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Chap. XIV. PETER OF RIMINI. 383 ral attitudes, the Saviour sits in the act of benediction between the Virgin, S.S. Benedict, John the Baptist, and Guido, 1 while the others, parted from each other by feigned columns supporting a painted entablature, display similar qualities. The heads in the. Last supper are deficient in drawing so that the back of the neck and cranium form but one straight line. The staring eyes, broken draperies and feeble red shadows, 2 are disagreable, but the style is that of Petrus of Rimini, which though far below the perfection of Giotto, is evidently that of a student, perhaps that of an assistant, of the Florentine master. 3 Of the same period and manner, but almost obliterated, are a crucifixion with attendant figures of S.S. Benedict, Guido and other saints, in dead colour in feigned niches on the walls of the old chap terhouse. Petrus of Rimini did not labour in Urbania and Pom- posa only, but in Ravenna also, in the choir and lateral cha pels of the church of S. Maria Portofuori. 4 In a niche in the choir, the Communion is represented; and the Redeemer has the type and character of that in the Pomposa refectory. In the chapel to the right of the choir, a fresco, of the ascent of a saint to heaven in a cloth held by an angel, is in the same manner, but, side by side with these, are frescos by an inferior hand. On the left wall of the choir the expulsion of Joachim, the birth of Mary and the presentation in the temple are composed of long lean figures in exaggerated movement. On the left wall, the massacre of the innocents, the death, assumption and coronation of the Virgin; — in the ceiling, the four doctors of the church and the four Evangelists. Various frescos in the lateral chapels, on the arches leading into the tribune, are painted in the feebler style of a follower of Petrus, who can be no other than Julian of Rimini. 1 The youthful and slightly bearded Saviour is reminiscent of that in the medallion of the crucifix of Petrus of Rimini. Si milar qualities are to be found in the Last supper on one side, and in a scene, on the others representing Guido, abbot and S. Gebeardo bishop of Ravenna, sitting behind a table in presence of six other persons. On the op posite wall are remains of a “Christ on the mount” and on the third, a headless figure of a monk seated, the mutilated part showing an under intonaco, al ready covered with olderpaintings. 2 The shadows are of a purple red. 8 Federici does not hesitate to assign these paintings to Giotto himself.SeeRerum Pomposien- sium ub. sup. p. 286. 4 All these paintings are stran gely enough assigned by Rosini (Storia della Pittura. Vol. II. p. 63) to Giotto,