Chap. I. LUCA SIGNORELLI. 17 thing there, his attention must have been confined to or naments. 1 From Sienna Signorelli now proceeded to Orvieto, where the council of the cathedral after waiting nine years for Perugino, and after trying Pinturicchio, had finally resolved that Luca should decorate the chapel of S. Brizio. 2 It would be curious to ascertain, what the painter’s re flections may have been as he contemplated the unfinished masterpieces of Angelico on one of the ceilings of the chapel. The last great artist who embodied the essen tially religious element had left the traces of a mighty talent behind. How was the equally mighty represen tative of new principles and of modern modes of thought, to reconcile his creations with those of his pre cursor? One can understand a debate in the Orvieto council, if the members discussed the relative merits of Pinturicchio and Signorelli. Would not the tender, per haps affected Perugian be better suited to continue the work of the mystic Dominican than the fiery follower of Piero della Francesca? But Signorelli prevailed. Pinturic chio whose art is that of Perugino minus his best quali ties, was not fit to compete with the gigantic power of one whose opus following on that of his teacher was ne cessary to the development of Italian painting; — who left at Orvieto his mark for all time. Hot but that his frescos there may in the course of centuries perish like so many others that have gone that way before,, but they were in their path suggestive and grand; and had their influence on the growth of Michael Angelo. 1 These are indeed executed with less accurate care than the rest of the work, hut see Vas. (XI. 86—7). 2 The contract was signed on the 5 th of April 1499, and com prised at first only the ceilings and windows. When Signorelli had completed these he was or dered to proceed with the remain der receiving for the whole 780 ducats. He was furnished besides with the necessary ultramarine and free quarters. On obtaining the se cond commission he further re ceived monthly a certain measure of wine and corn, and two beds, one being no doubt for his assist ant , supposed to have been Giro lamo Genga. The walls of the chapel were completed between April 1500 and the close of 1501. See Bella Valle’s Storia del Buomo di Orvieto: ub. sup. pp. 316. 319. 2 VOL. 111.