Signorelli, in the Last Days of Moses, Figure 115, makes a similar but less egregious evasion. His centre of interest is the nude youth in the foreground, but he does give a certain prominence to the scenes where Moses invests Joshua with authority, and where both view the Promised Land from Mount Horeb. Though without much emotional accent, the crowds are agreeably disposed and diversified by graceful forms of women and children. Only the design is by Signorelli, the execution being by an assistant, Don Bartolommeo della Gatta. The picture is more delightful for such passages as the Apollo-like nude youth and the mother with her children in the right foreground than it is as a whole, though it is full of idyllic charm, and inadequate only when one considers the gravity of its theme. [Illustration: FIG. 116. Ghirlandaio. Christ calling Peter and Andrew. Fresco.—_Sistine Chapel, Rome._ ] In his Calling of Peter and Andrew, Figure 116, to be fishers of men, Domenico Ghirlandaio makes a skilful and impressive use of that approved mechanical symmetry which has already been noticed in Pintorricchio’s Baptism. Everything is well centralized, the river view is a welcome outlet, the stereotyped bystanders on the flanks at least are telling portraits and, while not bound into the central motive, have withal a gravity that sufficiently accords with it. The arrangement is lucid, and the surplus accessories fairly well subordinated. A rather perfunctory quality in the central scene of homage and dedication reveals Ghirlandaio’s scanty imagination. His impressiveness has a certain dullness about it. Few words need be spent on the picturesque and irresponsible confusion which reigns in Cosimo Rosselli’s Destruction of Pharaoh’s Army in the Red Sea, Figure 117. Cosimo was one of the older painters in the chapel, forty-two years old. Yet a juvenile sensationalism and uncalculated restlessness prevail, and his attempts at vivacity and grace are as unhappy as his striving for effects of terror. It may well be that his eccentric young pupil, Piero di Cosimo, gave this fresco its febrile energy and its theatrical landscape. Certain it is that the three other frescoes by Cosimo are unmitigatedly dull. Oddly it was he alone who won the praise of Pope Sixtus, mostly for his profuse introduction of gold ornament. [Illustration: FIG. 117. Cosimo Rosselli. Destruction of Pharaoh’s Army. Fresco.—_Sistine Chapel._ ] [Illustration: FIG. 118. Perugino. Christ giving the Keys to Peter. Fresco.—_Sistine Chapel, Rome._ ]