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Four years later, Polidoro, his eldest son, and his assistant at Orvieto, died also. This happened while Signorelli was on a visit to Siena, for it was there he bought the mourning cloth. The object of this visit was to design one of the subjects for the famous pavement of the Cathedral, but whether he ever did it we do not know; certainly it was never executed in marble.
Another very considerable factor in the development of Venetian painting was the influence of GENTILE DA FABRIANO (c. 1360-1430), who settled in Venice in the latter part of his life, and there formed the closest intimacy with Antonio Vivarini. The remarkable Adoration of the Kings in the Berlin Museum was until lately given to Gentile, though it is now catalogued as the work of Antonio. Of Gentile's education little is known, and of the numerous works which he executed at Fabriano, in Rome and in Venice very few have survived. From those that exist, however, we can form an estimate of his talents and of the difference between his earlier and later styles. To the first belong a fresco of the Madonna in the Cathedral at Orvieto, and the beautiful picture of the Madonna and saints which is now in the Kaiser Friedrich Museum at Berlin. Also the fine Adoration of the Kings, inscribed with his name and the date 1423, formerly in the sacristy of S. Trinit
The Florentines wanted to send a troop of five hundred horse to assist Orvieto, a Guelph town, isolated on its rock, and at present harrassed upon it. They gave command of this troop to the Knight Guido Guerra de' Conti Guidi, and he and his riders set out for Orvieto by the Umbrian road, through Arezzo, which was at peace with Florence, though a Ghibelline town.
It will be remembered that Milan was by the act of Belisarius in the hands of the Romans; it was, however, now besieged even as Rimini had been by a very redoubtable Gothic leader, Uraius. Orvieto and Osimo also were still in barbarian hands. Belisarius now proposed to employ the army in the relief of the one and the capture of the others.
In the frescoes of Loreto, and more particularly of Orvieto, the mere scheme of decoration is superb, and adds beauty and distinction to every subtle line of the architecture.
On Wolsey's return to England, instead of being received in privacy according to precedent, he was summoned on his arrival at Richmond Palace to meet his master in the presence of Anne Boleyn. Knight's mission was a failure. In December, Clement escaped in disguise from his Imperial guards: Knight found him at Orvieto.
A few days later, I received an anonymous letter from Orvieto, I think reminding me that a priest suspended a divinis has no right to the soutane. "Let the traitor," it said, "give up the uniform he has disgraced let him at least have the decency to do that." In my trouble I had not thought of it. So I wrote to a friend in Rome to send me clothes. Eleanor's eyes filled with tears.
Proved by a document in the Orvieto Archives, containing a list of materials handed over by the Treasurer of the Works to Polidoro. See Vischer, p. 102. Now in the Opera del Duomo, Orvieto. The portrait of Signorelli in the frontispiece is the half of this painting. The letter is transcribed in Vischer, p. 356. Vasari, iii. 691.
Beside, I remember one or two indications There was a short silence. Then Manisty sprang up. 'How long, did you say, before the trap came? An hour and a half? 'Hardly, said the priest, unwillingly, as he drew out his watch. 'And you must give yourself three hours to Orvieto 'Time enough. I'll go and have a look at those frescoes again and a chat with the woman. Don't interrupt yourself.
They had just left the hill-town of Orvieto, had descended rapidly into the valley lying to the south-west of its crested heights, and were now mounting again on the further side.
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