_, also for
the most part by Signorelli, but in this case only two, and a fragment
of the third, remain, the enlarging of the recess having almost entirely
cut that and the fourth away. In the top medallion are five nude
figures, a powerful female and four males, all wildly hastening as if
from some impending destruction. In that on the left a man stands on a
dais, surrounded by soldiers who hold a prisoner bound before him. In
the lower fragment, only one figure remains. These all represent,
according to Luzi, scenes from Homer. The groups are well composed and
full of vigorous energy, the nudes are splendidly modelled in broad,
bold strokes, so sharply drawn on the wet plaster that the outlines
are deeply incised. Where, as here, these _grisaille_ pictures are the
work of Signorelli himself, they are worthy of more attention than is
usually given to them, being as fine as any of his best work. To realise
fully their vigour and excellence, one need only compare these powerful
nudes with those painted in the pilasters close by, the work of
assistants. The medallions in every case are surrounded by a broadly
painted coloured pattern of grotesques, also by assistants, but probably
to a large extent designed by Signorelli, for they are extremely
characteristic of his preoccupation with the human form and with
movement. Arabesques have but little attraction for him, and it will be
noticed that in all his ornamental work where it is possible, he paints
figures. These decorations are almost entirely composed of fantastic
creatures, fauns, tiny satyrs, horses, birds, etc., who blending their
shapes and borrowing each other's limbs, frisk all over the walls, and
by their gambols and contortions form a pattern of curves and lines,
which is a maze of animated life, retaining at the same time the broad
and harmonious effect of an arabesque.

[Illustration: [_Cathedral, Orvieto_

THE CROWNING OF THE ELECT]

The next large painting represents "The Crowning of the Elect." A crowd
of men and women, many draped round the loins, some quite naked, gaze
upwards ecstatically, or kneel reverently to receive the gold crowns
which angels are placing on their heads. Above, seated on clouds, are
nine other angels, draped in many-folded robes, who play musical
instruments. To the right two figures (in one of whom the Echo of the
"Pan" is repeated) seem to walk out of the scene, thus connecting this
fresco with the next, in which the elect and