sque style, represented the Apostles at the mystic feast, and
Christ giving them the consecrated wafer, while He holds the chalice
in His left hand. Here the figures of the disciples admirably express
varied feelings of devotion and joy in receiving the divine food from
the hand of the Master. But the fresco which surpasses all, in
nobility of line and simple grandeur of conception, is the "Coronation
of the Virgin." Christ and the Virgin are seated in glory above the
light clouds, the Son places the celestial crown on the head of the
Mother who humbly bows her whole form towards Him, with hands crossed
on her bosom. Her face is irradiated by an ineffable and heavenly
smile, the supreme expression of happiness; the drapery of both is
white and delicate, enveloping the limbs with well defined folds. The
figures without being ineffectual, indeed they are even forcible, yet
appear aerial apparitions, and veritable visions of divinity. Six
saints in ecstasy assist at the triumph, St. Thomas Aquinas, St. Paul,
St. Dominic, St. Francis, St. Peter Martyr and St. Benedict, three on
the right and three on the left, in a semicircular composition, all in
attitudes of contemplative ecstasy.

[Illustration: CORONATION OF THE VIRGIN.]

[Illustration: THE PRAYER IN THE GARDEN.]

The frescoes of the Maries at the Sepulchre, may also be considered
one of our artist's masterpieces. The risen Christ emerges to half
His figure from the clouds which envelop Him, while the holy women
contemplate the empty sepulchre, and the angel seated in it points out
the miracle which has happened. Other scenes worthy of notice are the
"Presentation in the Temple," "Christ in Hades," and the "Buffeting of
the Saviour," and "The Prayer in the Garden."

[Illustration: ADORATION OF THE MAGI.]

[Illustration: THE CRUCIFIXION.]

In one of the last cells, the "Crucifixion" is reproduced in a new
manner, which represents Christ having ascended the ladder and
offering Himself to death: His Mother faints at his feet in the arms
of Mary Magdalene. Marchese asserts that this composition was inspired
by a legend of St. Mary Magdalene in the language of the 14th century.
"And I thought that Messer Gesu, ascended the cross by a ladder
voluntarily, offering His hands and feet. A centurion who was
afterwards saved saw the deed, and like a wise man he said within
himself, oh, what a marvel is here! that this prophet appears to
willingly place himself on the Cross,