrian plains were indeed ravaged again and again with blood and carnage, were seized upon, now by this party, and now by that; but all acquaintance with the art of the Renaissance bears in upon us that art as a rule only flourished more strongly when fed by war and ruin. One tyrant after another, as he rested from his conquests, became the patron of the painters. Pictures were painted to immortalise great victories, the altar-piece upon which the fame of Duccio chiefly hangs, was ordered by the Consiglio of Siena as a thank-offering to the Virgin after the battle of Monte Aperto.