of Albertinelli. An attractive _tondo_ ascribed to him, the Holy Family with St Antony of Padua (35), was given back by Morelli to its proper author, Girolamo Genga. A very Perugian Nativity (26), hung as Pinturicchio, is ascribed by Mr Berenson to Balducci, by whom is also the predella (25), belonging to a picture that we shall see in Santo Spirito--an excellent little work representing the Pietà between the reception of the Stigmata by St Francis and St Catherine respectively. By Andrea del Brescianino is an uninteresting altarpiece (9), with a predella (8); while of Bartolommeo Neroni's pictures the best is the Coronation of the Madonna (47), with its predella (49), from the church of San Francesco in Asciano. But, of all the later Sienese, Domenico Beccafumi is best represented here. His Reception of the Stigmata by St Catherine, with St Benedict and St Jerome (22), the three smaller scenes from her life (19, 20, 21) forming its predella--her receiving the Dominican habit, her miraculous Communion, her mystical Espousals--is one of the most beautiful pictures in the whole range of Sienese art. It was painted for the Olivetan convent of St Benedict outside the Porta Tufi. "This picture," wrote Vasari, "for its harmonious colouring and excellent modelling, was and is still greatly praised. Likewise in the predella he did certain stories in distemper with incredible spirit and vivacity, and with such facility in drawing that they could not have greater grace, and nevertheless seem done without a trouble in the world." The treatment of light and shade is admirable. This is one of his earlier works; the Birth of Mary (6) is later and less excellent, but praised by Vasari for its effects of light. The unfinished Fall of the Rebel Angels (25), confused in composition and mannered in style, shows Beccafumi at his worst. It struck Vasari as something original, _una pioggia d'ignudi molto bella_, "a right lovely rain of nude figures," and he admired and wondered at their foreshortening, _certi scorti d'ignudi bellissimi_. The Descent of Christ into Limbo (28), from San Francesco, is a far nobler thing--the Penitent Thief, following the Saviour, is very strikingly conceived and executed. Here also are several of Beccafumi's cartoons for the pavement of the Duomo, chiefly scenes from the history of Moses and Aaron, with one from that of Elijah. Ascribed to him is also the _tondo_ (34) of the Madonna and Child with two Saints.