The "Madonna" in the Museum at Naples is a full-length figure standing on the clouds, surrounded by a mandorla of cherubs, flanked by six angels playing musical instruments, who recall those in the Buffalini Chapel. The group below of the apostles, St. Thomas kneeling in front, clasping the sacred girdle, is strongly reminiscent of Perugino, as in the background, where the favourite features of Fiorenzo have for once been abandoned. The "Head of a Boy" at Dresden must, I think, be an early work, when Perugino's manner was felt in all its freshness. Though the hair is hard and wiry, and not worthy of the rest, the _morbidezza_ and elastic plumpness of youthful flesh are given by very subtle modelling, and the moody, young face is treated with most delicate tonality. The landscape and receding distance and tall slender trees are in Perugino's style. The "Madonna and Child," in the National Gallery, I take to be a very early work. It is dry and thin, with a hard black line outlining the flesh, a peculiarity of which Pintoricchio is not often guilty. The landscape is hard and dull in treatment, and the expression of both Mother and Child is formal and precise. The figures and the Virgin's hands are stiff. It cannot stand comparison with the beautiful group in the Borgia Hall of Arts and Sciences, and hardly with the much more freely handled "St. Catherine of Alexandria, with a Donor," which hangs beside it. This last, probably painted during the early part of his stay at Siena, judging by the glimpses of scenery and the likeness of the St. Catherine to the maid in the fresco of the Baptistery, is good in colour, painted with a fuller brush and more viscous medium.