FOOTNOTES:

THE CONVERSION OF SAUL[Santa Casa, LoretoTHE CONVERSION OF SAUL

[Santa Casa, Loreto

THE CONVERSION OF SAUL

As decoration these frescoes are exceedingly fine, the grand row of figures, besides the stately strength of each separate group, being most impressive in general effect. They have been much damaged. For many years used as a sacristy, the greasy smoke of the incense had so blackened the walls that the frescoes were nearly invisible. The skilful cleaning of Signor Guiseppe Missaghi, at the instigation of Signor Cavalcaselle, has restored to them much of their original beauty, although the colour still remains somewhat obscured.

On the roof of the nave, in the church itself, are painted a series of frescoes ingrisaille, twenty-six Prophets and Fathers of the Church, somewhat over life size, seated one in each medallion. They are solemn and impressive figures like those in the sacristy, and painted on the same broad lines, and remind one strongly of the two medallions, also ingrisaille, in the "Madonna," of the Uffizi Corridor. All of them have severely suffered from repainting.

"The Adoration of the Magi," formerly in the Campana Gallery, Rome, now No. 389 of the Louvre, seems to have been painted in 1482. Crowe and Cavalcaselle[45]rightly consider its execution to be the work of assistants, by reason of the rawness of colour and general coarseness of the painting; yet in composition, and in many ofthe figures, there is so much of the master's impressive dignity, that I feel compelled to regard the drawing, in parts at least, as his own. The stately Madonna, and the noble figure of the King on her right, whose draperies have the same sweeping breadth as those in the National Gallery, "Circumcision," as well as the solid, well-seated figures of the mounted attendants, seem to be Signorelli's own composing. The Child is also characteristic, and resembles that in theTondoof the Pitti Gallery. The badly-drawn horses, again, seem his, for it will be noticed all through his work that he has never cared to thoroughly master their form, and paints them always with curious mannerisms of too closely-placed nostrils, and human eyebrows, which show how little attention he had given to their anatomy.

The first dated picture remaining is the altar-piece of the Perugia Cathedral, painted in 1484, of which Vasari writes: "Also in Perugia he painted many works; and among others in the Cathedral, for Messer Jacopo Vannucci of Cortona, Bishop of the city, a picture in which is Our Lady, Sant Onofrio, Sant Ercolano, S. John Baptist, S. Stephen,[46]and an angel, most beautiful, who tunes a lute."[47]The inscription with the date (given in the catalogue) are unfortunately hidden by the frame. This is one of Signorelli's finest altar-pieces, the colour being especially rich and harmonious, and it shows, even more than the Loreto frescoes, the strength of Florentine influences. For example, very close to Pollaiuolo is the figure of the angel tuning the lute,with its striped scarf, and so also is the powerful head of S. Ercolano. The S. Stephen is almost a reproduction of the bust of S. Lorenzo by Donatello in the sacristy of the church of that saint in Florence, the aged S. Onofrio again recalls his wooden statue of S. Jerome in Faenza, and finally the motive of the cut flowers in glasses is borrowed from the triptych of Hugo van der Goes in the Gallery of Santa Maria Nuova, Florence. The ornamental accessories are singularly fine and careful in finish, and it would seem as though Signorelli had been inspired in this, not only by the great tryptych, but also by the followers of the Paduan Squarcione. In the last chapter I have pointed out the extreme realism with which the figures are treated, but this does not spoil the impressive grandeur of the painting, gained by the broad style and the stately simplicity of the composition. The Virgin sits firmly, with the mantle resting in heavy folds across her knees; the S. Stephen is overflowing with the vigorous life of youth; the splendidly-draped bishop is a powerful and majestic figure; and there is real tenderness and grace in the face of the angel, notwithstanding the want of symmetry in the body and legs. The painting has suffered from restoration, but on the whole is fairly well preserved, and may be seen to advantage in the quiet of this well-lighted winter-chapel.

