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attribution to Pacchiarotto can never have been due to anything but a careless and superficial study of the work in question, and a too unguarded trust in a comparatively modern tradition. virtually unknown and very interesting painting by Pacchia, considerably later than the above, though still belonging to the master's earlier period, is the Annunciation from the Collegiate Church of Sarteano. Besides the famous St. Michael from the Carmine, Beccafumi is represented by several smaller panels, having for their subject the Holy Trinity, the most attractive of which is a remarkably preserved tondo (2,520), truly astonishing in the depth and brilliancy of its colour, exhibited by the Cav Marri-Mignanelli. Baldassare Peruzzi appears to great advantage in a late and very classical Madonna from S. Ansano in Dofana-a work little known even to that master's more especial admirers. To Brescianino I would give the Virgin and Child (1602) belonging to the Ugurgieri family-one of Andrea's most pleasing panels, in which he comes more closely than in any other to his favourite model, Raphael.

It is natural that a few pictures of foreign parentage should have found their way into this purely Sienese exhibit. Thus we have, among others, an attractive Madonna of the school of Pintoricchio, very close indeed to the master himself, lent by Mr. Loeser; a Gaddesque polyptch sent by Sig. Galli-Dunn; and a delightful tondo, attributed to Neri di Bicci, but very evidently by that eclectic artist Pier Francesco Fiorentino, from Tinalunga. As to the works by Sodoma which figure here, the less said the better. With but two exceptions-the well-known altarpiece of the Holy Family with St. Leonard, and the repainted Madonna from the Hospital Gallerythey can add nothing to that master's fame. Nor, with the sole exception of a tattered banner from Montalcino, do any of the works by his immediate followers call for a different criticism

As really forming part of the exhibit of painting, we must mention, in passing, at least three objects in the room set apart for miniatures and illuminated books. These are the fine 'Caleffo dell' Assunta' of that greatest of Italian trecento miniaturists, Niccolò di Ser Sozzo; Giovanni di

Paolo's beautiful Chorale Romanum, from the Comunal Library; and a virtually unknown and very interesting miniature representing Pope Pius II, forming the frontispiece to a Constitution of the Sienese Church of the year 1464, in which one clearly recognizes the handiwork of Vecchietta.

The section set apart for the minor arts is by no means the least attractive of the exposition. Certainly the exhibit of goldsmiths' work is worthy of the pre-eminent place once held by Siena in this particular branch of artistic output. The most beautiful piece of trecento workmanship here, and indeed the finest example of its kind, is the wonderful Urn of S. Galgano, brought in from the church of the Santuccio. Although attributed to Lando di Pietro and consequently to the earlier years of the trecento, this splendid masterpiece would seem to be the work of a slightly later period. The Opera del Duomo of Orvieto, unwilling to part even temporarily with that most priceless of its treasures, Ugolino di Vieri's great tabernacle, has sent a lesser work by the same master, executed in company with Vivo di Lando -the reliquary of S. Savino. Probably also by Ugolino is a fine reliquary, lent by the Marquis Niccolini, from the village of the Frosini. From Lucignano comes a remarkable and unique example of goldsmiths' cunning, symbolizing the Tree of Jesse, by Gabriello di Antonio (?); and a processional cross, adorned with valuable miniatures which I believe to be by Niccolò di Ser Sozzo. Belonging to the quattrocento we have two important reliquaries by Francesco di Antonio, and a number of fine works-monstrances, chalices, and crosses-by Goro di Neroccio. The show of bronze, silver, and enamelled crucifixes, some from as early a period as the middle of the twelfth century, is extensive and noteworthy. A rich collection of church plate, and objects of a secular character, goes to complete this section.

It would be as easy as it is tempting to speak in detail of the imposing exhibit of church vestments, old laces, stuffs, tapestries, etc., but lack of space confines me to a mere mention of this division of the exhibition. So it is likewise in regard to the interesting topographical exhibit-that of the drawings and medals, of maiolica, and of armour.

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MADONNA AND CHILD, BY DUCCIO DI FUONINSEGNA; BELONGING TO
COUNT STRUGANOFF

(Photograph by Lomtarai)

MADONNA AND CHILD, ATTRIBUTED TO STEFANO DI GIOVANNI (SASSETTA); FROM THE
CATHEDRAL OF GROSSETO (Photograph by Burton)

PICTURES IN THE SIENA EXHI BITION

PLATE II

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