ful of all Signorelli's
renderings of this subject (with the exception, perhaps, of the Morra
fresco), both from its technical defects of extreme hardness and
heavy colour, as well as from the lack of any real feeling in the
painter for his subject. The unfortunate introduction of the patron
saint, posing as Joseph of Arimathoea, disturbs the harmony of the
mood, while his exaggerated gesture contrasts disagreeably with the
apathetic coldness of the other figures, over-dramatic as their action
is. The Christ is treated deliberately as a study of muscle, and is
among the most ignominious of his types, and the fantastic landscape,
with its shadowy rocks and solid clouds, is badly composed and without
existence. Although there is no trace of the influence of Piero
remaining, yet there is much of Antonio Pollaiuolo, especially in the
muscular figure and bent legs of the Christ.

[Illustration: [_Municipio, Borgo San Sepolcro_

THE CRUCIFIXION]

The two large Saints on the reverse of the Standard are, on the other
hand, imposing and noble figures, splendidly painted in Signorelli's
grandest and most sweeping manner. S. Antonio, in the black habit of the
order for which the banner was executed, stands reading in a book, and
by his side is S. Eligio, the smith-saint, in red mantle and dark-green
robe, holding in one hand the farrier's tool, and in the other the
cut-off horse's hoof of the legend. Below kneel small figures of four
brothers of the Confraternity.

We have now come to the end of the series of works, executed, as nearly
as can be judged, between 1490 and 1499, and with the latter date have
arrived at the time of the painting of the Orvieto frescoes, which were
to be the crowning point in the life's work of the master.

FOOTNOTES:

[53] "Purg." ii. 37 and 35.

[54] When last heard of by the author it was for sale in England.

[55] The contract, dated June 1494, is transcribed in Pungileoni's
"Elogio Stor. di Giov. Santi.," p. 77.

[56] Vasari, iii. 689.

[57] The MS. is in the possession of Conte Scipione Bicchi-Borghese,
Siena.

[58] Vasari, iii. 688.

[59] "Die Galerie zu Berlin," p. 46.

CHAPTER V

ORVIETO

There seems to be a moment in the life of every great man in which he
touches the height of his possibilities, and reaches the limits of his
powers of expression. To Signorelli it came late, at an age when most
men begin to feel at least their physical powers on the wane. The two