MADONNA AND SAINTS[Cathedral, PerugiaMADONNA AND SAINTS

[Cathedral, Perugia

MADONNA AND SAINTS

Crowe and Cavalcaselle place "The Circumcision," of the National Gallery, formerly in Volterra, as about the same date as the foregoing;[48]Vischer, presuming that it was painted at the same time with the dated pictures of 1491 still remaining in Volterra, groups it with them;but the similarity of colour and treatment lead me to accept the former theory. The distance from Cortona to Volterra is not very great, and the fact that he was painting there in 1491 does not preclude the possibility of his having painted there six or seven years before, even if it was executed on the spot, which was not by any means always the case. At all events the picture has much in common with the Perugia altar-piece, both in warmth of colour, simplicity of composition and splendid breadth of execution. The painting of this "Circumcision" is bold and resolute, the draperies sweep in broad folds round the figures. The attitude of the standing woman to the right is grand, and the earnest concentration of the faces on the ceremony, and the absence of any connecting link between them and us, give dramatic reality to the scene. Vasari writes of it: "At Volterra he painted in fresco"—(a mistake—it is his usual oil medium)—"in the church of S. Francesco, above the altar of the brotherhood, the Circumcision of our Lord, which is considered marvellously beautiful; although the Child, having suffered from the damp, was repainted by Sodoma much less beautiful than it was before."[49]This unfortunate repainting, which has also evidently included part of the Virgin's face, was more probably due to the monks' dislike of Signorelli's type of child than to any damage by weather, for it would be strange that a picture, otherwise so well preserved, should be injured by damp nowhere but in the part most protected by reason of its central position. To support this theory, under the painting by Sodoma may be clearly seen (in the painting—not in the photograph) the original legs of the Child of Signorelli, in a totally different position, showing that Sodoma had made no attempt to keep to the drawing. The monks, no doubt, preferred the more commonplace infant of Sodoma, but we, while acknowledging that the children of Signorelli are far from what they should be, may regret the loss, as did Vasari, who adds this comment: "It would be better to retain the work of excellent men, even though half spoiled, than to have it repainted by one who knows less."

THE CIRCUMCISION[National Gallery, LondonTHE CIRCUMCISION

[National Gallery, London

THE CIRCUMCISION

A very important group of paintings apparently of about this date, bear the impress of the classic tastes of the Court of Lorenzo dei Medici, for whom they seem to have been painted. It comprises the great picture of "Pan," in the Berlin Gallery, the "Madonna," of the Uffizi Corridor, and the MunichTondo. I have been tempted to give them a much earlier place, in the gap before the Perugia altar-piece, because they show so much of the idealism and idyllic spirit, which seem properly to belong to youth, but a careful comparison of them with that picture and the Loreto frescoes, reveals a greater maturity of technique which makes so early a placing not very probable. In all these three paintings there is an appreciation of beauty for its own sake, and a true touch of the Pantheistic spirit, combined with a melancholy grandeur, which is most impressive.

The finest of the three, the great canvas of "Pan," now in the Berlin Gallery, is the picture of which Vasari wrote: "He painted for Lorenzo dei Medici, on canvas, some nude gods, which were much praised ... and presented to the said Lorenzo."[50]Sometimescalled the "School of Pan," it is more poetically described in the German catalogue "Pan, as God of Natural Life, and Master of Music, with his Attendants." It is full of poetry, and of idyllic charm with all its stately solemnity. The sad beauty of the god as he listens to the music of the pipes, the golden sunlight on the moss-green grass, the quiet peace of the scene, have an entrancing effect, and we are transported in spirit to the same "melodious plot of beechen green and shadows numberless" where Pan holds his court.

PAN[Gallery, BerlinPAN

[Gallery, Berlin

PAN

The bronze-coloured body of the god is magnificently modelled, with a solidity unequalled even in the Orvieto frescoes. The style of Pollaiuolo is noticeable, in the attitude of the youth lying at his feet, particularly in the treatment of the legs. The figure of Echo is repeated later in "The Crowning of the Elect," in Orvieto, though there it has lost much of the idyllic charm of this wood-nymph. The grouping of the figures is perhaps less happy than usual, but this time the bad values of distance are no doubt due to the rough treatment the painting has undergone. It has indeed had an eventful history. About thirty years ago it was found by the late Signor Tricca, a noted restorer of pictures, in the attics of the Palazzo Corsi, Florence. He hesitated at first to recognise it certainly as the work of Signorelli, for all the figures were covered from head to foot with draperies of obviously eighteenth-century painting. On trial, however, he found that these were easily removed, and as the nude figures were revealed, he at once identified it as the picture of the nude gods, mentioned by Vasari.It seems that it had passed into the possession of the Rinuccini family as part of the dowry of one of the Medici, and on the marriage of one of the ladies of the Rinuccini with a Marchese Corsi again formed part of the bride's portion. Soon after its discovery and restoration the Marchese Corsi died, and his brother Cardinal Corsi inherited the property. Objecting to the picture on account of the nude figures, he desired Signor Tricca to sell it, and it was then bought by Mr H. J. Ross, who offered it to the English National Gallery. On the refusal of the authorities to purchase it, it was acquired in 1873 by Dr Bode for the Berlin Gallery, of which it is one of the greatest treasures.[51]It has naturally suffered much from the process of cleaning away the later draperies, and much of the under-painting is exposed, but enough remains of its original beauty to rank it as the best of Signorelli's easel pictures.

