s of the panel.

With the exception of the Perugia altar-piece, none of the
above-mentioned paintings are dated. Inferentially we arrive at the time
when the Loreto frescoes were completed, but there is little to help in
grouping the rest beyond the internal evidence they afford. I have
endeavoured to place them in the order they seem most naturally to take,
with reference to colour, form, and the early influences to be observed
in them, but the arrangement must necessarily be somewhat arbitrary.

Fortunately this difficulty grows less and less in dealing with the
later works, and the most important of them are generally dated.

FOOTNOTES:

[42] I shall, as far as space permits, describe those pictures of which
illustrations cannot be inserted. Where the illustration is given, it
becomes unnecessary.

[43] Vasari, iii. 691.

[44] Vischer, p. 79.

[45] Cavalcaselle e Crowe, viii. 507. Note 1.

[46] I have thought it best only to translate those names that are
familiar to us in English.

[47] Vasari, iii. 685.

[48] Cavalcaselle e Crowe, viii. 455.

[49] Vasari, iii. 685.

[50] Vasari, iii. 689.

[51] I am indebted for the above facts to Mr H. J. Ross of Poggio
Gherardo, Florence, the original purchaser of the picture.

[52] The photograph gives so little idea of the beauty of the original
that I have not reproduced it.

CHAPTER IV

MIDDLE PERIOD

We have now arrived at the paintings belonging to the year 1491, part of
which Signorelli spent in Volterra, three works still remaining in that
city to testify to the visit--"The Annunciation," of the Cathedral; the
"Madonna and Saints," now in the Gallery, both dated; and a much-injured
fresco in _grisaille_, representing S. Jerome, on the walls of the same
building--the Palazzo Communale.

The "Madonna enthroned with Saints" was painted for the altar of Maffei
Chapel in San Francesco, and was unfortunately removed not many years
ago to the Gallery of the Palazzo Communale, suffering the greatest
damage in the transit. Two large cracks run through the figures of the
Child and the seated Father; large pieces of the paint have dropped
away, and in the repainting the Child has lost all characteristics of
Signorelli's work. In the less ruined parts, however, enough remains to
testify to the original excellence of the painting, which is finely
composed, and broadly and vigorously treated, especially in the
draperies.

The Virgin sits enthroned bet