from the life of St. Jerome. The polychrome grotesque wall decoration on yellow-gold background probably was inspired by the paintings of the Domus Aurea, and belong the earliest and highest quality of their kind in Rome. The frescos he painted in the Cybo Chapel, built by Cardinal Lorenzo Cybo de Mari in the beginning of the sixteenth century, were destroyed in 1682, when the chapel was rebuilt by Cardinal Alderano Cybo. The old fresco of the Virgin and the Child by Pinturicchio was detached from the wall and sent by the cardinal to Massa in 1687. The fragment was re-used as the altarpiece of the Ducal Chapel of the Cathedral of Massa. The third chapel on the south is that of Girolamo Basso della Rovere, nephew of Pope Sixtus IV, and bishop of Recanati. The Basso Della Rovere Chapel contains a fine altarpiece, Madonna enthroned between Four Saints, and on the eastern side a very nobly composed fresco of the Assumption of the Virgin. The vault and its lunettes are richly decorated with small paintings of the Life of the Virgin, surrounded by graceful arabesques; and the dado is covered with monochrome paintings of scenes from the lives of saints, illusionistic benches, and very gracefully and powerfully drawn figures of women in full length, in which the influence of Luca Signorelli may be traced. In the Costa Chapel, Pinturicchio or one of his helpers painted the Four Latin Doctors in the lunettes of the vault. Most of these frescoes are considerably injured by moisture and have suffered little from restoration. The last paintings completed by Pinturicchio in this church are found on the vault behind the choir, where he painted decorative frescoes, with main lines arranged to suit their surroundings in a skilful way. In the centre is an octagonal panel, Coronation of the Virgin, and surrounding it, are medallions of the Four Evangelists. The spaces between them are filled by reclining figures of the Four Sibyls. On each pendentive is a figure of one of the Four Doctors enthroned under a niched canopy. The bands that separate these paintings have elaborate arabesques on a gold ground, and the whole is painted with broad and effective touches, very telling when seen (as is necessarily the case) from a considerable distance below. Works in the Vatican Library In 1492, Pinturicchio was summoned to Orvieto Cathedral. He was employed by Pope Alexander