The lunette opposite this is one of the happiest of the series--"The Visit of St. Anthony to Paul the Hermit." Beneath a rough natural stone archway in which the hermitage is concealed, its presence indicated by the bell which the hermit uses to call himself to prayers, the two saints sit, sharing the loaf of bread which has been brought by the faithful raven, which flies away on the left. Close to St. Paul two disciples in white robes contemplate the edifying conversation, behind St. Anthony are grouped three women, richly dressed. They advance with half-closed, wanton eyes, and by the little horns on their fashionably dressed hair, their bats' wings, and the claws peeping out from under their flowing skirts, their demoniacal character is betrayed. The last of the group, with head thrown back and hands resting on either side of her waist, is a very original and beautiful figure. The face and hands of St. Anthony are strongly drawn and the robes finely draped. In the hermit, dressed in the legendary garment of palm leaves, and in the very inferior figures of disciples, the hand of an assistant may be seen. The latter recall Signorelli, without his force and freshness. [Illustration: _Anderson photo_] [_Borgia Apartments, Vatican, Rome_ ST. ANTHONY AND ST. PAUL--HERMITS] In "The Visitation," which fills the remaining space on this side, we have one of those sweet, home-like narrative paintings so dear to Umbrian art. The Virgin and St. Elizabeth, dressed in the long conventional blue and green draperies, clasp hands in the foreground, the Virgin with downcast eyes, the saint with the searching gaze prescribed by tradition. Behind them, St. Joseph leans on a staff, and a procession of children and pages follows: a girl with graceful swathings of scarf and sleeve carries a basket of fruit upon her head, and with a child at her feet, is distantly reminiscent of certain figures by Botticelli in the Sixtine Chapel. The smiling landscape, across which the visitors have journeyed, is seen through a perspective of elaborately drawn and decorated arches, on which some of those drawings of grotesque ornamentation can be discerned. On the right, in the shadows of the arcades, is a delightful group, one of those bits with which Pintoricchio gives interest and charm to his compositions. Zacharias, who is as yet unaware of the arrival, leans in an angle, absorbed in a book. On the ground a group of women, young and old, are occupied in spinning and embroidery; at the back another graceful figure twirls a distaff, and a child plays with a dog on the ground in front. In some of the secondary parts of the execution of this, Schmarsow sees the hand of Pintoricchio's best scholar. The architecture has nothing of the Umbrian style, but shows the hand of one to whom the Lombard decoration, with its terra-cotta work, is familiar. The whole of the fresco is more broadly painted, the draperies in large, broad folds, the