 |
FOOTNOTES:
[79] "Italian Painters," i. 96.
[80] An attribution of Mr B. Berensen.
[81] See "Commentary on the Life of Bart. della Gatta." Vasari, iii. 227.
[82] Cavalcaselle e Crowe. Transcript of the Document, viii. 537.
[83] Vasari, vi. 315.
[84] "Italian Painters," i. 94.
[85] "Italian Painters," ii. 285.
[86] Madonna. Siena Gallery, No. 340.
[87] Portrait of Man. Pitti Gallery, Florence, No. 382.
[88] See Cavalcaselle e Crowe, viii. 521.
[89] Vischer, 102.
[90] Vischer, 320.
[91] Inserted at the end of Vischer's "Signorelli," 383.
[92] Unfortunately recently hung so high that any just appreciation of their great merit and beauty is impossible.
[93] Crowe and Cavalcaselle maintain that Raffaelle also studied carefully the works of Signorelli. See Cavalcaselle e Crowe, viii. 425, and i. 41, etc. etc.
CHRONOLOGICAL TABLE
OF THE LIFE AND WORKS OF LUCA SIGNORELLI
[The following table is compiled from that of Cavalcaselle e Crowe. (Le Monnier, 1898) as being more complete than that in Milanesi's Vasari, and more condensed than that of Vischer. Dates, however, which are not supported by documentary evidence have been omitted.]
1441 (circa). Luca was born of Egidio, son of Luca, son of Ventura Signorelli.
1474. (November) Completed the fresco in the Tower of the Commune, Citta di Castello, with the Virgin enthroned between SS. Jerome and Paul, first spoiled by exposure, and completely destroyed by the earthquake of 1789.
1479. (Sep. 6) Elected to the Consiglio dei XVIII., Cortona.
1479. (Nov. 28) Elected to the Conservatori degli Ordinamente del Comune.
1480. Elected to the Priori for the months of March and April.
1480. (Aug. 26) Elected to the Consiglio Generale.
1481. (Aug. 25) Elected to the Consiglio Generale.
1484. Painted the altar-piece in the Cathedral of Perugia.
1484. Is sent to Gubbio, to negotiate with Francesco di Giorgio, Sienese architect, for a design for the church of Calcinaio, near Cortona.
1485. (Jan. 10) Undertook the painting of a chapel in Sant' Agata, Spoleto; a work which, it seems, was never executed.
1485. (Feb. 22) Elected to the Consiglio dei XVIII.
1485. (Aug. 22) Elected to the Consiglio Generale.
1486. Elected to the Priori for the months of January and February.
1488. (July 6) For the great ability with which he painted the Banner of the Blessed Virgin, is made citizen of Citta di Castello, as was his great desire.
1488. Reseated in the Chief Magistracy of Cortona for the months of September and October.
1489. Elected to the Consiglio Generale.
1490. (Dec. 25) Elected to the Priori for the months of January and February.
1490. (Dec. 27) His son Antonio announces to the Priori that Luca cannot serve, being absent from the city at a distance of over forty miles.
1491. (Jan. 5) Is among those invited to judge the designs and models presented for the competition for the facade of Santa Maria del Fiore, Florence. Did not assist.
1491. (Aug. 23) Elected to the Consiglio Generale.
1491. Painted the altar-piece of the "Annunciation," in the Cathedral, Volterra.
1491. Painted the altar-piece of San Francesco, Volterra.
1493. Painted the altar-piece of the "Adoration of the Magi," for the church of Sant'Agostino, Citta di Castello.
1493. Elected to the Consiglio Generale.
1493. (Sept. 24) Sold for 122 gold florins to Domenico di Tommaso della Barba of Cortona, some acres of ground situated in the territory of Montalla, called La Mucchia, and the Via di Montalla, and others in the territory of Orsaia, called the Bocca del Prato and the Via da Loghino.
1494. Commission for the Banner for the church of Santo Spirito, Urbino.
1495. Elected to the Priori for the months of November and December.
1496. Painted the altar-piece of the "Nativity," for the church of San Francesco, Citta di Castello.
1497. Elected to the Priori for the months of May and June.
1497. (March 10) Elected one of the Revisori degli Argenti.
