ning the noble figure of the Magdalen, in her green robe shot with
gold and deep red mantle, and her ropes of honey-coloured hair.

[Illustration: [_Gallery, Berlin_

SAINTS]

Perhaps about the same date, perhaps somewhat earlier, we may place the
fine _Tondo_ (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 the _Tondo_ form, 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 lines of 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 this _Tondo_ as 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.

[Illustration: [_Gallery, Berlin_

HOLY FAMILY

(CALLED VISITATION)]

Lastly, in this group must be placed the Standard of Borgo San Sepolcro,
painted for the Confraternity S. Antonio Abbate, now in the Municipio.
It is interesting to note, as its position in the Gallery allows us to
do, how completely Signorelli has now detached himself from the
influence of his first master--outwardly at least. No greater contrast
could well be, than the unrestful dramatic realism of the "Crucifixion"
on this Standard, and the inspired serenity of the "Resurrection" of
Pier dei Franceschi close by; than the coarsely-conceived figure of the
crucified Christ, with its heavy features and uncouth limbs, and the
spiritual beauty of the risen Saviour.

This "Crucifixion" is the least success