Undoubtedly of the same date is the "Madonna," No. 74 of the Uffizi Gallery. This picture was, also, according to Vasari, painted as a present for Lorenzo dei Medici, and was for many years in the villa of Duke Cosimo at Castello. It has the same idyllic beauty in the background as the "Pan," and is painted in the same half-pagan spirit. The Virgin, it is true, sits awkwardly, and with a rather ungainly gesture of hands and arms, there are faults of drawing in the feet, and the Child is ugly and insignificant. But these are faults easy to overlook in considering the grandeur of the landscape, the beauty of the colour,and, above all, the magnificent modelling of the nude figures in the background. The Virgin gains in importance by the nobility of these athletes behind her, but it is clear that Signorelli's interest lay less in the melancholy Mother and Child, than in these superb Titans, in whom he seems to have personified the forces of Nature. How great was the influence of this picture upon Michelangelo we need only take a few steps into the Tribuna to see, in hisTondoof the Holy Family, No. 1139. The painting is set in a kind of frame ingrisaille, surmounted by a head of S. John the Baptist, and two seated Prophets in medallions.

MADONNA[Uffizi, FlorenceMADONNA

[Uffizi, Florence

MADONNA

Somewhat inferior in execution, but painted in exactly the same spirit, is the "Madonna," of the Munich Gallery, formerly in the Palazzo Ginori, Florence.[52]Here, as in the last, the Virgin sits, filling the foreground space, a stately figure, with fingers pressed together, as if in prayer to the Child at her feet. The background is a classic landscape, through which runs a stream of the beautiful limpid green with which Signorelli always paints water, and by its side sits another of the noble nude figures, untying his sandal. It may be intended for S. John the Baptist, as the critics say, but I do not think that either here or in the Uffizi painting, Signorelli had any intention of adhering to traditional illustration. It seems rather as though the pictures were symbolic—expressive of some comparison in his mind between Christianity, as he perhaps conceived it for the moment, melancholyand dejected, and the Greek Pantheism, vigorous and strong, and radiant with the joy of life.

Another picture belonging to this beautiful group is the "Portrait of a Man," in the Berlin Gallery, formerly in the Torrigiani Collection, Florence. In the days before it was photographed it was considered to be a portrait of Signorelli himself, and, as it represents a man with grey hair, was naturally reckoned among his later works; but comparison with the two portraits at Orvieto show that there is no real resemblance of feature, while the technique and spirit of the painting claim a place for it among this early series.

Here again occur the classic figures, but this time with less of the idyllic feeling. On one side are hurrying Apollo and Daphne(?), on the other, one athlete has overthrown another, and stands menacingly over his prey, who tries with ineffectual gestures to beat him off—a very Pollaiuolesque scene of violence. The colouring, with its clear reds of thebirettaand the robe, is very successful. With this powerful portrait closes this beautiful and interesting group of paintings, theprovenanceof all four of which, it will be observed, is from Florence.

The twoTondos, of the Pitti and Corsini Galleries, Florence, must have been painted at a date not far distant from those, for they have much in common in certain forms, and particularly in the rich and glowing scheme of colour.

The "Holy Family," of the Pitti Gallery, has been restored, and suffers much from thick varnish and repainting, but nothing has spoilt the harmony ofthe colours, nor the tender beauty of the Virgin, whose features and expression are a repetition of those of Echo in the "Pan." The Saint, who writes at the dictation of the Child, is painted with earnestness, and the whole scene is treated with the utmost religious feeling.