1497. Elected to the Priori for the months of November and December.
1497. Painted in the cloister of Monte Oliveto, near Chiusuri, "Stories in the Life of S. Benedict."
1498. Painted the altar-piece for the chapel of the Bicchi family in S. Agostino, Siena.
1498. (Feb. 22) Elected to the Consiglio Generale.
1499. (April 5) Commission for the frescoes in the roof of the Cappella Nuova, in the Cathedral, Orvieto.
1500. (April 27) Commission for the painting of the walls in the above-mentioned chapel.
1500. (Feb. 21) Elected to the Consiglio Generale.
1501. (May 1) Becomes surety to a citizen who undertakes the office of Priore of the Commune.
1501. Certain payments are made to Polidoro, son of Maestro Luca, for colours and plaster, the removing of the scaffolding of the chapel, and for a part of his salary.
1501. (June 5) Sold to Ventura, his brother, the half of a house, which belonged to him, together with the said Ventura, situated in Cortona, in the quarter of San Marco, bounded by the Hospital of San Niccolo, by Pietro, surnamed Scrolla, by Jacopo di Francesco, and by the Via del Comune.
1502. Painted the "Deposition," for the church of Santa Margherita, Cortona, now in the Cathedral.
1502. Payment made to Maestro Luca Signorelli for the painting of the Cappella Nuova, Orvieto.
1502. (Feb. 21) Elected to the Consiglio Generale.
1502. (June 23) Elected to the Priori for the months of July and August, but cannot serve because his family is attacked by the plague.
1502. (July 23) Presents to Paolo di Forzore and to his daughter Francesca two acres of ground at Rio di Loreto, belonging to him as heir of his son Antonio, who had received it as the dowry of his first wife Nannina, daughter of Paolo.
1502. Elected to the Priori for the months of November and December. Being absent, his name was removed from the list.
1504. (Feb. 23) Elected to the Council of XVIII.
1504. Elected to the Priori for the months of May and June.
1504. Painted the altar-piece of S. Mary Magdalen for the Cathedral of Orvieto.
1504. (Dec. 5) Payment for the paintings of the Cappella Nuova.
1505. (Feb. 21) Elected to the Consiglio Generale.
1505. (Sept. 1) Is surety for one of the Priori.
1506. Is in Siena, and receives the commission for the cartoon of the "Judgment of Solomon," for the marble pavement of the Cathedral.
1506. (Oct. 27) Is surety for one of the Priori.
1507. (Feb. 20) Elected to the Consiglio Generale.
1507. Elected to the Priori for the months of July and August.
1507. (Dec. 17) Elected to the Council of the Casa di Misericordia.
1507. Painted the altar-piece in the church of S. Medardo, Arcevia.
1508. (Feb. 23) Elected to the Consiglio dei XVIII.
1508. Elected to the Priori for the months of July and August.
1508. (July 5) Is sent on an embassy to Florence to demand permission to reform the offices and ordinances of the Commune.
1508. (Aug. 25) Elected to the Consiglio Generale.
1508. Is in Rome, painting for Julius II., together with Perugino, Pintorricchio, and Sodoma.
1509. (Feb. 21) Elected one of the Inspectors of Santa Margherita.
1509. (March 1) Becomes surety for a priest.
1509. (March 11) Binds himself to paint, for 70 gold florins, a picture for the high altar of the Convent Church of Santuccie, Cortona.
1509. (Aug. 25) Elected to the Consiglio dei XVIII.
1509. Elected to the Priori for the months of January and February.
1510. (Aug. 18) Appointed one of the Inspectors of Relics of the Cathedral.
1510. Payment for the Cappella Nuova, Orvieto.
1511. (Aug. 28) Elected to the Consiglio Generale.
1511. Elected to the Priori for the months of November and December.
1512. Painted "The Institution of the Eucharist," in the Cathedral, Cortona.
1512. (Sept. 27) Is sent as ambassador to Florence, together with Messer Silvio Passerini, Messer Gilio and Jacopo Vagnucci, to congratulate the Medici on their return to Florence. Departed Sept. 28 and returned Oct. 12.
1513. Is in Rome, and appears to have borrowed money from Michelangelo.
1514. (July 18) Elected to the Riformatori e Imborsatori degli Uffici.
