Greek Pantheism, vigorous and strong, and radiant
with the joy of life.

Another picture belonging to this beautiful group is the "Portrait of a
Man," in the Berlin Gallery, formerly in the Torrigiani Collection,
Florence. In the days before it was photographed it was considered to be
a portrait of Signorelli himself, and, as it represents a man with grey
hair, was naturally reckoned among his later works; but comparison with
the two portraits at Orvieto show that there is no real resemblance of
feature, while the technique and spirit of the painting claim a place
for it among this early series.

Here again occur the classic figures, but this time with less of the
idyllic feeling. On one side are hurrying Apollo and Daphne(?), on the
other, one athlete has overthrown another, and stands menacingly over
his prey, who tries with ineffectual gestures to beat him off--a very
Pollaiuolesque scene of violence. The colouring, with its clear reds of
the _biretta_ and the robe, is very successful. With this powerful
portrait closes this beautiful and interesting group of paintings, the
_provenance_ of all four of which, it will be observed, is from
Florence.

The two _Tondos_, of the Pitti and Corsini Galleries, Florence, must
have been painted at a date not far distant from those, for they have
much in common in certain forms, and particularly in the rich and
glowing scheme of colour.

The "Holy Family," of the Pitti Gallery, has been restored, and suffers
much from thick varnish and repainting, but nothing has spoilt the
harmony of the colours, nor the tender beauty of the Virgin, whose
features and expression are a repetition of those of Echo in the "Pan."
The Saint, who writes at the dictation of the Child, is painted with
earnestness, and the whole scene is treated with the utmost religious
feeling.

The "Madonna and Saints," of the Corsini Gallery, has the same warm glow
of colour, and was probably painted about the same time. The Virgin sits
with the Child on her left knee, clad in a red robe, round the neck of
which little Loves are embroidered in gold. Over it she wears a
dark-green mantle shot with gold--a form of decoration very usual with
Signorelli, especially about this time. She has the beautiful, pale,
honey-coloured hair which occurs so often in his works, almost the same
colour which was characteristic of Palma's Venetian ladies later. To the
left kneels S. Jerome, gazing up at her, and on the right is S