The grouping in the burial procession is more successful than usual, and the light and shade more massed. The colouring of all the frescoes is exceedingly harmonious, the greenish greys of the background are very delicate, and the foliage in the fresco over the altar must have been most beautiful. Touches of bright colour are brought in sparingly, and with good effect. Nothing more satisfactory is to be found in the Umbrian school up to now, than the _tout ensemble_ of the altar wall. The unity and balance of the whole, the variety, yet connection of the subject, the groundwork occupied, yet not crowded, free from spottiness and harsh transition. The palm tree filling the space on the right, the cypress on the left, the maintenance of the distances, relieve the fresco of all stiffness and flatness. The landscape is full of light and atmosphere. On the right we look away to a valley which has never lost the freshness of morning, on the left is a fairyland of sea and distant mountains and little far-away towns, gleaming, blue and mysteriously radiant. The whole shape and position of the country at the back is quite excellent, and in happy contrast to the artificial elegance of colonnades and radiating pavement of its neighbour on the adjoining wall. [Illustration: _Anderson photo_] [_Church of Ara Cœli, Rome_ THE GLORIFICATION OF SAN BERNARDINO] CHAPTER IV LIFE IN ROME--CONTINUED Giuliano della Rovere, though his uncle was dead, was still a powerful cardinal when Innocent VIII. succeeded in 1484. He inhabited the Colonna Palace, where Vasari tells us that both Perugino and Pintoricchio worked in his service. Nearly all the Umbrian decorations were swept away later to make room for the work of Poussin and Zuccaro, but the ceiling of one great hall still boasts the design of Pintoricchio. It is a rich and splendid piece of work. Ornaments in chiaroscuro on a blue or gold groundwork frame four little medallions of classic fable or sacred story--"Mucius Scævola" and "Virginia," the "History of Judith" and of "David." Hoary river-gods, grasping sheaves of corn and overflowing cornucopias of fruit, recline on the backs of sphinxes, on either side of fountains. More fanciful still are monkeys swinging from ribbons, centaurs prancing, _putti_ riding goats which are led by older boys, fauns waving banners, owls, garlands and serpents, all set in a rich plastered and painted framework, finished with gold rosettes.