436 EARLY CHRISTIAN ART. Chap. XIX. stands, bears an inscription, which Vasari correctly co pied, as follows: “Ahi Dni MCCCLVII. Andreas Cionis de Florentia me pinxit.” In this altarpiece which consists of five niches rest ing on a predella in three divisions, the Saviour may be seen enthroned under a red and blue prism filled with seraphim and cherubim, giving with his right the gospel to S. Thomas Aquinas, with his left, the keys to S. Peter. Both these saints kneel at his sides with two angels sounding instruments. The first is presented by the Virgin, at whose right stand S. Catherine and S. Michael, the second by S. John Baptist, on whose left are S. Law rence and S. Paul. 1 In the predella are two scenes from the life of a saint at each side of one representing S. Pe ter saved from the waters by the Saviour. 2 To the left is the celebration of the mass, to the right, a king dying amidst the wails of a crowd surrounding his bed, with a monk kneeling at one side of the foreground, and an angel at the other weighing the soul of the departed in a balance which two demons are vainly striving to weigh down. Here Orcagna represented the Saviour youthful and not without majesty, with features reminiscent of the Giot- tesque type and as fine as any of the period. In the figure of S. Thomas, the noble and fine head shows an advanced study of form. S. Peter exhibits an eager de sire to grasp the keys. The draperies are grand. In the predella scenes, much vivacity of action may be noted chiefly in the central one. 3 A clear, light, yet powerful colour charms the eye, yet the execution is not, on the whole, so fine as .that of the best preserved parts in the frescos of the surrounding walls where Orcagna, like most of his countrymen developed all his powers, and displayed all his skill. There is no doubt, however, that this is the finest of his panels. 1 At the bottom of the Saviour’s dress is a hole. The blue mantle is retouched at the knees. The black portion of S.Thomas’ dress is retouched and the white part new. The colour and part of the ground the breast of S. Paul are gone. 2 In this central predella com partments some of the colour in the head of S. Peter is gone and a few of the apostles in the vessel are repainted. 8 Which, however, is damaged.
