phael, or have taught him something when at Urbino in 1494. 1 But there is no proof whatever in the records which he adduces, to justify the belief that Signorelli came to Urbino on the occasion in question; and Giovanni Santi, who died in August of that very year, was cogni zant of his talents and fame long before. The banner of S. Spirito is still preserved in the edifice of that name in Urbino, representing on one side the crucifixion with great animation in the principal and episodic scenes, and on the other a grey and not pleasing Descent of the Holy Spirit. A Nativity and a Martyrdom of S. Sebastian ordered severally for S. Francesco and S. Domenico of Citta de Castello mark the year 1496. 2 The latter still in the church for which it was commissioned, shows an exaggerated vigour in the crossbow-men like that which characterizes the subject as painted by the Pollaiuoli in the National Gallery. The distance is equally full of figures and classic edifices; but the execution generally is some what dry. 3 In 1497, Signorelli left Cortona and commenced a progress abroad during which he produced some of his finest and grandest works. We shall have occasion to ascer tain how the art of Sienna continued its retrograde course during the fifteenth century. Its absorption into the Perugian school occurred a little later. In the meanwhile Signorelli who sustained at least the Umbrian fibre of the old school, appeared at Sienna, the precursor of the Pintu- ricchios and Bazzis, and found his way to the Olivetine con vent of Chiusuri, in one cloister of which he carried out part of a vast decorative series illustrating the life of S. Bene dict. 4 To enjoy the fullness of Lucas’ power from the 1 Pungileoni, Elogio Stor. di Raffaello Santi. 8° Urb. 1829. p. 13. 14. 15. 2 As to the Nativity see records, in com. Vas. (VI. 157). 3 Vasari notices the picture. (VI. 138) and Mancini states that it was inscribed in the predella: “Thomas de Brozziis et Francisca uxor fieri fecit 1498” (ap. note to Vas. VI. 138). The date is wrongly given, being 1496. The picture has lost its liveliness of colour and has greatly suffered. 4 Vasari XI. 143.