The Louvre does not contain any work by Vecchietta (1412-1480), who was architect as well as painter. A _Birth of the Virgin_ (No. 1660), catalogued as being by an unknown Florentine artist, is most probably from the hand of Matteo di Giovanni (1435?-1495), who was most likely at one time a pupil of Vecchietta. Another of the latter’s pupils, Francesco di Giorgio (1439-1502), perhaps executed the panel of the _Rape of Europa_ (No. 1640A or No. 1640 _Bis_), which the cataloguer relegates to the lengthy list of unattributed Florentine works. From these influences spring Girolamo di Benvenuto (1470-1524), whose _Judgment of Paris_ (No. 1668) passes in the Catalogue as a late fifteenth century Bolognese picture. Bernardino Fungai (1460-1516), who trod in the steps of Giovanni di Paolo, Francesco di Giorgio, and the Umbrian artist Fiorenzo di Lorenzo, and yet evinced no real signs of development from within, is unrepresented in this collection. This rapid survey of the School of Siena shows that it is not well exemplified in the Louvre. The third-rate painters, Pacchiarotto (1474-1540) and Beccafumi (1486-1551), will not detain us. Another accomplished late Sienese eclectic, Girolamo del Pacchia (1477-1535?), has been credited with a _Crucifixion_ (No. 1642), but not by the official cataloguer. Sodoma (1477-1551) also worked in Siena. Towards the year 1501 other artists of the various schools of Central Italy, including Pinturicchio, Signorelli, and Perugino, visited the city, their advent bringing about an artistic revolution. Before long the religious fervour, the delicate ornamentation, the gesso-embellishment, the drawing in the flat, and the miniature-like delicacy of an earlier age became extinct. The artistic glory of Siena was dimmed, and rapidly passed into a period of decadence. Among the last Sienese artists of any distinction were Baldassare Peruzzi (1481-1536), an architect and painter, and Matteo Balducci (fl. 1509-1553), to whom we may perhaps ascribe the _Judgment of Solomon_ (No. 1571) and the _Judgment of Daniel_ (No. 1572). In any case these pictures belong to the Umbro-Sienese period of Central Italian art; they are officially regarded as being by Perugino himself. When all originality had passed out of Sienese painting, Francesco Vanni (1563?-1609) produced his _Repose on the Flight into Egypt_ (No. 1561) and the _Martyrdom of St. Irene_ (No. 1562). THE UMBRIAN SCHOOL