The two following artists were brought to the Sistine Chapel from the Florentine territory, the painters of which I shall now consider after those of the capital. Luca Signorelli, the kinsman of Vasari of Arezzo, and the disciple of Piero della Francesca, was a spirited and expressive painter, and one of the first Tuscan artists who designed figures with a true knowledge of anatomy, though somewhat dryly. The cathedral of Orvieto evinces this; and those naked figures which even Michelangiolo has not disdained to imitate. Although in most of his works we do not discover a proper choice of form, nor a sufficient harmony of colouring in some of them, especially in the communion of the Apostles, painted for the Jesuits in his native city, there is beauty, grace, and tints approaching to modern excellence. He painted in Urbino, at Volterra, Florence, and many other cities. In the Sistine Chapel he painted the Journey of Moses with Sefora, and the Promulgation of the Old Law, paintings full of incident, and superior in composition to the confused style of that age. Vasari and Taia have assigned him the first place in this great assemblage of artists; to me he seems at least to have equalled the best of them, and to have improved on his usual style. He had two countrymen of noble families for pupils; Tommaso Bernabei, who followed him closely, and has left some works in S. M. del Calcinaio, and Turpino Zaccagna, whose style was different, as appears from a picture painted for the Church of S. Agatha in Cantalena near Cortona, in 1537. Don Bartolommeo della Gatta executed none of his own designs in the Sistine Chapel; he lent assistance to Signorelli and to Perugino. He had been educated in the monastery of the Angeli, at Florence, rather as a painter of miniatures than of history. On being appointed Abbot of S. Clement, in Arezzo, he exercised both; and was also skilled in music and in architecture. There is of his works only a S. Jerome, executed in the chapel of the cathedral, as we find from a MS. guide to the city, and which was transferred into the sacristy in 1794. The abbot instructed Domenico Pecori and Matteo Lappoli, two gentlemen of Arezzo, who improved themselves in the art on other models, especially the first, as is evident from a picture in the parish church, in which the Virgin receives under her mantle the people of Arezzo, who are recommended to her protection by their patron saints. In it are heads in the style of Francia, good architecture, judicious composition, and a moderate use of gold.