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In the Convent of San Marco in Florence there are twenty-five pictures by this master; in the Academy of Florence there are about sixty; there are eleven in the chapel of Nicholas V., and still others in the Vatican gallery. The Church of Santa Maria Novella, Florence, the Cathedral of Orvieto, the Church of St. Domenico in Perugia, and that of Cortona, are all rich in his works.
Diana's hand was in Miss Vincent's, and the girl's face was full of joy; Marion Vincent, deathly white, her eyes, more amazing, more alive than ever, amid the emaciation that surrounded them, greeted the party with smiling composure neither embarrassed, nor apologetic appealing to Frobisher now and then as to her travelling companion speaking of "our week at Orvieto" making, in fact, no secret of an arrangement which presently every member of the group about her even Sir James Chide accepted as simply as it was offered to them.
Capella arranged with the authorities to withdraw from the poorhouse an elderly woman named Maria Bresciano. It subsequently transpired that she was a nurse employed by a certain English gentleman named Fraser Beechcroft, who became entangled with a beautiful Italian girl named Margarita di Orvieto some twenty-eight years ago." Mr.
Hearing Donatello at one of these assemblies mention the cathedral at Orvieto, which he had visited on his way from Rome, Filippo, having his mantle and his hood on, without saying a word to anyone, set straight off from the Piazza on foot, and got as far as Cortona, from whence he returned with various pen-and-ink drawings before Donato or any one else had found out that he was away.
Thus even Orcagna's masterpiece may strike us not as the plaything of a Pheidian genius condescending for once to "breathe through silver," but of a consummate goldsmith taxing the resources of his craft to form a monumental jewel. The façade of Orvieto was the final achievement of the first or architectural period of Italian sculpture.
On the white table cloth trembled the amber reflection of the wine of Orvieto in decanters, a thick, yellow, golden liquid, of clerical sweetness, a drink of old-time pontiffs, which descended to the stomach like fire and more than once had mounted to heads covered with the tiara.
Called to graver work at Orvieto, where he painted his gigantic series of frescoes illustrating the coming of Antichrist, the Destruction of the World, the Resurrection, the Last Judgment, and the final state of souls in Paradise and Hell, Signorelli left his work at Monte Oliveto unaccomplished. Seven years later it was taken up by a painter of very different genius.
His manner, as continued and developed by his school, is unmistakable at Orvieto: but in the absence of direct information, we are left to conjecture the conditions under which this, the closing if not the crowning achievement of thirteenth-century sculpture, was produced.
"Devoted British colporteurs have philanthropically scattered a few art primers and tracts, and there is a possibility that in the near future, our people may search the maps for Orvieto, and the dictionaries for Campo Santo, to compass the mysteries of the 'Triumph of Death', and of 'Symmetria Prisca'. Some of us have even heard of 'Aucassin et Nicolette', and of 'Nencia da Barberino', picking salad in her garden; and I am almost sure a Vassar girl once spoke to me of Delia Quercia's Ilaria; but with all my national pride, candor compels me to admit that it is a 'far cry' to the day when we can devoutly fall on our knees before the bronze Devil of Giovanni da Bologna.
Lucy protested and implored, but soon found that everything was settled, and Eleanor was determined. She was to go alone with Marie, in the Contessa's carriage, starting almost with the dawn so as to avoid the heat: to spend the hot noon under shelter at Orvieto; and to return in the evening. Lucy pressed at least to go with her. So it appeared had the Contessa. But Eleanor would have neither.
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