own from its pillar the statue of Apollo, worshipped by these people.
This is a very much finer painting. The composition is again overcrowded
on one side, but there is much noble dignity in the figures of the three
monks, and the beautiful architecture and perspective of the Temple, are
admirable. The foreground has been entirely destroyed, the draperies are
nearly effaced, and a little town in the background is so smeared over
with green paint, that the effects of distance are lost.

No. III. is in better condition, though very much injured in the
foreground. It shows "How S. Benedict exorcised the Devil upon the
stone," who guarded the place where the statue of Apollo was buried,
which brought a curse on the convent. In the background is seen the
disinterment of the statue, and to the right, the vengeance of the
Devil, who sets fire to their building. Flames burst through the
windows, and the monks hasten with excited gestures to quench them.
These remind one in their _naivete_ of Carpaccio's scurrying friars, in
S. Giorgio degli Schiavone, Venice. There are some very fine bits in
this fresco; the attitude of the monk to the left who is heaving up the
stone is exceedingly good and true to nature, and the landscape is
spacious and distant.

No. IV. shows "How S. Benedict resuscitated the monk upon whom the wall
fell," the scene of the death taking place in the background, the Devil
having precipitated him from the scaffolding on which he was at work. In
the middle distance three brothers bear the dead body, and in the
foreground the Saint stands and raises him again to life. This fresco is
very fine both in general composition and detail. The little scene of
the death is full of action and animation, the group of monks who bear
the corpse is dignified, and very noble is the kneeling figure of the
resuscitated friar.

The paintings get gradually better, as though Signorelli had warmed to
his task. The next is very charming and one of the most successful in
composition. It illustrates "How S. Benedict reveals to two monks where
and when they had eaten out of the Convent." The two disobedient
brothers sit in the foreground of a long room (of most excellent
perspective), and are served with meats and drinks. At the end of the
room, at the open doorway stands the graceful figure of a youth. The
section of the wall is given, showing in the distance the penitent
brothers on their knees before the Saint, who has reproved th