o. 1246.]

LONDON (_Brit. Mus._).--Three drawings, in vol. 32.

PARIS (_Louvre_).--[Nos. 340, 341, 342, 343, 344, 345, 346.]

WINDSOR (_Library_).--A drawing, attributed to Masaccio.

Besides these, a design for Marcantonio's engraving of "Mars, Venus, and
Cupid" (Bartsch, 345), attributed to Mantegna.

DRAWINGS FROM VISCHER'S LIST OF SIGNORELLI'S WORKS

BERLIN (_Gallery_).--Man's head with cap (exposed in frame).

CHATSWORTH.--Four Saints (Waagen's attribution).

DRESDEN (_Gallery_) Case I. 10.--Head of a Woman. (Exposed in room
II.).--Battlefield (?) [This so-called Battlefield is the study of four
nudes, mentioned among the genuine drawings.--_Author's Note._]

FLORENCE (_Uffizi_).--Figure of Youth. Two Damned bound by Devils. Nude
Figure bearing Corpse. Madonna and Child (doubtful). Death of Lucretia
(?). Bacchanal.

PARIS (_Louvre_) 340.--Four nude figures; black chalk. 341. Two Saints;
coloured chalk. 342. A Saint; coloured chalk. 343. Nude figure
scourging; black chalk. 344. A Saint; black chalk. 345. Two nude
figures. 346. Pieta. 347. Nude figure bearing corpse; water-colour (more
finished repetition of the Uffizi study).

SIENA (_Collection of Mr C. Fairfax Murray_).--Seated Saints (study for
_grisaille_ Prophets in the nave of the church of Loreto).

WINDSOR (_Collection of H.M. the Queen_).--Devil seizing man; black
chalk (study for Orvieto frescoes). Male figure in three positions;
Indian ink (attributed to Raffael).

[Illustration: [_Academy, Florence_

MAGDALEN AT THE FOOT OF THE CROSS]

FOOTNOTES:

[78] "Italian Painters," i. 93.

CHAPTER IX

PUPILS AND GENERAL INFLUENCE

It would not be possible, in the space at my disposal, to go with any
thoroughness into the work of Signorelli's imitators, even of those who
fell directly under his influence. The painters who stand foremost among
them, Don Bartolommeo della Gatta and Girolamo Genga, are both too
important to be dealt with in a short notice, while it would be a
thankless as well as an arduous task, to try to distinguish the
different painters of what is generically classed as school-work, being,
as it nearly always is, without either individuality or merit. I shall
do little more, therefore, than make a brief mention of the names and
principal works of the known imitators, and try instead to indicate the
influence of Signorelli's style upon painting in general.

Morelli says much of his "uncompromising guidance," and o