The influence of Dürer was strong on Hans Baldung, and a similar spirit is discernible in the works of both painters. This old man, strong and yet melancholy, is precisely true to Dürer's favourite type of human strength founded on labour and sorrow. And the choice of this type is characteristic of his mind. With the Reformation came, says Mr. Ruskin, "the Resurrection of Death. Never, since man first saw him face to face, had his terror been so great." Nothing shows the character of men of that time so clearly as the way in which they severally meet the King of Terror. "It haunted Dürer long; and the answer he gave to the question of the grave was that of patient hope; and twofold, consisting of one design in praise of Fortitude, and another in praise of Labour.... The plate of 'Melancholia' is the history of the sorrowful toil of the earth, as the 'Knight and Death' is of its sorrowful patience under temptation" (_Modern Painters_, vol. v. pt. ix. ch. iv.). 246. MADONNA AND CHILD. _Girolamo del Pacchia_ (Sienese: 1477-1535). Pacchia, who is often confused with his fellow-countryman Pacchiarotto, was born at Siena, being the son of a cannon-founder from Croatia who had settled in that city. He first studied in his native town, but afterwards went to Florence. His works recall the style of the Florentine masters of the time. In 1500 he went to Rome, returning to Siena with an established reputation in 1508. Many of his works are to be seen in the churches and picture-gallery in that city, famous alike for its religious revivals, its artistic activity, and its civic turbulence. Pacchia, in company with Pacchiarotti, joined the revolutionary club of the Bardotti, and on its suppression in 1535 the two artists fled the city. After that date no record of Pacchia has been found. This graceful picture resembles the style of Andrea del Sarto. 247. "ECCO HOMO!" _Matteo di Giovanni_ (Sienese: 1435-1495). _See_ 1155. "Then came Jesus forth, wearing the crown of thorns, and the purple robe. And Pilate saith unto them, Behold the man!" (Ecco Homo) (St. John xix. 5). In the "glory" around the head are the Latin letters signifying "Jesus Christ of Nazareth"; on the outer edge of the background, "at the name of Jesus every knee should bow, of things in heaven, and things on earth, and things under the earth" (Philippians ii. 10). 248. THE VISION OF ST. BERNARD. _Fra Filippo Lippi_ (Florentine: about 1406-1469). _See_ 666.