shoulders larger than anyone else, whilst the two figures standing on
the steps of Solomon's throne are in marked contrast. The one with the
shield, on the left, is as monumental as one of Bramante's creations,
the old gentleman with the beard, on the right, is mincing and has no
shoulders. Solomon himself appears as a young man of dark complexion, in
an attitude of self-contained determination; the way his hands rest on
the sides of the throne is very expressive. His drapery is cast in
curious folds of a zig-zag character, following the lines of the
composition, whilst the dresses of the other personages fall in broad
masses to the ground. The light and shade are cleverly handled, and the
spaciousness of the scene is enhanced by the rows of columns and the
apse of mosaics behind Solomon's head. The painter was clearly versed in
the laws of perspective, and indicates depth inwards by placing the
figures behind one another on a tesselated pavement or on the receding
steps of the throne, giving at the same time a sense of atmospheric
space between one figure and another. The colour scheme is delightful,
full-toned orange and red alternating with pale blues, olive green, and
delicate pink, the contrasts so subdued by a clever balance of light and
shade as to harmonise the whole in a delicate silvery key.

[Illustration: _Dixon photo. Collection of Mr. Ralph Bankes,
Kingston-Lacey, England_

THE JUDGMENT OF SOLOMON (Unfinished)]

The unfinished figure of the executioner evidently caused the artist
much trouble, for _pentimenti_ are frequent, and other outlines can be
distinctly traced through the nude body. The effect of this clumsy
figure is far from satisfactory; the limbs are not articulated
distinctly; moreover, the balance of the whole composition is seriously