work of assistants, one illustrating S. Martin
exorcising a mad bull, the other his funeral and the miraculous healing
of the sick by the dead body.

It is satisfactory to have to conclude the list of works with one so
strong, and which combines so many of the qualities which we have learnt
to look for in Signorelli's painting. Rugged energy, dignity, decorative
grace, and even romantic beauty are all to be found in this altar-piece,
which is a fit ending to the life's work of the master.[77]

FOOTNOTES:

[74] Transcribed in Vischer, p. 360.

[75] Cavalcaselle e Crowe, viii. 493.

[76] Vasari, iii. 692.

[77] These detailed studies do not include all the works of Signorelli,
but a complete list of all that are known to the author is to be found
in the catalogue at the end.

CHAPTER VIII

DRAWINGS

The study of Signorelli's drawings is unsatisfactory, both by reason of
their scarcity, and the enormous difference of merit, even among those
few which can be considered as genuine. Morelli writes: "His drawings
are found in all the most important collections of Europe,"[78] but he
mentions only thirteen, and although many certainly in all the galleries
bear his name, and the impress of his influence, later study appears to
accept only six as by his own hand; and of these six two are so much
inferior to the rest that I cannot bring myself to feel any degree of
certainty as to their genuineness.

This difficulty of acceptance arises from a comparison with the very
high standard of excellence in the two magnificent studies of the nude
in the Louvre collection, which correspond, in breadth of feeling, in
grandeur of pose, and in boldness and accuracy of touch, to his best
brushwork.

No. 345, formerly in the Baldinucci collection, represents two nude male
figures of superb proportions, one standing with his hands on his hips,
the other, in the characteristic attitude with wide-spread,
firmly-planted feet, having his hand on the shoulder of the first. It
is in black chalk, dashed in swiftly, with bold sweeping strokes,
apparently direct from the life. It is one of the finest studies of the
nude in existence, both for the splendid anatomy of the figures and the
freedom and energy of touch. No. 343, also from the Baldinucci
collection, which is here reproduced, is hardly inferior to it in the
same qualities of boldness and freedom. It seems to be the study from
which Signorelli painted the executioner in _gri