The "Madonna and Saints," of the Corsini Gallery, has the same warm glow of colour, and was probably painted about the same time. The Virgin sits with the Child on her left knee, clad in a red robe, round the neck of which little Loves are embroidered in gold. Over it she wears a dark-green mantle shot with gold—a form of decoration very usual with Signorelli, especially about this time. She has the beautiful, pale, honey-coloured hair which occurs so often in his works, almost the same colour which was characteristic of Palma's Venetian ladies later. To the left kneels S. Jerome, gazing up at her, and on the right is S. Bernard holding a pen and book. The painting is in a good state of preservation.

MADONNA AND SAINTS[Pitti, FlorenceMADONNA AND SAINTS

[Pitti, Florence

MADONNA AND SAINTS

The rather insignificant type of head of S. Joseph occurs again in another "Holy Family," which belongs approximately to the same period,—that of the Rospigliosi Gallery in Rome. As far as beauty and tender grace go, this is the most successful of all his Madonnas. The daring repetition of the same features with darker colouring in the S. John behind her, I have already drawn attention to. The draperies are painted with great freedom, and a fine sweep of broad fold. They are shot, as in the CorsiniTondo, with gold in the high lights. Insignificant as is the Child in all these Holy Families, there is at the sametime something pathetic and winning in the earnest, careworn little face.

HOLY FAMILY[Rospigliosi Gallery, RomeHOLY FAMILY

[Rospigliosi Gallery, Rome

HOLY FAMILY

Very different is the type Signorelli has adopted for the Christ in the Uffizi "Holy Family," No. 1291, which must be placed somewhere about this time, or a very little later. Here He is represented with a certain nobility of feature and gesture, although self-conscious and unchildlike. The Greek profile of the Virgin is almost identical with that of the above-mentioned Rospigliosi picture, while the powerful head of S. Joseph carries us back to the figures in the "Circumcision." The Virgin sits uneasily, ill-balanced, and with badly-modelled feet, but the beauty of the face makes amends for these defects. It is a picture full of noble qualities, both of feeling and technique, and it has besides a special importance by reason of the difference of colour, so much less heavy than usual. The flesh tints are very pale, and the shadows a silvery grey, and the whole tone is much lighter than in any of the preceding pictures. The composition is specially fine, the attention being concentrated without effort on the central figure of the Child, to which the other two serve as a kind of frame.

HOLY FAMILY[Uffizi, FlorenceHOLY FAMILY

[Uffizi, Florence

HOLY FAMILY

I cannot leave this series of early works, which includes so manyTondos, without drawing attention to the excellence of Signorelli's composition in this difficult form. The figures fill the space naturally and without any artificial bending of the heads to fit the shape; there is a sense of space, and ease of grouping, and the large sweeping lines of the draperies follow most harmoniously the curves of the panel.

With the exception of the Perugia altar-piece, noneof the above-mentioned paintings are dated. Inferentially we arrive at the time when the Loreto frescoes were completed, but there is little to help in grouping the rest beyond the internal evidence they afford. I have endeavoured to place them in the order they seem most naturally to take, with reference to colour, form, and the early influences to be observed in them, but the arrangement must necessarily be somewhat arbitrary.

Fortunately this difficulty grows less and less in dealing with the later works, and the most important of them are generally dated.

FOOTNOTES:[42]I shall, as far as space permits, describe those pictures of which illustrations cannot be inserted. Where the illustration is given, it becomes unnecessary.[43]Vasari, iii. 691.[44]Vischer, p. 79.[45]Cavalcaselle e Crowe, viii. 507. Note 1.[46]I have thought it best only to translate those names that are familiar to us in English.[47]Vasari, iii. 685.[48]Cavalcaselle e Crowe, viii. 455.[49]Vasari, iii. 685.[50]Vasari, iii. 689.[51]I am indebted for the above facts to Mr H. J. Ross of Poggio Gherardo, Florence, the original purchaser of the picture.[52]The photograph gives so little idea of the beauty of the original that I have not reproduced it.

[42]I shall, as far as space permits, describe those pictures of which illustrations cannot be inserted. Where the illustration is given, it becomes unnecessary.

[43]Vasari, iii. 691.

[44]Vischer, p. 79.

[45]Cavalcaselle e Crowe, viii. 507. Note 1.

[46]I have thought it best only to translate those names that are familiar to us in English.

[47]Vasari, iii. 685.

[48]Cavalcaselle e Crowe, viii. 455.

