eir
disobedience. There is something almost German in the domestic
simplicity with which Signorelli has conceived the scene. The woman who
waits on the right is Peruginesque in type and attitude, although with
the robust physique that belongs to Signorelli. The fresco is much
repainted especially in the roof.

[Illustration: [_Monti Oliveto, Maggiore_

MIRACLE OF S. BENEDICT]

The next shows "How S. Benedict reproves the brother of the monk
Valerian for his violated fast," and reveals to him that it was the
Devil who had tempted him in the disguise of a traveller, the different
scenes, as usual, going on in the background. In front the youth kneels
before the monks, and to the right the Devil, his horns showing through
his cap, tempts him. In the distance they can be seen feasting under a
rock. The fresco is much injured and repainted, but the figure of the
Devil with the bundle over his shoulder is very fine and well drawn.

The two last of the series are the best. Signorelli has in them given
the rein to his love of martial scenes, and painted them with great
animation and verve. In No. VII. we have the scene "How S. Benedict
discovers the deceit of Totila," and unmasks the shield-bearer, who,
disguised as the King of the Goths, comes to prove the knowledge of the
saint. In the background, a plain covered with camps and soldiers,
Totila sends forth his servant, and in the foreground the Saint,
surrounded by four monks, proclaims to him his identity. Statesmen,
arrogant pages, and warriors, stand behind the exposed shield-bearer. It
is interesting to observe how Signorelli's attention has wandered from
the empty faces and mechanically executed draperies of the monks, and
concentrated itself on this group. The figures, in their tight clothes,
are superbly posed and modelled, especially the three who stand next to
the shield-bearer.

The last of the frescoes is almost as fine a study of magnificent
attitude. It shows "How S. Benedict recognises and welcomes Totila," the
real King of the Goths, who kneels before him, surrounded by his army on
horse and foot. In the background, troops are marching with great
animation, (one of those fine effects of combined movement so
characteristic of the master). Some of the foreground figures are again
splendidly drawn and modelled, and the mounted soldiers sit their horses
exceedingly well.

[Illustration: [_Monte Oliveto, Maggiore_

THE MIRACLE OF S. BENEDICT]

In these tw