Another thoroughly satisfactory work is the little panel painted for the nuns of Campansi, and now in the Accademia at Siena. It is a small _tondo_, in the painter's most naïve and charming manner. Joseph and Mary sit side by side, in a flowery meadow. He holds a barrel of wine and a loaf. She has a book on her knee, but is turning to speak to the two children--St. John in his little camel-hair garment, and the Christ-Child dressed in a white dress falling to the feet. The two children are represented arm-in-arm, carrying books and a pitcher, and are wandering away from the side of their elders. So poetic and innocent is their aspect, they recall the old legend of the little St. Teresa and her brother going out into the world to seek martyrdom. The figure of the Divine Child, with long fair hair falling round the face, and exquisitely drawn baby hands and feet, is one of the sweetest imaginable. Mary's head is uncovered--a very rare variation with Pintoricchio. The folds of the draperies are unusually large and simple. The composition, the delicate restraint of gesture, combined with natural feeling, are very striking in this delightful little painting. Dr. Steinmann reminds us that Raphael may have seen it when he visited Siena, and it may be remotely responsible for his Madonna groups, seated in the fields, the idyllic feeling of which it certainly foreshadows. [Illustration: _Hanfstängl photo_] [_National Gallery, London_ THE MADONNA AND CHILD] In the "Reliquary" at Berlin, the figures of the saints are too short. The heads are of a type which had become rather hackneyed, but the angels are lightly and crisply drawn, and it is a solid little work. The other panel at Berlin, a "Madonna and Child," is not ascribed without dispute to Pintoricchio. Neither the face of the Mother nor the figure of the Child recall his manner, and while it is most unusual for him to paint the Virgin's head without the shading veil, the hair here is dressed in the Italian fashion of the time, as nowhere else in his works. The Child's feet and the Mother's hands, however, essentially remind us of Pintoricchio; the draperies have his lines, and the gouged-out folds we find in some of his later panels, and we see the peculiar, dainty touch of fingers, holding Child and globe as if they were eggshells.