[49]Vasari, iii. 685.

[50]Vasari, iii. 689.

[51]I am indebted for the above facts to Mr H. J. Ross of Poggio Gherardo, Florence, the original purchaser of the picture.

[52]The photograph gives so little idea of the beauty of the original that I have not reproduced it.

We have now arrived at the paintings belonging to the year 1491, part of which Signorelli spent in Volterra, three works still remaining in that city to testify to the visit—"The Annunciation," of the Cathedral; the "Madonna and Saints," now in the Gallery, both dated; and a much-injured fresco ingrisaille, representing S. Jerome, on the walls of the same building—the Palazzo Communale.

The "Madonna enthroned with Saints" was painted for the altar of Maffei Chapel in San Francesco, and was unfortunately removed not many years ago to the Gallery of the Palazzo Communale, suffering the greatest damage in the transit. Two large cracks run through the figures of the Child and the seated Father; large pieces of the paint have dropped away, and in the repainting the Child has lost all characteristics of Signorelli's work. In the less ruined parts, however, enough remains to testify to the original excellence of the painting, which is finely composed, and broadly and vigorously treated, especially in the draperies.

The Virgin sits enthroned between four saints, with a very Peruginesque angel on either side, and seated below, at the foot of her throne, are two Fathers of theChurch, in one of whom we have repeated the burly bishop with wide-spread knees and fine sweeping drapery of the Loreto cupola, and which occurs later in the Florence Academy altar-piece. The influence of Pollaiuolo can be observed in the sculptures on thegradinoof the throne, little nude figures in violent action.

In better preservation is the "Annunciation," in the Cathedral, signed, and with the same date as the foregoing. The architecture, with its excellent perspective, again reminds us that Signorelli was the pupil of Pier dei Franceschi, the painter of the wonderfulloggiain the "Annunciation," of Perugia. The Virgin is painted with great feeling, and in the solemn beauty of the Archangel we get the first of those splendid creatures whose sublimity Signorelli felt in the same spirit as Dante, who bent his knees and folded his hands at the sight of the "Uccel divino," "trattando l'aere con l'eterne penne."[53]

THE ANNUNCIATION[Cathedral, VolterraTHE ANNUNCIATION

[Cathedral, Volterra

THE ANNUNCIATION

The resemblance is so great between this painting and the "Annunciation," of the Uffizipredella(No. 1298) that we are justified in placing the latter somewhere about the same date. As is so often the case inpredellapictures, especially with Signorelli's, the spontaneity and freedom of execution, and even of conception, is much greater here than in the more carefully thought-out and finished works. Small as this panel is, the rush of the great Archangel, the solemn beauty of the landscape, and the splendid attitudes of the young courtiers in the last division, make it one of the master's most important andcharacteristic paintings. The colour in the first panel of the "Annunciation" is especially beautiful, and there is a noble simplicity in the composition, as well as a breadth and certainty of touch that give the picture great grandeur. Thepredellais divided by painted pilasters into three parts. In the first the Archangel hastens through a rocky pass to announce the message, to which the Virgin bows with awed acceptance of its solemn meaning. In the second, the shepherds kneel to offer homage to the new-born Child, who lies at the Virgin's feet, while the third represents the visit of the Magi.

The same freedom of brushwork characterises another "Annunciation," of probably the same time, and treated in much the same manner, although less stately than that of the Uffizi. This is one part of apredellaformerly belonging to the Mancini Collection of Città di Castello.[54]The Archangel, with great wings half folded, and blown drapery, is just alighting at the feet of the Virgin, who has dropped her book, and drawn back with startled gesture at the impetuous rush of the messenger.

Connected with these by the same qualities of breadth of treatment, and almost modern impressionism in the conception of the scene, are two compartments of apredella, belonging to Mr Benson in London, representing "The Dispute by the Way," and "The Supper at Emmaus." In the former especially, the dramatic realism with which the Apostles are depicted, as they argue with animated gestures, is extraordinarily vivid.

