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Chap. XIV. JULIAN OF RIMINI. 385 extensive restoring, but by the same hand are the frescos in a chapel to the left of the choir in the convent of S. Antonio Abate of Ferrara, 1 representing, in a series of feeble compositions, coloured with flat rosy tones, scenes from the passion of the Saviour. The date of 1407 may he seen beneath a figure of the Redeemer on one of the walls; hut this date seems to have been placed there after the frescos had been some time completed. The gradual de cline of this manner may be traced in a colossal crucifix in the church of S. Paolo at Montefiore near Urbino, — in a cru cifix in the chapel to the right as one enters the cathedral of Rimini, — and in a third relic of the same kind in the deadhouse of the hospital of Urbino. It might indeed be possible to give a long catalogue of similar works, differing only from those which preceded Giotto’s time in this, that, whereas before him, an uniform model was derived from past ages, painters now sought to imitate that of which the type had been created by the great Florentine; and there is evidence enough in the stories of Saechetti to prove that crucifixes were manufactured, so to say, hy the gross. 2 Thus, whilst the student may seek in vain for the works of men like Guglielmo di Forli, Ottaviano and Pace da Faenza, he stumbles, even in the nineteenth cen tury, on painters hitherto scarcely noticed, and evidently forming a second rate school, the chief of which may have known Giotto, and assisted him in his works at Rimini and Ravenna. In the course of two generations 1 A chapel not usually open to visitors. 2 An ex-chapel of S. Chiara at Ravenna (abandoned and close to a riding school) is covered with frescos in which the manner of Petrus and Julianus of Rimini may he found. Christ on a rough hewn cross in convulsive movement is bewailed by angels in vehement action, in the air. (4 fly about in grief, 3 gather the blood from the wounds, one tears its dress from its breast.) The Virgin and S. John are at the sides and S. Mary Magdalen at the foot stretch es out her arms to heaven. Be neath this crucifixionistheBaptism VOL. I. of Christ with an ugly and partly repainted nude of the Redeemer. On other walls, the annunciation, S.S. Francis, Chiara, Anthony the Abbot, and Louis; the adoration; and in the ceiling, the 4 doctors of the church, are all frescos, whose principal figures display the defects noticed at Pomposa and S. Maria Portofuori (note the long thick necks, protruding chins, massive hair, and heads without cranium), and repeated in other parts of Italy in pictures and frescos assigned to Simone (No. 159 of the Academy of Arts at Bologna, No. 161 and No. 231 of the same Gallery), or Jacobo at Bologna. 25