Most remarkable among the works inspired by the Lorenzetti is the coarsely effective Triumph of Death, Figure 57. in the famous cemetery cloister, Campo Santo, at Pisa. It represents the hazards of the mortal life in view of certain death and judgment. At the left a royal hunting party is stopped short by the sight and stench of three festering bodies in coffins. The Hermit, Saint Macarius, points the obvious lesson that kings and lords and fair ladies will turn to dust. In the centre, miserable folk beckon and cry to Death to descend and put them out of their distress. The harridan death ignores the prayer and flies over a pile of corpses towards a gay garden party. Death loves to cut down the young and gay and happy, leaving the old and crippled to prolonged sorrow. In the upper left hand corner you have monks going about their quiet pursuits. The whole adjoining fresco is given up to the lives of such desert saints. At the upper right are angels and fiends struggling for little nude forms that represent human souls. This motive is a sort of overflow from a picture of the Last Judgment. The grim moral of the three pictures is that the worldly life is one of mortal peril, which may best be avoided by renouncing the world and joining a monastic order. The work was completed about 1375, is in the rougher following of the Lorenzetti, and has been famous ever since it was painted on the cloister wall. Entirely Sienese in its conception, in its ruggedness it transcends the usual softness of the school. It is the last significant work of the 14th century. Siena passed into the fifteenth century without greatly changing her art. In the work of such traditional figures as Taddeo Bartoli one may observe a certain coarsening of the tradition. Mere splendor tends to replace the old delicacy, narrative painting becomes ever more complicated and confused. The latter tendency is manifested in frescoes which Domenico di Bartolo painted, between 1440 and 1443 for the Hospital of the Scala, Figure 58. Their crowded picturesqueness grows legitimately out of the Lorenzettian tradition, as does the elaboration of architectural accessories. But the work also implies a certain knowledge of the current Florentine discoveries in linear perspective and in architecture. A small ingenuity runs pretty wild in these decorations, valuable as they are in picturing the times. [Illustration: FIG. 58. Domenico di Bartolo. Clothing the Naked, from fresco series, the Seven Acts of Mercy.—_Scala Hospital, Siena._ ]