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Under this, the last of the larger frescoes, is a recess, in which was formerly the sarcophagus containing the bones of Pietro Parens, the patron saint of Orvieto. In this recess, under the brackets on which the sarcophagus stood, Signorelli has painted one of his most beautiful "Piet
He was apparently on friendly terms with the authorities, of one of whom, the treasurer Niccolò Francesco, he painted a portrait, side by side with his own above mentioned. It is on a brick or tile, on the back of which is a flattering inscription, evidently composed by Niccolò himself, in which he speaks of Signorelli as "worthy of comparison with Apelles."
The medallions in every case are surrounded by a broadly painted coloured pattern of grotesques, also by assistants, but probably to a large extent designed by Signorelli, for they are extremely characteristic of his preoccupation with the human form and with movement.
They were admiring Luca Signorelli of course, quite stupidly. However, we got talking, and they refreshed me not a little. They had been to Italy." "But, Cecil " proceeded hilariously. "In the course of conversation they said that they wanted a country cottage the father to live there, the son to run down for week-ends.
In the distance they can be seen feasting under a rock. The fresco is much injured and repainted, but the figure of the Devil with the bundle over his shoulder is very fine and well drawn. The two last of the series are the best. Signorelli has in them given the rein to his love of martial scenes, and painted them with great animation and verve. In No.
What, for example, might have befallen him if he had worked with Signorelli, it is difficult to imagine; for while nothing is more obvious on the one hand than Raphael's originality, his strong assimilative bias is scarcely less remarkable. The time has not yet come to speak of Raphael; nor will space suffice for detailed observations on his fellow-students in the workshop at Perugia.
Ghirlandaio's place in this room is interesting on account of his relation to Michelangelo as first instructor; but by the time that the great master's "Holy Family," hanging here, was painted all traces of Ghirlandaio's influence had disappeared, and if any forerunner is noticeable it is Luca Signorelli.
Both these temptations should be resolutely resisted by the student who is capable of discerning different kinds of excellence and diverse titles to affectionate remembrance. Tracing the history of Italian painting is like pursuing a journey down an ever-broadening river, whose affluents are Giotto and Masaccio, Ghirlandajo, Signorelli, and Mantegna.
The visions of the pagan world, floating before the mind of all men in the fifteenth century, found very different interpreters in these three painters Botticelli adding the quaint alloy of his own fancy, Signorelli imparting the semi-savagery of a terrible imagination, Mantegna, with the truest instinct and the firmest touch, confining himself to the processional pageantry of bas-relief.
The background is a classic landscape, through which runs a stream of the beautiful limpid green with which Signorelli always paints water, and by its side sits another of the noble nude figures, untying his sandal.
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