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404 EARLY CHRISTIAN ART. Chap. XVH. detail in the fold. The art of Giovanni is realistic, a step towards the more correct definition of natural forms, but undignified by grand or noble thought. As a colourist he is not to be judged by a work which has been darkened and rubbed down. A more vast and important work by Giovanni is an altarpiece, now in the Municipal Gallery of Prato, re presenting the Virgin enthroned 1 between four saints, with prophets in medallions above, — an episode below. Thus, beneath the Virgin enthroned is the annunciation; — beneath S. Bernard, 2 the Virgin approving his doctrine; — and so, the martyrdoms of S. Catherine by the sword, of S. Bartholomew by flaying, and of S. Barnabas at the stake. Divided from the foregoing, but really form ing the base of the same altarpiece, are six compart ments 3 representing the birth of Christ, 4 the adoration of the shepherds, the presentation in the temple, Christ on the mount, the kiss of Judas, and the procession to Cal vary. 5 This picture, of which the upper parts have received serious damage, is inscribed at the base of the enthroned Virgin: Ego Johannes de Mediolano pinxi hoc opus, and beneath the annunciation: “Frate Francesco feci depingere questa tavola.” Long and slender shape, an affected bend, and some what forced tenderness of expression, eyes of the small closed kind which become familiar in the school of Sienna, mark the principal and most of the remaining figures of the altarpiece. There is vigour and bold action in some, 1 No. IV. Prato. Catal. The picture not long since (1857), was exposed to every vicissitude of weather in the hospital of that city. Half of the Virgin’s face, part of the right hand, are gone; the red dress is damaged and the blue mantle repainted. The head of the infant Saviour is now, and the nimbuses regilt. 2 The white dress of S. Bernard is repainted, as well as those of the three other saints. 3 Assigned to a Siennese pain ter of the 15 lh century, and num bered VI. in Prato Catalogue. 4 Parts of this scene are obli terated. S. Joseph, as usual, sits pensive on the foreground., 5 In the kiss of Judas, and the Calvary, the paint has in parts fallen out. ■