remnants of his wall paintings in this edilice is, however, difficult because of the injury which they have sustained. Eleven spaces are filled with paintings on the cloister wall to the right of the entrance. The first is one of those which Bazzi com pleted in 1505, 1 the last is by Riccio, whilst the penultimate is completely gone. There remain therefore eight frescos by Signor elli, representing 1. (after that of Bazzi near the door) Totila’s genuflexion before Benedict; 2 2. the shield-bearer’s coming to Bene dict in place of Totila (injured in parts); 3. the temptation of the abstinent monk (injured and renewed in the lower part); 4. the con viction of two brethren for breaking the fast-vow; 5. the resurrec tion of a monk on whom Satan had pitched a stone (much black ened); 6. Benedict exorcising the devil who prevented the stone from moving; 7. the overthrow of the idol (damaged); 8. the fall of a house and crushing of a youth (much injured and retouched). These frescos date from 1497. 3 They prove that Si gnorelli was still under the influence of his early education by Piero della Francesca. They embody all his energy and fancy. The drawing, pounced on very smooth surfaces from cartoons like Pieros’, is clean. It defines not only the outlines of the forms, but the respective parts in light and in shade with geometric precision. The technical system is also perfectly clear, a local water colour of a yellowish tinge for light, stippled with yellow red for mezzo tints, with red for shadows, always in one direction on the plan pursued by Leonardo in his drawings. A prolonged stay in Sienna during 1498, resulted in Luca’s completion of an altarpiece for the chapel of the Bicchi in S. Agostino, of which the wings _ alone, re presenting life size figures of SS. Chiara, Mary Magdalen, and Jerome, Augustin, Catherine, and Anthony of Padua, are in the Berlin Museum and must be classed amongst the fine productions of the master. 4 His chief occupation 1 The record vouching for this date is in Doc. Sen. III. 184. 2 Several of the drawings for this fresco are in the gallery of the Louvre. 3 Guida all’ archicenobio di Monte Oliveto, Sienna, 1844. p. 20. * No. 79. Berlin Museum. The date of this piece is given by Tizio (in MS. Hist. Sen. ap. Pungileoni Raph. ub. sup. p. 6) who says: “Lucas ... in S. Augustino tabu- lam peregrinam pinxit anno ab- hinc (1513) decimo quinto.” The centre of the altarpiece as descri bed by Vasari (VI. 149) was a S. Christopher, the saint to whom the chapel of the Bicchi was dedicated,