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Chap. III. FRANCESCO DI GIORGIO. G7 His style may be further studied in seven or eight pa nels, unauthenticated by signatures, in the collection of his native city, in a Nativity at S. Domenico of Sienna, and in a predella at the Uffizi of Florence. 1 Francesco di Giorgio is connected with such bril liant successes in the laying out of fortresses, and the invention of methods for the attack and reduction of such works, that his talents became widely known throughout Italy. 2 In this novel and important field he preceded by a few years, and was only surpassed by, Leonardo da Vinci, and it is on record that they both met in 1490 at Pavia, whither they had been sent by Gian Galeazzo to report on the plan of the new cathedral. Francesco di Giorgio’s proposals for vaulting the cupola of the Milan Duomo were con ceived at the same period, and, after they had been ac cepted by the “deputies” of the Fdbbrica, they were re alized in 1493 by the Lombard, Giov. Antonio da Gessate. 3 sharp contrasts, have a hard horny substance. The flesh, lights are yellow, of thin impasto, and grey in shadow. The ornaments are co pious. Every part is wrought wit.h visible care and research. 1 Sienna Acad. No. 303. Annun ciation. The angel is in vehement and exaggerated action. The dis tance, architecture of fanciful form and decoration. •—■ Same Gallery. No. 304. Virgin and child between SS. Peter and Paul. — Same Gall. No. 305. Half length Virgin and child and an angel; one may note here how the lines of the cheeks in the Virgin fall to a small chin. The colour is rosy, but flat. — Same Gallery. Nos. 184. 5. 6. Two scenes from the story of Joseph, and one of Susanna. — Same Gallery. No. 228. Half length Virgin and child between two saints. — Same Gall. No. 329. Christ about to be cruci fied, with features assignable to a eontinuator of Francesco di Gior gio’s manner. Sienna—S.Domenico, on an altar to the right. The Nativity seems composed in the spirit of F. d. G., with his type in the angels, but with more animation in the action. In the distance is a Roman arch. The name of Signorelli has been given to this piece. Its lu nette belongs to another picture, and is like a work of Matteo da Sienna; whilst the predella shows the hand of Fungai. — Florence — Uffizi. No. 1304. The three predella scenes here show F. d. G.’s defects less than usual, the size of the panels being small. We note the neatness of the drawing. The colour is, however, still flat and cold. The subjects are from the legend of S. Benedict. 2 It is certain, says Gaetano Mi- lanesi (Discorso ub. sub. p. 69), that the invention of the mine was first practised by Francesco di Giorgio in 1495 at the siege of the Castel del Uovo at Naples. 3 Doc. Sen. II. 429. 30. 31. 32. 33. 34. 435—8, and Gaye Carteg- gio II. 288. 89. 90. 98. 5*