Yet anotherpredellapicture—"The Feast in the House of Simon," now in the Dublin Gallery—belongs approximately to this period. It is a most beautiful representation of the scene, and is treated somewhat in the gay manner of Bonifazio or Paolo Veronese. At a long table, crowded with guests, Christ sits, with His Mother on His right hand, the master of the feast being conspicuous in the middle. Over Christ's head, the Magdalen, a charming and graceful figure, pours the ointment, and on the left of the table Judas, with expressive gesture, calls attention to the waste. Notwithstanding the small size of the panel, and the number of the figures, the effect is exceedingly spacious and free. It is a well-composed scene, full of animation, and broad in treatment, and is fortunately in a good state of preservation. The altar-pieces to which all this series ofpredellebelong are unknown.

We will now consider the fine Standard, painted in 1494 for the church of Santo Spirito in Urbino.[55]On one side was represented the "Crucifixion," and on the other "The Descent of the Holy Ghost at Pentecost," but the canvases have now been divided. In the former, at the foot of the Cross is grouped the first of those characteristic scenes of the fainting Virgin which was, probably from its dramatic element, so favourite a subject with Signorelli. Sincerely and naturally felt, it in no way trenches on the melodramatic, as one or two of the later groups tend to do, and the solitary figure of Christ, raised high above the sorrowing women, is for once, among his Crucifixions, of dignity and real pathos. The solemnity of the mood given, is enhanced by the fine idea of the soldier on the left, who, impressively standing out against the sky, shades his eyes, with bewildered gesture, as though blinded by a sudden comprehension of the sacrifice. The grief of the women who tend the unconscious Virgin, is sympathetically realised, and without exaggeration of outward sorrow. The composition is specially beautiful, the sides are well-balanced, while the two mounted soldiers on either side (notwithstanding their characteristically badly-drawn horses) give the scene a ceremonious stateliness, which is very impressive.

THE ANNUNCIATION[Uffizi, FlorenceTHE ANNUNCIATION

[Uffizi, Florence

THE ANNUNCIATION

In the "Pentecost" we have another most masterly bit of perspective and fine spacious effect. At the end of a long room, between two rows of the Apostles, is seated the Virgin. Above is God the Father, attended by two angels, and below, the tongues of flame, the gift of the hovering Dove, have alighted on the heads of all the company. Apart from the sense of space and the well-composed grouping, the technical execution does not appear so satisfactory as in the "Crucifixion," but this may be accounted for by the fact that the painting has suffered more from restoration.

Very closely allied to this Standard in composition is the fine "S. Sebastian" of Città di Castello, painted in 1496 for the church of S. Domenico, now in the Gallery, which, in spite of its bad condition is a picture of great importance and beauty. The least satisfactory part is the Saint himself, who stands bound high up upon the tree, his sentimental face with upturned eyesand open mouth recalling the S. John of several of the Crucifixions. Above him leans God the Father, and below five soldiers string their bows or shoot, with superb gestures. Three of them are in the tight-fitting clothes in which Signorelli loved to display the fine proportions and splendidly-developed muscles of his figures, and the other two are draped only with the Pollaiuolesque striped loin-cloth. In the middle distance, burgesses and sad-faced women look on at the martyrdom, and in the background a distant street, filled with soldiers, leads steeply up to a ruined classic building, not unlike the Colosseum. The great damage which the picture has suffered makes it difficult on a superficial view to give it the place it really deserves among the master's works. The colouring is somewhat crude, especially the flesh-tints, which are red and heavy, but it must nevertheless be ranked high on account of the composition, and the fine drawing and modelling of the foreground figures.

THE CRUCIFIXION[Santo Spirito, UrbinoTHE CRUCIFIXION

[Santo Spirito, Urbino

THE CRUCIFIXION

To the following year, 1487, belong the series of eight frescoes painted by Signorelli in the cloister of the Benedictine Monastery of Monte Oliveto. Vasari writes: "At Chiusuri, near Siena, the principal habitation of the monks of Monte Oliveto, he painted on one side of the cloister eleven scenes of the life and work of S. Benedict."[56]Vasari has mistaken the number of the paintings, for there were never more than nine, even supposing the last, of which only a slight fragment remains, to have been by him. To me it seems doubtful, but the fragments are in so ruined a state, the fresco having been almost entirely cut away in theenlarging of the doorway, that certainty one way or the other is hardly possible. The remaining eight are for the most part in a deplorable condition, both from the damage of time and neglect, and also from repainting, the lower part of the foreground in all of them being completely lost, and smeared over with a surface of thick green. The paintings are very unequal, some being comparatively poor, while the two last are exceedingly fine. The story begins in the middle of the Saint's life. The first scene shows "How God punished Florenzo," a wicked rival abbot, who had tried to poison S. Benedict, and to lead his monks astray. In the background four grotesque devils are tearing down the walls of his convent, with extraordinary energy of action, and three others bear away the soul of the monk, whose body may be seen crushed beneath the ruins. In the foreground the Saint listens to the tale, told by a kneeling brother.

