One of the most recent acquisitions is a _Madonna_ by Antoniazzo Romano (1440?-1508), the gift of M. Lucien Delamarre. The art of Pintoricchio (1454-1513) is shown in the _Madonna and Child with St. Gregory and another Saint_ (No. 1417), while Lo Spagna (1475?-1528?), a pupil of Perugino, is represented by a _Nativity_ (No. 1539), a _Madonna and Child_ (No. 1540), and by three small pictures illustrating the _Dead Christ, the Virgin, and St. John_ (No. 1568), _St. Francis of Assisi receiving the Stigmata_ (No. 1569), and _St. Jerome in the Desert_ (No. 1570). A mediocre pupil of Perugino and Pintoricchio, Giannicola Manni (fl. 1493-1544), is doubtless responsible for the _Baptism of Christ_ (No. 1369), the _Assumption_ (No. 1370), the _Adoration of the Magi_ (No. 1371), and the _Holy Family_ (1372) which pass under his name. The last-mentioned panel was attributed by Villot, apparently without much reason, to L’Ingegno. RAPHAEL The majority of the thirteen pictures which in the Louvre are unreservedly catalogued under the great name of Raphael (1483-1520) certainly belong to his third or Roman period, and in many of them he obviously received a large amount of assistance from his pupil, Giulio Romano. It is this fact, no doubt, which has led the compiler of the Catalogue to place the “Divine Urbinate” in the Roman school. It will, however, be readily admitted that such a classification is both arbitrary and misleading. [Illustration: PLATE VI.—PERUGINO (1446-1523) UMBRIAN SCHOOL No. 1566A.-ST. SEBASTIAN (Saint Sébastien) The Saint stands with his hands behind his back bound to a pillar, with his head raised towards heaven. An arrow pierces his right arm and another his left breast. The body is nude, but for a white loin cloth striped with red and blue. In the background is a rounded arch supported by two highly ornamented pillars. Through the archway is seen a beautiful landscape. Painted in tempera on panel. Signed:—“SAGITTÆ TVÆ INFIXÆ SVNT MICHI.” 5 ft. 7 in. × 3 ft. 10 in. (1·70 × 1·17.)]