roof of the nave, in the church itself, are painted a series of
frescoes in _grisaille_, twenty-six Prophets and Fathers of the Church,
somewhat over life size, seated one in each medallion. They are solemn
and impressive figures like those in the sacristy, and painted on the
same broad lines, and remind one strongly of the two medallions, also in
_grisaille_, in the "Madonna," of the Uffizi Corridor. All of them have
severely suffered from repainting.

"The Adoration of the Magi," formerly in the Campana Gallery, Rome, now
No. 389 of the Louvre, seems to have been painted in 1482. Crowe and
Cavalcaselle[45] rightly consider its execution to be the work of
assistants, by reason of the rawness of colour and general coarseness of
the painting; yet in composition, and in many of the figures, there is
so much of the master's impressive dignity, that I feel compelled to
regard the drawing, in parts at least, as his own. The stately Madonna,
and the noble figure of the King on her right, whose draperies have the
same sweeping breadth as those in the National Gallery, "Circumcision,"
as well as the solid, well-seated figures of the mounted attendants,
seem to be Signorelli's own composing. The Child is also characteristic,
and resembles that in the _Tondo_ of the Pitti Gallery. The badly-drawn
horses, again, seem his, for it will be noticed all through his work
that he has never cared to thoroughly master their form, and paints them
always with curious mannerisms of too closely-placed nostrils, and human
eyebrows, which show how little attention he had given to their anatomy.

The first dated picture remaining is the altar-piece of the Perugia
Cathedral, painted in 1484, of which Vasari writes: "Also in Perugia he
painted many works; and among others in the Cathedral, for Messer Jacopo
Vannucci of Cortona, Bishop of the city, a picture in which is Our Lady,
Sant Onofrio, Sant Ercolano, S. John Baptist, S. Stephen,[46] and an
angel, most beautiful, who tunes a lute."[47] The inscription with the
date (given in the catalogue) are unfortunately hidden by the frame.
This is one of Signorelli's finest altar-pieces, the colour being
especially rich and harmonious, and it shows, even more than the Loreto
frescoes, the strength of Florentine influences. For example, very close
to Pollaiuolo is the figure of the angel tuning the lute, with its
striped scarf, and so also is the powerful head of S. Ercolano. The S.
Stephen is almost a r