The scene is conceived in a spirit somewhat trivial for Signorelli, and has but little of his usual stately strength. The composition is too much crowded on one side, and, as far as can be judged from the state of the fresco, the draperies of the monks are mechanically treated. The parts most worthy of praise seem to be the vivacity of the devils, and the effect of spacious distance, but it is in so damaged a condition that it would be unfair to be over-critical.

The next is in an even worse condition. It illustrates "How S. Benedict converted the inhabitants of Monte Cassino," to whom, supported by two monks, he preaches in the foreground. In the middle distance others pull down from its pillar the statue of Apollo, worshipped bythese people. This is a very much finer painting. The composition is again overcrowded on one side, but there is much noble dignity in the figures of the three monks, and the beautiful architecture and perspective of the Temple, are admirable. The foreground has been entirely destroyed, the draperies are nearly effaced, and a little town in the background is so smeared over with green paint, that the effects of distance are lost.

No. III. is in better condition, though very much injured in the foreground. It shows "How S. Benedict exorcised the Devil upon the stone," who guarded the place where the statue of Apollo was buried, which brought a curse on the convent. In the background is seen the disinterment of the statue, and to the right, the vengeance of the Devil, who sets fire to their building. Flames burst through the windows, and the monks hasten with excited gestures to quench them. These remind one in theirnaivetéof Carpaccio's scurrying friars, in S. Giorgio degli Schiavone, Venice. There are some very fine bits in this fresco; the attitude of the monk to the left who is heaving up the stone is exceedingly good and true to nature, and the landscape is spacious and distant.

No. IV. shows "How S. Benedict resuscitated the monk upon whom the wall fell," the scene of the death taking place in the background, the Devil having precipitated him from the scaffolding on which he was at work. In the middle distance three brothers bear the dead body, and in the foreground the Saint stands and raises him again to life. This fresco is very fine both in general composition and detail. The little scene of the death is full of action and animation, the group of monkswho bear the corpse is dignified, and very noble is the kneeling figure of the resuscitated friar.

The paintings get gradually better, as though Signorelli had warmed to his task. The next is very charming and one of the most successful in composition. It illustrates "How S. Benedict reveals to two monks where and when they had eaten out of the Convent." The two disobedient brothers sit in the foreground of a long room (of most excellent perspective), and are served with meats and drinks. At the end of the room, at the open doorway stands the graceful figure of a youth. The section of the wall is given, showing in the distance the penitent brothers on their knees before the Saint, who has reproved their disobedience. There is something almost German in the domestic simplicity with which Signorelli has conceived the scene. The woman who waits on the right is Peruginesque in type and attitude, although with the robust physique that belongs to Signorelli. The fresco is much repainted especially in the roof.

MIRACLE OF S. BENEDICT[Monti Oliveto, MaggioreMIRACLE OF S. BENEDICT

[Monti Oliveto, Maggiore

MIRACLE OF S. BENEDICT

The next shows "How S. Benedict reproves the brother of the monk Valerian for his violated fast," and reveals to him that it was the Devil who had tempted him in the disguise of a traveller, the different scenes, as usual, going on in the background. In front the youth kneels before the monks, and to the right the Devil, his horns showing through his cap, tempts him. In the distance they can be seen feasting under a rock. The fresco is much injured and repainted, but the figure of the Devil with the bundle over his shoulder is very fine and well drawn.

The two last of the series are the best. Signorelli hasin them given the rein to his love of martial scenes, and painted them with great animation and verve. In No. VII. we have the scene "How S. Benedict discovers the deceit of Totila," and unmasks the shield-bearer, who, disguised as the King of the Goths, comes to prove the knowledge of the saint. In the background, a plain covered with camps and soldiers, Totila sends forth his servant, and in the foreground the Saint, surrounded by four monks, proclaims to him his identity. Statesmen, arrogant pages, and warriors, stand behind the exposed shield-bearer. It is interesting to observe how Signorelli's attention has wandered from the empty faces and mechanically executed draperies of the monks, and concentrated itself on this group. The figures, in their tight clothes, are superbly posed and modelled, especially the three who stand next to the shield-bearer.

