Vasari has added to the life of Pinturicchio that of Girolamo Genga, of Urbino, at first a scholar of Signorelli, afterwards of Perugino, and who remained some time pursuing his studies in Florence. He was, for a long period, in the service of the Duke of Urbino, and attached himself more to architecture than to painting, though, in the latter, he was sufficiently distinguished to deserve a place in the history of art. We cannot form a correct judgment of him, as a great part of his own works have perished; and as he assisted Signorelli in Orvieto and other places; and was assisted by Timoteo della Vite in Urbino, and in the imperial palace of Pesaro by Raffaelle del Colle, and various others. In the Petrucci palace at Siena, which now belongs to the noble family of Savini, some historical pieces are ascribed to him near those of Signorelli. They are described in the Lettere Senesi, and in the notes published at Siena to the fourth volume of Vasari. These pieces are praised as superior to those of Signorelli, and as in many parts approaching the early style of Raffaello. Nor do I see how, in the above mentioned letters, they could be supposed to be by Razzi, or Peruzzi, or Pacchiarotto, "_in their hard dry manner_" when history assures us that Girolamo was with Pandolfo a considerable time, which cannot be asserted of the other three; and as it appears that Petrucci, to finish the work of Signorelli, selected Genga from among his scholars. If we deprive him of this work, which is the only one which can be called his own, what can he have executed in all this time? In this house there is no other picture that can be assigned to him, although Vasari asserts that he there painted other rooms. A most beautiful picture by Genga, and of the greatest rarity, is to be seen in S. Caterina da Siena in Rome; the subject is the Resurrection of our Saviour. Of the other scholars of Perugino we have no distinct account; but we find some notice of them in the life of their master. Giovanni Spagnuolo, named Lo Spagna, was one of the many _oltramontani_ whom Perugino instructed. The greater part of these introduced his manner into their own countries, but Giovanni established himself at Spoleti, at which place, and in Assisi, he left his best works. In the opinion of Vasari the colouring of Perugino survived in him more than in any of his fellow scholars. In a chapel of the Angioli, below Assisi, there remains the picture described by Vasari, in which are the portraits of the brotherhood of S. Francis, who closed his days on this spot, and, perhaps, no other pupil of this school has painted portraits with more truth, if we except Raffaello himself, with whom no other painter is to be compared.