ile two
others, not unlike the great Archangels of the "Resurrection," blow
trumpets to announce the impending Judgment.

Left of the altar, opposite Fra Angelico's "Prophets," and arranged in
exactly the same pyramidal form, is a magnificent group, representing
the "Apostles," the Virgin being seated on the lowest tier with S. Peter
and S. Paul. Very noble, impressive figures, powerfully and solidly
painted, with broadly-draped, heavy-folded robes, they sit like rocks
upon clouds as solid as hills.

These, with the two frescoes of Fra Angelico, complete the paintings of
the first vaulting.

Those on the other side of the arch are executed entirely by Signorelli,
and, with the exception of one, from his own designs. This one is the
weakest of his roof-paintings in execution, and the composition and
actual drawing of the central figures, are the work of Fra Angelico. It
represents the "Choir of Martyrs," a group of seven figures. In the
centre are seated three Deacons in full canonicals, with Bishops on
either side, and below two Saints in plain robes. These last have all
Signorelli's characteristics of drawing, and sit with wide-spread knees
and broadly-painted draperies, a striking contrast to the weak attitudes
and niggling robes of the central group. Signorelli has indeed hardly
altered the childish chubby features of the Deacon in the middle, nor
the benevolent vacuity of the two Bishops, so different to his own
austere types.

Opposite to this, over the portal, is a group of eight "Virgins,"
broadly and vigorously treated, in Signorelli's boldest manner. To the
right is another of the pyramidal groups, fifteen "Doctors of the
Church," some of whom are represented disputing and discussing points of
theology.

The last of the roof-paintings is a powerful group of "Patriarchs,"
ranking, with that of the "Apostles," among the most impressive of the
frescoes. Here appear many of his well-known types of face; the
melancholy features of Pan are repeated in the turbaned youth in the top
row, intended perhaps to be Solomon; the Christ of the Uffizi "Holy
Family" is in the second tier to the left; the powerful Zacharias from
the Berlin _Tondo_ in the lowest.

Luzi, in his minute description of the paintings,[64] has bestowed names
on all these figures, without much advantage, since they are for the
most part doubtful. Few of them bear symbols, but the different groups
are sufficiently described in large letters, by t