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We have seen that during the four years and a half in which Signorelli was engaged on the great work of the Orvieto frescoes, he yet spent some part of the time in his native city, and there, in 1502, he painted the signed and dated "Deposition" with its predelle for the church of Santa Margherita, now removed to the Cathedral. Vasari thus speaks of it: "In Santa Margherita of Cortona, his native town, belonging to the Frati del Zoccolo, he painted a dead Christ; one of his most excellent works." This dead Christ is the figure which by its realism and pathos gave rise to the legend, already quoted, that it was painted from the body of his own son. It is an exact counterpart of the "Piet
In front of the Sacristy of S. Francesco, without the Porta a S. Miniato, he made a God the Father, with a number of children. At Palco, a seat of the Frati del Zoccolo, without Prato, he painted a panel; and in the Audience Chamber of the Priori in that territory he executed a little panel containing the Madonna, S. Stephen, and S. John the Baptist, which has been much extolled.
Nor did any great success come to Niccolò Zoccolo, otherwise known as Niccolò Cartoni, who was likewise a disciple of Filippo, and painted at Arezzo the wall that is over the altar of S. Giovanni Decollato; a little panel, passing well done, in S. Agnesa; a panel over a lavatory in the Abbey of S. Fiora, containing a Christ who is asking for water from the woman of Samaria; and many other works, which, since they were commonplace, are not mentioned.
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