he painters
themselves--GLORIOSVS APOSTOLORVM CHOIR--MARTIRVM CANDIDATVS
EXERCITVS--etc. etc.

The figures, with the exception of those by Fra Angelico, and the design
for the "Martyrs," are entirely the work of Signorelli himself. The
decorations between the spaces seem to be in part by the assistant of
Fra Angelico--perhaps Benozzo Gozzoli. In the first border heads are
painted, in lozenges, at regular intervals, a few of which are in the
older master's style, while many show the manner of Signorelli. The
rounded projecting rib is painted with foliage of cypress-green, with
here and there rich red and golden flowers gleaming out, and on either
side a border of conventionalised water-lilies. It is difficult to say
which of the masters designed this exceedingly beautiful decoration, but
it is most effective, and well-calculated to accentuate the life of the
fine curves in the vaulting.

[Illustration: [_Cathedral, Orvieto_

PATRIARCHS]

These groups of Signorelli's are noble and impressive paintings, in
technique strong and vigorous. The draperies are treated with simplicity
and breadth of fold, and the gold background gives richness and beauty
to the colour. No wonder that the authorities, jealous though they were
at the beauty of their chapel, should have hesitated no longer to hand
over the great spaces of the walls to the brush of the painter who had
so well executed their first commission.

In the April of the following year, 1500, the new task was given. The
payment for the roof was to have been 205 ducats; for the walls they
offered 575. Besides this, the painter was to be furnished with
ultramarine, a certain quantity of food and wine, and a free lodging,
with two beds, as the lengthy documents of commission minutely tell.[65]

The paintings begin with "The Preaching and Fall of Antichrist." Here
the foreground is filled with groups of the followers of the false
prophet, who, with the features of Christ, stands on a little raised
dais, listening with an evil expression, as the Devil behind him, unseen
by the crowd, whispers into his ear what he shall say. Before the dais
are scattered gold vessels, bars and coins, with which he tempts the
audience. Farther back to the right, different groups represent the
false teaching and miracles of Antichrist, and in the background is his
Temple, with armed men going in and out of its open portico. The left of
the frescoes is devoted to the fall of the false prophet,