Un artiste en Italie . efifteenth siècle. Il est toujours autant de la modélisation de l'orfèvres l'art comme celle de l'artiste peintre ; mais c'est qu'un raffiné et sobeautiful cesse de chercher des thequalities ce qui à l'époque du travail a distingué les Vénitiens. Deux salles sont consacrées à Sano diPietro, et si nous l'étude de ces œuvres, gem-comme nous willhesitate pour placer le déclin de l'art siennois dès1348. Il est décrit par ses contemporains comme afamous, peintre et un homme entièrement dédié à Dieu - un digne rival du florentin, Fra Angelico. Giovanni di Paolo est presque aussi bien représentés asSa

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An artist in Italy . efifteenth century. It is still as much the patterning ofthe goldsmiths art as that of the painter ; but it is sobeautiful and refined that one ceases to look for thequalities which at that time distinguished the work ofthe Venetians. Two rooms are devoted to Sano diPietro, and if we study these gem-like works, we willhesitate to place the decline of Sienese art as far back as1348. He is described by his contemporaries as afamous painter, and a man entirely dedicated to God—a worthy rival of the Florentine, Fra Angelico. Giovanni di Paolo is nearly as well represented asSano; it is typical Sienese work of this period, but thelittle we see of Domenico di Bartolo shows a distinctforeign influence. Matteo and Benvenuto di Giovanni, whose work wehave seen at San Domenico, are both well represented.They are the two masters who followed shortly afterSano di Pietro, and slightly preceded Sodoma. In thelarge gallery there is an important altar-piece by Matteo, 160 ARCO DI S. GIUSEPPE, SIENA. THE PAINTERS OF SIENA and on the same wall a large triptych by Benvenuto, both of them superbly beautiful works; the formershowing more personality than the latter, but in Ben-venuto we still have the rich colouring and marvellouspatterning of the earlier masters. We turn round and face Sodomas famous Depositionfrom the Cross. It is an early work of the master, andwould be contemporaneous with the later works of eitherof the Giovanni, but two centuries seem to divide them.I can well understand that those who are thoroughlyimbued with the qualities of the earlier men may feelindifferent or even hostile to that of Sodoma. TheChurch being his patron, he painted religious subjects ;but had he been commissioned to paint pagan mythology, the absence of religious sentiment in his work would not befelt, and he would probably have been ranked with thegreatest painters of Italy. Although he became a Sieneseby adoption, his work is that of the Milanese school. HisDeposition is

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