The "Madonna and Saints" of the Louvre, which Mr. Berenson assigns to Pintoricchio, Dr. Steinmann believes to be by the same painter who helped him with the "Descent of the Spirit" in the Vatican. The heads certainly differ widely from Pintoricchio's type, but if we apply Morelli's test, the very peculiar left hand is reproduced line for line, in the Penelope of the Petrucci fresco. Notwithstanding, it is difficult to believe this to be a genuine work of the master. The little panel in the Pitti (the "Adoration of the Magi") is much too feeble to be anything but an imitation, and the Virgin and Child are entirely unlike his type. The others of his works which are not questioned are a "Madonna and Cherubs" at Buda-Pesth; "St. Michael," Leipzig; a "Madonna and a Crucifix" at Milan; "St. Augustine and two Saints" at Perugia. Mr. Berenson gives him a "God the Father" at Santa Maria degli Angeli, near Assisi, and (doubtfully), the "Portrait of a Boy" at Oxford. [Illustration: _Hanfstängl photo_] [_Berlin Gallery_ ST. AUGUSTINE, ST. BENEDICT, AND ST. BERNARD (From the Reliquary)] His last known work is the very beautiful little panel in the Palazzo Borromeo at Milan. This was painted at Siena in the last year of his life, and is full of force and colour, glowing like a jewel. The background has an interesting effect of distant sunset behind trees and mountains; all the notice is concentrated on the red-robed figure and white cross of the Christ. The greens of the ground and the lengthening shadows give a more than usual depth and harmony. The group behind is confused and less well-drawn, but the peasant leading the way is evidently a study from life. On the arabesque in which the painting is set is a cartel inscribed with name and date. [Illustration: _Private photo_] [_Picture Gallery, Siena_ THE CHRIST-CHILD AND ST. JOHN THE BAPTIST (From the Holy Family)] * * * * *