scribed, are depicted three figures, standing in the extremity of astonishment at sight of the Beato Ranieri, who causes the devil, in the form of a cat seated on a wine-cask, to appear to a fat innkeeper, who has the air of a jovial companion, but is now timidly imploring the protection of the saint.[1] This also is an extremely fine work, the attitudes, the draperies, the variety and animated expression of the countenances, all, in short, being admirably felt and treated. Near the principal group, are the maids of the hostelry, and these figures could not possibly be executed with more judgment. Antonio has given them the short, scanty clothing, the rapid movements, and other peculiarities proper to the serving-women of an inn, so that nothing more real could well be imagined.[2] There is, likewise, a very pleasing picture, representing the canons of the Pisan cathedral receiving San Ranieri at their table: all the figures are good, and the vest ments of the priests, which are entirely different from those now worn, are graceful and beautiful. At the death of the saint, moreover, which is afterwards depicted, the expression of grief in the weeping bystanders is admirably rendered, as are the movements of the angels, who are bearing the soul of the departed to heaven. This last-mentioned group is surrounded by resplendent light; and the whole is a very fine conception.[3] Nor, in truth, can any one behold without astonishment the priests who bear the body of the saint to the cathedral: they are singing, and in all their attitudes, gestures, and the movement of their persons, represent a company of choristers with extraordinary truth and reality.[4] In this picture there is said to be the portrait of the Bava-
- ↑ The circumstances alluded to in this painting are explained by Kosini, in the Descrizione del Campo Santo, and by Totti, in his Dialogo del Campo Santo Pisano.
- ↑ The Florentine commentators reproach our author for this description, declaring that no such women are to be seen in the picture, and charging him with having imagined their presence; but Vasari very probably described the work after a drawing of Antonio’s, which the painter may have altered to a certain extent in the execution. —Schorn.
- ↑ The portion of this work which exhibits the death of the saint, with that which shews the removal of the body, have suffered greatly. There are, nevertheless, some precious remains still existing, which have been carefully transferred to the drawings of our artists. —Montani.
- ↑ See the Etruria Pittrice (where the lower part of this painting is figured), vol. i, pi. 12.
