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It is satisfactory to have to conclude the list of works with one so strong, and which combines so many of the qualities which we have learnt to look for in Signorelli's painting. Rugged energy, dignity, decorative grace, and even romantic beauty are all to be found in this altar-piece, which is a fit ending to the life's work of the master. Cavalcaselle e Crowe, viii. 493. Vasari, iii. 692.
Once one has grasped the main motive of Signorelli's work, his preoccupation with movement, and consequently with the muscles, his frequent defects and inequalities in other respects become, as faults of inattention, less incomprehensible.
Much time has been spent in the vain search for documents relating to Signorelli's supposed visit, in 1484, to Rome, where, it is said, he was summoned to paint, with Perugino, Pintorricchio, Botticelli, and Cosimo Rosselli, the walls of the Sistine Chapel. Later criticism has perhaps accounted for the absence of such a record.
This Magdalen has the terrific gesture of despair of one of those colossal women of Signorelli's, flung down, as a town by earthquake, at the foot of the cross. She was pardoned "because she had loved much" quia multo amavit. The unknown friar knew what that meant as well as his contemporary Dante, when Love showed him the vision of Beatrice's death.
Genius and science are of no avail; the position of Christ in baptism in the paintings of Verrocchio and Ghirlandajo is mean and servile; the movements of the "Thunder-stricken" in Signorelli's lunettes is an inconceivable mixture of the brutish, the melodramatic, and the comic; the magnificently drawn youth at the door of the prison in Filippino's Liberation of St.
An account of those details would require a volume, and one has already been written which leaves no more to be said; yet fain would we take the reader with us into that noble nave, where the "glorious company of the apostles" stands colossal in marble beside the pillars whose sculptured capitals are like leafy branches blown by the wind; where the light comes rich and mellow through stained glass and semilucent alabaster, like Indian-summer sunshine in autumn woods; where Fra Angelico's and Benozzo Gozzoli's angelic host smile upon us with ineffable mildness from above the struggle and strife of Luca Signorelli's "Last Judgment," the great forerunner of Michael Angelo's.
The flowers in the centre panel are among the most beautiful things in any Florentine picture: not wild and wayward like Luca Signorelli's, but most exquisitely done: irises, red lilies, columbines and dark red clove pinks all unexpected and all very unlikely to be in such a wintry landscape at all. On the ground are violets.
Around, the medallions again represent subjects from the "Purgatorio," and are apparently by the same hand as the last, with the exception of the lower one, which seems to have some of Signorelli's own work in the nude figures. The south wall is pierced by three lancet windows, the central one over the altar, dividing the two principal frescoes of "Heaven" and "Hell."
One of the most remarkable things in the history of Signorelli's work, considering what a number of his paintings remain, is that only two of them can be placed with any degree of certainty as having been executed before his fortieth year.
Yes, Signorelli's fresco in Orvieto Cathedral is indeed a resurrection, the resurrection of human beauty after the long death-slumber of the Middle Ages. And the artist would seem to have been dimly conscious of the great allegory he was painting.
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