ld a different
opinion from a critic of such weight as Morelli (see "Italian Painters,"
i. 92), but a careful comparison has forced me to subscribe to the later
judgments. Crowe & Cavalcaselle (see Cavalcaselle e Crowe, viii. 453)
and Vischer (Signorelli, p. 311) have both maintained that a great part
of the execution reveals the hand of Bartolommeo della Gatta. One of the
latest critics, Mr B. Berensen, presumes that the whole fresco is by
him. I know too little of this painter's style to be able to form an
opinion, feeling certain only that it is not by Signorelli.

[13] See Chronological Table, p. 122.

[14] Arch. dell opera del Duomo di Firenze. Deliberazioni dall'anno 1486
all'anno 1491. A Carte 77. The document merely mentions his name among
those who were unable to attend.

[15] See Chronological Table, p. 122.

[16] See "Guida all'arcicenobio di Monte Oliveto" (Siena, 1844), p. 20.

[17] Proved by a document in the Orvieto Archives, containing a list of
materials handed over by the Treasurer of the Works to Polidoro. See
Vischer, p. 102.

[18] Now in the Opera del Duomo, Orvieto. The portrait of Signorelli in
the frontispiece is the half of this painting.

[19] The letter is transcribed in Vischer, p. 356.

[20] Vasari, iii. 691.

[21] In the reprint of Cesariano's "Comments on Vitruvius," by G. B.
Caporali. (Perugia, 1536). The passage is quoted in Vermiglioli's
"Memorie di Pintorricchio" (1837), pp. 5 and 6.

[22] Vasari, iv. 329.

[23] The biographers of Signorelli, following the lead of Vasari, have
dwelt much on his friendship with contemporary princes--the Baglioni,
Vitelli, etc.; till we have grown to think of him rather as a silk-clad
courtier than a hard-working burgher and painter. It may well be that,
like Leonardo, he combined work with luxury, but the evidence is of too
slight a nature to allow us to consider that side of his life, if it
really existed. Of his friendship with Lorenzo dei Medici, however,
there is more proof, since he painted for him, and was evidently
influenced by his classic tastes, as several of his pictures show.

[24] The letter is transcribed in Vischer, p. 359.

[25] Vasari, iii. 683.

[26] Vasari, iii. 692.

[27] Vasari, iii. 693.

[28] Mancini, "Notizie," 94.

[29] Arch. Gen. di Contratti di Firenze. Rogiti di Ser Baldelli. Filza
dal 1507 al 1524.

[30]

"Let Cortona weep henceforth, and clothe herself in black,
For the light of Signorello