1514. (Aug. 25) Elected to the Sindaco del Capitano.
1514. (March 18) Makes a will, annulling the donation made to his daughter Gabriella, to his son-in-law Mariotto Passerini, and to his grandaughter Bernardina, and pronouncing as his sole heir his son Pier Tommaso, and his grandson Giulio, son of the above.
1515. (Feb. 18) Elected to the Conservatori degli Ordinamente.
1515. Painted the "Madonna," now in the Mancini collection, Citta di Castello.
1515. (Aug. 25) Elected to the Consiglio Generale.
1515. (Sept. 23) Is commissioned by the Priori of Cortona to paint, for 16 gold florins, the arms of Silvio Passerini, Chancellor of Leo X., on the walls of the atrium of the Palazzo Pubblico.
1515-16. Painted the "Deposition," in the church at La Fratta (now Umbertide).
1516. (Feb. 21) Elected to the Collegi.
1516. (Feb. 26) Luca, from the rostrum, speaks publicly in the Council on a matter in deliberation.
1516. (May 21) Elected to the Consiglio Generale; but is absent.
1516. Elected to the Priori for the months of November and December.
1517. (Feb. 22) Among the Stimatori del danno.
1517. (April 23) Among the Inspectors of the Property of Santa Margherita.
1517. (July 24) Is elected as ambassador to Rome to present to Cardinal Passerini a gift from the Commune.
1517. (Aug. 26) Elected to the Consiglio Generale.
1517. (Nov. 9) Is excused from the above-mentioned embassy to Rome.
1518. Elected to the Collegi.
1518. Painted the altar-piece for the Confraternity of San Girolamo of Arezzo.
1520. (Feb. 23) Elected to the Consiglio dei XVIII.
1520. Elected to the Priori for the months of May and June.
1520. (June 7) Gave the design of a wooden candelabra with copper sconces for the altar of the Great Hall of Council, Cortona.
1520. (Aug. 25) Elected to the Consiglio dei XVIII.
1521. (April 23) Elected Prior of the Confraternity of Sant' Antonio.
1521. (April 27) Commissioned to paint a picture for the Hospital of the Misericordia, Cortona.
1521. (May 22) The Priori writes to Cardinal Passerini, legate to Perugia, that he should not send Maestro Pietro Perugino or other painters to whom Luca may have spoken, to value the picture painted by Luca in the Church of Santa Maria del Pieve.
1521. (July 7) Commission for the picture for the Convent of S. Trinita in Cortona.
1521. (Aug. 15) Elected to take part in the Commission to examine the new bridge over the Chiana.
1521. (Sept. 6) Elected to the Pacieri.
1522. (Feb. 18) Elected to the Collegi.
1522. (April 23) Prior of the Confraternity of San Marco.
1522. (Aug. 25) Elected one of the Conservatori degli Ordinamente del Comune, and the Provveditori de' luoghi pii.
1522. Elected to the Priori for the months of January and February.
1523. Painted the altar-piece of the Collegiata, Foiano.
1523. (Feb. 21) Elected to the Sindaci del Capitano.
1523. (April 24) Elected one of the Inspectors of the Chapel of Santa Margherita.
1523. (June 14) Received payment for the picture of Foiano.
1523. (June 23) The Priori commission him to paint, for the chapel of the great hall of the Palazzo Pubblico, a picture with "Christ disputing in the Temple," for the price of 35 gold florins.
1523. (July 16) Elected one of the Riformatori degli Uffici.
1523. (Oct. 13) His last will. Desires to be buried in the church of S. Francesco, in the tomb of his family.
1523. (Oct. 15) Adds a codicil to his will with a few alterations of bequests.
1523. Died between the last days of November and the 1st December. The 8th December another citizen is nominated to the Inspectorship of the Chapel of Santa Margherita, as substitute for Maestro Luca, being dead.
CATALOGUE OF THE WORKS OF
LUCA SIGNORELLI
ARRANGED ACCORDING TO THE GALLERIES
IN WHICH THEY ARE
CONTAINED.
CATALOGUE OF WORKS.
BRITISH ISLES.
DUBLIN, GALLERY.
