saille_ near the
"Pieta," in Orvieto, and later the scourging figure of the Morra
"Flagellation," although in both there are slight differences of
position. The action is exceedingly fine, the poise of the figure on the
well-drawn feet being especially good, while all the force of the strong
body is thrown into the arms stretched high up over the head.

In Dresden is a sheet of studies, which, while less fine than these two,
are yet very characteristic, and undoubtedly genuine. They are also in
black chalk, but very much rubbed, and consequently rather indistinct
They represent four nude figures in different postures, which Morelli
considers to be studies for part of the Orvieto frescoes, although I
have failed to discover there anything which corresponds to them.

[Illustration: [_Louvre, Paris_

STUDY OF NUDE FIGURE]

In the Uffizi Gallery, Florence, is another black chalk study of two men
being chained by devils, which, again, seems as though it must have been
intended for some of the figures in the "Damnation," but which I cannot
find there. This drawing is also very characteristic, and although
falling far below the merit of the Louvre studies, has all Signorelli's
qualities of dramatic energy and strength of touch.

The heavy, coarse study for a "Death of Lucretia," also in the Uffizi, I
find extremely hard, in comparison with any of the foregoing, to accept
as an undoubted work of the master, although I am not prepared to
absolutely deny it. There is a want of proportion in the figures, and an
indecision in the strokes, hard to reconcile with all we know of his
work.

In the collection at Windsor is another chalk drawing--"Hercules
overcoming Antaeus"--of little merit either of anatomy or of technique,
but which may possibly be from his hand. There is something of the
influence of Antonio Pollaiuolo visible in this treatment of his
favourite subject, and it is just conceivable that it may be an early
study by Signorelli done in his workshop.

The list of all the drawings which are attributed to him in different
collections would take too long for the slight purpose it would serve;
but for the benefit of those who desire to compare for themselves those
which Morelli and Vischer decide to be genuine, I have added a list of
their attributions, transcribed without addition or correction.

DRAWINGS MENTIONED BY MORELLI

DRESDEN (_Gallery_).--Study of four nude figures.

FLORENCE (_Uffizi_).--Case 459. [N