proclaimed, so now in death went much folk to learn news of the other world." Such being the temper of the people, we find that some of the greatest works of art in this age were paintings of Death and Hell, Heaven and Judgment. Orcagna, in the Strozzi Chapel of S. Maria Novella, set forth these scenes with a wonderful blending of beauty and grotesque invention. In the treatment of the Inferno he strove to delineate the whole geography of Dante's first _cantica_, tracing the successive circles and introducing the various episodes commemorated by the poet. Interesting as this work may be for the illustration of the "Divine Comedy" as understood by Dante's immediate successors, we turn from it with a sense of relief to admire the saints and angels ranged in goodly row, "each burning upward to his point of bliss" whereby the painter has depicted Paradise. Early Italian art has nothing more truly beautiful to offer than the white-robed Madonna kneeling at the judgment seat of Christ.[129] It will be felt by every genuine student of art that if Orcagna painted these frescoes in S. Maria Novella, whereof there is no doubt, he could not have executed the wall-paintings in the Campo Santo at Pisa attributed to him by Vasari. To what artists or artist we owe those three grave and awful panels, may still be regarded an open question.[130] At the end of the southern wall of the cemetery, exposed to a cold and equal north light from the cloister windows, these great compositions, after the lapse of five centuries, bring us face to face with the most earnest thoughts of mediaeval Christianity. Their main purpose seems to be to illustrate the advantage of the ascetic over the secular mode of life, and to school men into living with the fear of death before their eyes. The first displays the solitary vigils, self-imposed penances, cruel temptations, firm endurance, and beatific visions of the anchorites in the Thebaid. The second is devoted to the triumph of Death over the pomp, strength, wealth, and beauty of the world. The third reveals a grimly realistic and yet awfully imaginative vision of judgment, such as it has rarely been granted to a painter to conceive. Thus to the awakening soul of the Italians, on the threshold of the modern era, with the sonnets of Petrarch and the stories of Boccaccio sounding in their memories, this terrible master presented the three saddest phantoms of the Middle Ages--the spectre of death omnipotent, the solitude of the desert as the only refuge from a sinful and doomed world, the dread of Divine justice inexorable and inevitable. In those piles of the promiscuous and abandoned dead, those fiends and angels poised in mid-air struggling for souls, those blind and mutilated beggars vainly besieging Death with prayers and imprecations for deliverance, while she descends in her robe of woven wire to mow down with her scythe the knights and ladies in their garden of delight; again in