In the obscure little town of San Severino in the Marches, we find another altar-piece which was probably produced about the same time. No record of its acquisition is to be found in the archives of the cathedral, though an accurate account is kept of commissions executed about this period by Bernardino Mariotto, and others. It is remarkable that, considering Pintoricchio's fame in his lifetime, such a possession as an altar-piece from his hand should have remained unchronicled. It seems most likely that it was produced at Perugia, and found its way later to its present position in the sacristy. However this may be, we must rejoice over this unmistakable and charming example of his art, well preserved and not very much retouched. It is the least known of all his pictures; it has only recently been photographed, and, from the position of San Severino, far off the beaten track, is not easily visited. [Illustration: _Private photo_] [_Duomo, San Severino_ THE MADONNA AND CHILD, WITH ANGELS AND A DONOR] The "Madonna della Pace" wears a blue mantle lined with a rich shade of green, and a rose-red dress. She bends over the Child, who, clad in white with a grey and gold drapery, stands on a little cushion on her knee. He holds a transparent glass ball in His left hand, and with the other blesses the donor, who kneels on the right, dressed in a scarlet robe. An angel with hands crossed on the breast bends towards the Child, while another stands with folded hands behind the Mother. Behind is a spring landscape, a town, and the usual rocky archway with a cavalcade passing under it. The face of the Madonna in this painting is indescribably soft, young, and tender (even a good photograph does not do it justice). The face and figure of the Child are full of expression; the angels are exquisite types, reminding us of Lorenzo di Credi. The Cardinal-donor is a man in the prime of life, with a firmly-drawn face, brown complexion, and strongly-marked features. The face is rendered with great care, the vein in the temple, every mark and wrinkle, the neck of one past youth, are observed, and as a portrait the head compares well with the painter's best efforts. The colour of the panel is gay yet tender. The faces have an exquisite transparency, with melting shadows. The face of the angel in the background is entirely in luminous shade. The little landscape is delicately finished. The fine, decisive drawing, and the feeling, simple and unstrained, show Pintoricchio at his best. In retouching, the face of the donor has been thrown out against a dark ground, which somewhat impairs the effect.