ere being seven compartments to be filled, in two of them
Signorelli has introduced the figure of Christ, treated this time with
dignity, perhaps because here He is represented as the Master, and not
the "Man of Sorrows." In one He reproves S. Peter (?), who turns away
with conscience-stricken humility very nobly rendered; in the other He
shows the marks of the Passion to the incredulous Thomas. These two are
perhaps the finest of the series, and are, besides, dramatic in gesture
and expression. The composition of the last is, with evident intention,
borrowed from Verrocchio's group on the walls of Or San Michele,
Florence, but the likeness ends with the general lines of composition.
Vischer makes a strong point of this, as a proof of Verrocchio's
influence on Signorelli,[44] but to me it seems that feeling, types of
face, and especially the broad and simple treatment of the draperies are
entirely different.

[Illustration: [_Santa Casa, Loreto_

THE INCREDULITY OF S. THOMAS]

The most important of these frescoes, however, as best illustrating
Signorelli's own peculiar tendencies, is "The Conversion of Saul," in
the compartment over the door. He has realised the scene with emotion,
and rendered it with a most convincing dramatic power, giving the
suddenness of the fall of the principal figure, and the excitement and
panic-stricken terror of the soldiers, with wonderful truth and
animation. It is interesting to note the almost exact repetition of the
same figure in the two soldiers who hurry away to the left, but it is
not at all mechanical, and in no way detracts from the excellence of
the composition. Very Pollaiuolesque is the figure with raised shield in
the foreground to the right, and one feels the influence of Perugino in
the spacious empty distance of the background, from which the figures
are so well detached.

[Illustration: [_Santa Casa, Loreto_

THE CONVERSION OF SAUL]

As decoration these frescoes are exceedingly fine, the grand row of
figures, besides the stately strength of each separate group, being most
impressive in general effect. They have been much damaged. For many
years used as a sacristy, the greasy smoke of the incense had so
blackened the walls that the frescoes were nearly invisible. The skilful
cleaning of Signor Guiseppe Missaghi, at the instigation of Signor
Cavalcaselle, has restored to them much of their original beauty,
although the colour still remains somewhat obscured.

On the