FEAST IN THE HOUSE OF SIMON.[94]
This must be the panel mentioned by Cavalcaselle as in the possession of Capt. Stirling, Glentyan, Scotland (?).
LIVERPOOL, ROYAL INSTITUTION.
MADONNA. Oil. 1 ft. 9 in. x 1 ft. 4 in. [No. 26.]
LONDON, NATIONAL GALLERY.
THE CIRCUMCISION. Oil. 8 ft. 6 in. x 5 ft. 11 in. [No. 1128.]
Originally in the church of S. Francesco, Volterra. Later in the Duke of Hamilton's Collection, near Glasgow. Purchased in 1882.
Inscribed: LVCAS CORTONENSIS PINXIT.
LONDON, MR BENSON'S COLLECTION.
MADONNA. TWO PARTS OF PREDELLA:
1. Dispute on the way to Emmaus. 2. Christ at Emmaus.
LONDON, LORD CRAWFORD'S COLLECTION.
TWO PARTS OF PREDELLA:
1. Meeting of Joachim and Anna. 2. Birth of the Virgin.
LONDON, MR LUDWIG MOND'S COLLECTION.
PREDELLA:
1. Ahasuerus and Esther. 2 and 3. Scenes in the Life of S. Augustine.
LONDON, MR MUIR MACKENZIE'S COLLECTION.
MADONNA. Tondo.
ON SALE IN LONDON.
ANNUNCIATION.
Part of Predella formerly in the Mancini Collection, Citta di Castello. For sale since 1898.
RICHMOND, COLLECTION OF SIR FRANCIS COOK.
TWO FRAGMENTS OF A BAPTISM.
PROFILE PORTRAIT OF MAN.
SCOTLAND (COLLECTION OF SIR JOHN STIRLING MAXWELL, POLLOCK HOUSE).
PIETA.
FRANCE.
PARIS, LOUVRE.
PART OF PREDELLA. 1525. Oil. 1 ft. 1 in. x 2 ft. 4 in.
From the Collection of Louis XVIII.
ADORATION OF THE MAGI. Oil. 10 ft. 10 in. x 8 ft. 1 in. Drawing only.
From the Collection of Napoleon III.
SEVEN HALF-FIGURES IN VARIOUS COSTUMES (?). 1527. Fragment.
Bought from Campana Collection, Rome, by Napoleon III.
GERMANY.
ALTENBURG, SAXONY, MUSEUM.
NINE FRAGMENTS OF POLYPTYCH. Oil.
From the Collection of the late Herr von Lindenau.
Four small panels with a Saint in each, and five parts of a Predella: 1. Christ on the Mount of Olives. 2. Flagellation. 3. Crucifixion. 4. Deposition. 5. Resurrection.
BERLIN, GALLERY.
TWO WINGS OF ALTAR-PIECE. 1498. Oil. 4 ft. 8 in. x 2 ft. 5-1/2 in. [No. 79.]
Painted for the church of S. Agostino, Siena, which was burnt down in 1655. Bought from the Solly Collection.
PAN AS GOD OF NATURAL LIFE AND MASTER OF MUSIC. Oil on canvas. 6 ft. 5 in. x 8 ft. 6-1/2 in. [No. 79A.]
Probably painted for Lorenzo dei Medici. Discovered in 1865 in the Palazzo Corsi, Florence. Bought by the Berlin Gallery 1873.
Inscribed: LVCA CORTONEN.
HOLY FAMILY. Oil. 10 in. x 10 in. Tondo. [No. 79B.]
From the Patrizi Collection, Rome. Bought 1875.
Inscribed: LVCHAS SIGNORELLVS DE CORTONA.
PORTRAIT OF MAN. Oil. 1 ft. 7 in. x 1 ft.
From the Torrigiani Collection, Florence.
MEININGEN, DUCAL PALACE.
PART OF PREDELLA.
MUNICH, GALLERY.
MADONNA AND CHILD. Oil. Tondo.
From the Palazzo Ginori, Florence.
ITALY.
ARCEVIA, S. MEDARDO (between Fabriano and Sinigalia).
POLYPTYCH. MADONNA AND SAINTS. 1507. Oil. 8 ft. 8 in. x 8 ft. 8 in.
