ying in 1496. His easel pictures are rare, and do not offer good
representations of the master. There is one in the National Gallery--a
Virgin and Child, with saints and angels.

Luca d'Egidio di Ventura, called also Luca 'da Cortona,' from his
birth-place, and Luca Signorelli, 1441, supposed to have died about
1524. His is a great name in the Tuscan School. He played an important
part in the painting of the Sistine Chapel, though he is only
represented by one wall picture, the History of Moses. At his best he
anticipated Michael Angelo in power and grandeur, but he was given to
exaggeration. His fame rests principally on his frescoes at Orvieto,
where, by a strange chance, he was appointed, after an interval of time,
to continue and complete the work begun by Fra Angelico, the master most
opposed to Signorelli in style. Luca added the great dramatic scenes
which include the history of Antichrist, executed with a grandeur which
'only Lionardo among the painters sharing a realistic tendency could
have surpassed.' These scenes, which contain The Resurrection, Hell, and
Paradise, bear a strong resemblance to the work of Michael Angelo. In
his fine drawing of the human figure Signorelli may be known by 'the
squareness of his forms in joints and extremities.' A conspicuous detail
in his pictures is frequently a bright-coloured Roman scarf. His work is
rarely seen north of the Alps.

Sandro Filipepi, called Botticelli, 1447-1515. He was an apprentice to
a goldsmith, and then became a scholar of Filippo Lipi's. Botticelli was
vehement and impetuous, full of passion and poetry, seeking to express
movement. He was the most dramatic painter of his school. Occasionally
he rises to a grandeur that allies him to Signorelli and Michael Angelo.
His circular pictures of the Madonna and Child, with angels, are
numerous. Like Fra Filippo, Botticelli's angels are noble youths, some
of them belonging to the great families of the time. They are prone to
be ecstatic with joy or frantic with grief. There is a grand Coronation
of the Virgin, by Botticelli at Hamilton Palace, and a beautiful
Nativity by the old master belongs to Mr Fuller Maitland. His Madonna
and Child are grand and tragic figures always. Botticelli's noble
frescoes in the Sistine Chapel are apt to be overlooked because of
Michael Angelo's 'sublime work' on the ceiling. There has been a revival
of Botticelli's renown within late years, partly due to the new
interest in the ea