The last of the frescoes is almost as fine a study of magnificent attitude. It shows "How S. Benedict recognises and welcomes Totila," the real King of the Goths, who kneels before him, surrounded by his army on horse and foot. In the background, troops are marching with great animation, (one of those fine effects of combined movement so characteristic of the master). Some of the foreground figures are again splendidly drawn and modelled, and the mounted soldiers sit their horses exceedingly well.

THE MIRACLE OF S. BENEDICT[Monti Oliveto, MaggioreMIRACLE OF S. BENEDICT

[Monti Oliveto, Maggiore

MIRACLE OF S. BENEDICT

In these two last paintings we get a hint of the great work that was to come three years later—at Orvieto. Signorelli has put forth all his strength in these groups of swaggering youths in every posture of conscious power and pride, and never perhaps been more successful in individual figures. Some ofthe faces in the last fresco appear to be portraits, and if it be true, as Vasari says, that he painted the Vitelli and Baglioni, it is here probably that we should find them rather than among the audience of Antichrist.

In running the eye down the whole series of frescoes, the scheme of colour, as far as can be judged in their present condition, does not strike one as pleasant. Crude blues, emerald greens, brownish purples, heavy earthen browns—these are the predominating tints. The flesh tones are uniformly red and heavy. Neither is the decorative effect of the compositions specially good, as at Loreto, and more particularly at Orvieto. Perhaps even, on a superficial view, the space-filling by Sodoma is happier, and has a more imposing effect. It is chiefly in detail that the great qualities of Signorelli show themselves.

The rest of the walls of the large cloister are painted with twenty-seven subjects by Sodoma, showing the youth and hermit-life of the saint, and continuing, after the series by Signorelli, with his miracles and his old age. Although the subjects chosen by Luca illustrate the later years, yet they were painted first, and it is probable that the place of each scene was arranged before any of the work was entered upon.

The year following the execution of these frescoes Signorelli was in Siena, painting the two wings for the altar-piece of the Bicchi family, formerly in the church of S. Agostino, now in the Berlin Gallery, No. 79. A MS. of the Abbate Galgano Bicchi,which gives the date, speaks of it as anAncona, the centre of which was a statue of S. Christopher by Jacopo della Quercia, and with apredella, which the Abbate minutely describes.[57]Nothing now remains of the altar-piece but these two beautiful wings, one of which contains figures of the Magdalen, Santa Chiara, and S. Jerome, the other, of S. Augustine, S. Antonio and S. Catherine of Siena. Vasari writes of it: "At Siena he painted in Sant'Agostino, a picture for the chapel of S. Cristofano, in which are some Saints surrounding a S. Christopher in relief."[58]

Both panels are of very rich and harmonious colour, especially the one containing the noble figure of the Magdalen, in her green robe shot with gold and deep red mantle, and her ropes of honey-coloured hair.

SAINTS[Gallery, BerlinSAINTS

[Gallery, Berlin

SAINTS

Perhaps about the same date, perhaps somewhat earlier, we may place the fineTondo(No. 79B) hanging in the same gallery, formerly in the Patrizi collection, Rome. I have not given it its usual name of a "Visitation," because that scene, conventionally treated, took place before the birth of the children who here play so important a part. Signorelli has, according to his habit, conceived the subject without any reference to traditional custom. I have already spoken of the ease with which he composes in theTondoform, and this is perhaps the best example of his skill. The natural grouping of the figures, the sweeping curves of the draperies, which, especially that of S. Joseph accentuated with gold, carry out the linesof the circle, give a sense of rest and harmony to the eye. The scene is treated with a simplicity and noble dignity which deserve special praise. It is in some ways the most sympathetic of all his Holy Families, and he seems to have felt the charm of every-day simple life, and for once has given the Christ the life and beauty of childhood. The tender foreboding sadness in the face of the Virgin, the reverential sympathy of the aged Elizabeth, and the kindly care with which the powerful Zacharias holds the Child, are touches full of poetry.

Morelli places thisTondoas a late work,[59]but the soft and harmonious colour, as well as the poetic feeling, seem to belong to this period, before the painting of the Orvieto frescoes, if not even earlier.

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