In the original Gothic frame. Inscribed:
LVCAS SIGNORELLVS PINGEBAT. M.D.VII.
PREDELLA: 1. The Annunciation. 2. The Nativity. 3. The Adoration of the Magi. 4. The Flight into Egypt. 5. The Murder of the Innocents.
ARCEVIA, S. MEDARDO, CAPPELLA DEL SACRAMENTO.
BAPTISM. 1508. Oil. 4 ft. 4 in. x 4 ft. 4 in.
In the original Gothic frame. Partly by assistants.
PREDELLA: 1. The Birth of the Baptist. 2. The Preaching in the Desert. 3. The Denouncing of Herod and Herodias. 4. The Feast of Herod. 5. The Decapitation in Prison.
AREZZO, GALLERY.
MADONNA, SAINTS, AND PROPHETS. 1519. Oil. 11 ft. 7-1/2 in. x 7 ft. 9 in. [No. 31.]
Painted for the Campagnia of San Girolamo. For many years in S. Croce; on the suppression of that convent in 1849 removed to S. Spirito; from thence to the Gallery.
AREZZO, DUOMO, SACRISTY.
THREE PARTS OF PREDELLA. Oil.
1. Birth of the Virgin. 2. Presentation. 3. Marriage of the Virgin.
BERGAMO, MORELLI COLLECTION.
S. ROCK. Oil. [No. 19.]
MADONNA. Oil. [No. 20.]
S. SEBASTIAN. [No. 24.]
BORGO SAN SEPOLCRO, MUNICIPIO.
CHURCH STANDARD. Oil on canvas. 6 ft. 4 in. x 4 ft. 6 in.
On one side a Crucifixion; on the other, SS. Antonio and Eligio.
From the Confraternity of S. Antonio Abbate.
CASTIGLIONE FIORENTINO COLLEGIATA, CAPPELLA DEL SACRAMENTO.
DEPOSITION. Fresco. 8 ft. 10 in. x 8 ft. 10 in.
CITTA DI CASTELLO, GALLERY.
MARTYRDOM OF S. SEBASTIAN. 1496. Oil, 9 ft. 4 in. x 5 ft. 9-1/2 in. [No. 19.]
From the church of S. Domenico.
CITTA DI CASTELLO, PALAZZO MANCINI.
MADONNA AND SAINTS. 1515. Oil.
Painted for the church of S. Francesco in Montone, near Umbertide. Discovered in a cellar in Montone.
Inscribed: EGREGIVM QVOD CERNIS OPVS MAGISTER ALOYSIUS EX GALLIA, ET TOMASINA EJVS VXOR EX DEVOTIONE SVIS SVMPTIBVS PONI CVRAVERVNT. LVCA SIGNORELLO DE CORTONA PICTORE INSIGNI FORMAS INDVCENTE. ANNO D. MDXV.
CORTONA, DUOMO.
DEPOSITION. 1502. Oil. 8 ft. 10 in. x 8 ft 10 in.
From the church of Santa Margherita.
Inscribed (under frame):
LVCAS AEGIDI SIGNORELLI. CORTONENSIS. MDII.
PREDELLA TO THE ABOVE:
1. Christ in Gethsemane. 2. The Last Supper. 3. The Betrayal. 4. The Flagellation.
THE INSTITUTION OF THE EUCHARIST. 1512. Oil. 8 ft. 2 in. x 8 ft. 2 in.
From the high altar of the Gesu.
Inscribed:
LVCAS SIGNORELLIVS CORTHONIENSIS PINGEBAT. MDXII.
CONCEPTION OF THE VIRGIN. Oil.
The upper part the work of assistants.
CORTONA, S. DOMENICO (3rd altar, R.).
MADONNA AND SAINTS. 1515. Oil.
Painted for the Bishop of Cortona.
Inscribed: IO SERNINIVS EPS CORTONEÑS ICONAM ET ORNATUM P. P. FACIERI A.D. CI[C]I[C]XV. HAEREDES VERO D. ASTRVBALIS EJVS EX FṼE AB NEPOTIS P. S. INSTAVRAN. CVRAVERVNT. A.D. CI[C]. I[C]. CXIX.
CORTONA, GESU.
