The scene on the opposite wall of the "Baptism of Christ" is much fuller of figures than the "Journey of Moses." Separated incidents are more largely made use of, in the archaic mode which the artists of the Renaissance soon after this abandoned. That the central figures are a copy of Perugino's "Baptism" at Rouen need be no argument that the latter had an active share in it himself. The angels overhead are the same that Perugino and all his school have reproduced many times, and this interchange or imitation was merely a proper compliment between master and pupil. Pintoricchio here owes no more to Perugino than the latter does to Verrocchio, of whose "Baptism," in Florence, with the angels kneeling by, we are strongly reminded. St. John is a type of great freshness and individuality: the long lean form has simplicity and directness of action, the shape of hand and foot, the blacker and more angular draperies, are all unlike the master and like the pupil. St. John pours the water with a painstaking, literal intention. In the frescoes by Perugino at Foligno and at Rouen, his eyes are raised, his body thrown gracefully on one side, and the little cup is raised aloft with a sort of symbolical wave, while the contemplative angels kneeling around are very unlike Pintoricchio's prim little attendants. In the groups in the background on either hand, listening to the preaching of the Baptist and the Saviour, only one, the St. John on the left, with head raised and inclined and hand on breast, reminds us at all of Perugino. We have a great many of the figures the younger master is so fond of, turning their backs and enveloped in the voluminous folds of great cloaks--a _motif_ which is not common with Perugino, but which Pintoricchio makes lavish use of in the Libreria, and which he derives from Fiorenzo, who often brings it in. Here we find the seated woman, for which he has left the drawing, who, with the children clinging to her, looks up and listens to the Baptist on the right, and who, in her gracefully swathed garments, is beautiful enough for the pencil of Botticelli or Agostino di Duccio. We also find a study for the nude figure at the back with outstretched hand. These nudes are among Bernardino's few attempts at anatomical drawing, to which he never takes kindly. We cannot say that they show much real acquaintance with form, though it is evident that they are from the living model, which at this time he was faithfully seeking to render. Many of the portraits are admirable. It would be difficult to find stronger, more satisfactory heads, more solid in drawing and more full and interesting in expression, than three or four of the heads in the group standing a little way behind Christ, or the old man grasping his napkin on the opposite side, in whom Dr. Steinmann suggests we see the Pope's brother-in-law, Giovanni Basso della Rovere, who died this year, and whose shrewd features and close shut mouth we recognise again in his