. The study and criticism of Italian art : second series. under what names hispictures have been catalogued. This inquiry willlead us toward our end. In the catalogue of theMunich Gallery, Brescianino is described as an imi-tator of Sodoma and Fra Bartolommeo; the Berlincatalogue, on this point, entirely agrees with the oneof Munich. Herr Habich makes him a pupil ofBeccafumi, and then an imitator of Fra , as a matter of fact, most of his works passunder one or the other of these two names. In theTurin Academy, for instance, one of his Madonnas(No. 133) is labelled Copy after Fra
. The study and criticism of Italian art : second series. under what names hispictures have been catalogued. This inquiry willlead us toward our end. In the catalogue of theMunich Gallery, Brescianino is described as an imi-tator of Sodoma and Fra Bartolommeo; the Berlincatalogue, on this point, entirely agrees with the oneof Munich. Herr Habich makes him a pupil ofBeccafumi, and then an imitator of Fra , as a matter of fact, most of his works passunder one or the other of these two names. In theTurin Academy, for instance, one of his Madonnas(No. 133) is labelled Copy after Fra he lends himself to other false attributions ;thus, at Glasgow, an Adoration of the Magi byhim (No. 15A) bears the name of Bacchiacca. The Madonna at Munich leaves MM. Crowe and Ca-valcaselle halting between Brescianino, and someeclectic Florentine, such as Puligo, or Michele diRidolfo. We have had no occasion, so far, to bringin the name of Raphael, but we can furnish nobetter proof of the close relation between the styles BRESCIANINO. Briccktnanu f>lioto. ] THE MADONNA AND CHILD [Munich. ?? ?i RAPHAEL CARTOON 45 of Brescianino and Raphael, than the observationmade by the author of the Munich catalogue inregard to Brescianinos Madonna there. He re-marks that it is, in fact, an adaptation of the Madonna del Baldachino (in the Pitti). We arethus well prepared to find that the cartoon in theBritish Museum is an adaptation of another Ma-donna of Raphael. Our inquiry into the artistic origin of Brescianino,as well as the examination of the names that havebeen given to his works, suggests nothing againstthe possibility of his having been the author of theBritish Museum cartoon. But was it actually he ?I am convinced that it was. I trace those preciseelements which, united and combined in this exactproportion, are not met with in any other I cannot convince my readers as I my-self am convinced, for it is scarcely likely that manyof them will have
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