MADONNA AND SAINTS.
CORTONA, S. NICCOLO.
DEAD CHRIST UPHELD BY ANGELS. Oil. 5 ft. -1/2 in. x 5 ft. 8-1/2 in. On the Reverse—
MADONNA ENTHRONED BETWEEN SS. PETER AND PAUL.
CORTONA, S. NICCOLO (on the wall, l. of entrance).
MADONNA AND SAINTS. Fresco. 9 ft. 4 in. x 9 ft. 8 in.
Discovered in 1847 by Don Agramante Lorini.
FLORENCE, ACADEMY.
CRUCIFIXION. Oil, on canvas. [No. 6.] (Part of the design only.)
MADONNA AND SAINTS. Oil. [No. 54.]
From the church of S. Trinita, Cortona.
PREDELLA. [No. 54.]
1. The Last Supper. 2. Christ in Gethsemane. 3. The Flagellation.
FLORENCE, CORSINI GALLERY.
MADONNA AND SAINTS. Tondo.
FLORENCE, PITTI.
HOLY FAMILY. Oil. 2 ft. 11 in. x 2 ft 11 in. Tondo. [No. 355.]
FLORENCE, UFFIZI.
MADONNA AND CHILD (1st Corridor). [No. 74.]
Probably painted for Lorenzo dei Medici. Later in the Villa of Duke Cosimo at Castello. Removed to the Gallery 1779.
HOLY FAMILY. Tondo. [No. 1291.]
Originally in the "Audienza dei Capitani," later in the "Stanza del Provveditore."
PREDELLA. [No. 1298.]
1. The Annunciation. 2. The Nativity. 3. The Adoration of the Magi.
From the church of Santa Lucia, Montepulciano.
FOIANO (near Sinalunga), COLLEGIATA.
CORONATION OF THE VIRGIN. 1523. Oil. 6 ft. 11 in. x 5 ft. 7 in.
PREDELLA. (Two scenes only by Signorelli.)
LORETO, CHURCH OF THE SANTA CASA.
FRESCOES. Probably finished before 1484.
(Left Sacristy) "Della Cura." (In the cupola) Angels, Evangelists, and Fathers of the Church. (Walls) Apostles, Incredulity of S. Thomas. (Over door) Conversion of Saul. (Nave) Medallions in grisaille of Prophets and Fathers of the Church.
MILAN, BRERA.
MADONNA AND SAINTS. 1508. Oil. 8 ft. 2 in. x 6 ft. 2-1/2 in. [No. 197bis.]
From the church of S. Francesco, Arcevia. First brought to the Gallery 1811. In 1815 removed to the church at Figino, near Milan. Replaced in the Gallery 1892.
Inscribed: LVCAS SIGNORELLI P. CORTONA (on the back of the throne), IACOBI SIMONIS PHILIPPINIS AERE DEO ET DIVAE MARIAE DICATVM FR: BERNARDINO VIGNATO GVARDIANO PROCVRANTE. MDVIII.
THE FLAGELLATION. [No. 262.] { Probably one panel { originally. MADONNA AND CHILD. [No. 281.] { 2 ft. 8-1/2 in. x 2 ft.
From the church of Santa Maria del Mercato, Fabriano.
"The Flagellation" inscribed: OPVS LVCE CORTONENSIS.
MONTE OLIVETO (near Asciano), CLOISTERS.
FRESCOES. 1497.
Eight scenes from the life of S. Benedict.
MORRA (near Citta di Castello), S. CRESCENZIANO.
CRUCIFIXION. Fresco.
FLAGELLATION. Fresco.
ORVIETO, CATHEDRAL, CHAPEL OF THE MADONNA DI S. BRIZIO, FORMERLY CAPPELLA NUOVA.
FRESCOES. 1499-1504.
(Six compartments in Vaulting): 1. Apostles; 2. Signs of the Passion; 3. Martyrs (design of Fra Angelico); 4. Virgins; 5. Patriarchs; 6. Fathers of the Church. (Four large frescoes): 1. Antichrist; 2. Crowning of the Elect; 3. Damnation; 4. Resurrection. (Window Wall): R. Hell; L. Heaven. (Round the Portal): Signs of Destruction. (Lower Walls): Pieta; Portraits of Poets; Medallions in grisaille.
ORVIETO, OPERA DEL DUOMO.
S. MARIA MADDALENA. 1504. Oil. 5 ft. 11 in. x 3 ft. 11 in.
Originally painted for the Cathedral.
Inscribed on the upper part of the frame:
CECCARELLEVS. DE. APVIDVTIS—ET RVFINVS ANTONII.—
On the lower:
CONSERVAT. PA. PACIS. CONSERVATRICI. EX. SE CONSVLTO. M.D.IIII.
PORTRAITS OF SIGNORELLI AND NICCOLO FRANCESCHI. [No. 1504.] Tempera on brick. 1 ft. x 1 ft. 3-1/2 in.
Inscribed on the draperies: LVCA and NICOLAVS.
On the back, probably by Signorelli at the request of Niccolo Franceschi, the Treasurer of the Works:
LVCAS SIGNORELLVS. NATIONE YTALYS. PATRIA CORTONẼSIS. ARTE PICTVRE EXIMIVS. MERITO APELLI CONPARÃDVS. SVB REGIMINE ET STIPENDIO NICOLAI FRÃCH. EIVSDẼ NATIONIS PATRIE VRBEVETANE. CAMERARII FABRICE. HVIVS BASYLICE SACELLṼ HOC VIRGINI DICATṼ IVDICII FINALIS ORDINE FIGVRADṼ PSPICVE PINSIT CVPIDVSQ ĨMORTALITATIS VTRIVSQ EFFIGIẼ ATFRGO LITTERARṼ HARṼ NATVRALITER MIRA EFFĨSIT ARTE. ALEXANDRO . VI . PON . MAX . SEDENTE . ET MAXIMIANO. IIII . INPERIANTE AÑO SALVTIS MCCCCC. TERIO KALENDAS JANVARIAS.
PERUGIA, DUOMO, WINTER CHAPEL.
MADONNA AND SAINTS. 1484. Oil. 6 ft. 8 in. x 6 ft. 1-1/2 in.
Inscribed (hidden by the frame):
JACOBVS VANNVTIVS NOBILIS CORTONENSIS OLIM EPISCOPVS PERVSINVS HOC DEO MAX. ET DIVO HONOPHRIO SACELLVM DEDICAVIT: CVI IN ARCHIEPISCOPVM NICAENVM ASSVMPTO NEPOS DIONISIVS SVCCESSIT, ET QVANTA VIDES IMPENSA ORNAVIT AEQVA PIETAS. M. CCCC. LXXXIV.
ROME, ROSPIGLIOSI COLLECTION.
HOLY FAMILY. Oil. 2 ft. 8 in. x 2 ft. [Sala II., No. 3.]
UMBERTIDE, SANTA CROCE.
DEPOSITION. Oil. 6 ft. 6 in. x 4 ft. 10 in.
PREDELLA: 1. March of Constantine. 2. Discovery of the Cross. 3. Entry of Heraclius into Jerusalem.
URBINO, SANTA SPIRITO.
CHURCH STANDARD. (Now divided.) Oil on canvas. 5 ft. x 3 ft. (On one side, CRUCIFIXION; on the other, DESCENT OF THE HOLY GHOST AT PENTECOST.)
VOLTERRA, DUOMO, SACRISTY.
ANNUNCIATION. 1491. Oil.
Inscribed: LVCAS CORTONEN PINXIT MXDI.
A later inscription records its restoration in 1731.
VOLTERRA, MUNICIPIO.
MADONNA AND SAINTS. 1491. Oil.
From the church of S. Francesco.
Inscribed: MARIA. VERGINI. PETRVS. BELLADOMNA. HVJVS. RELIGIONIS PROFESSOR POS. LVCAS CORTONEÑ PINXIT. M CCCC LXXXXI.
VOLTERRA (first landing of stairs), MUNICIPIO.
S. GIROLAMO. Fresco.
UNITED STATES OF AMERICA.
NEW HAVEN. COLLECTION OF MR JARVIS.
PART OF PREDELLA. ADORATION OF THE MAGI. Oil.
FOOTNOTES:
[94] The paintings, except when otherwise indicated, are on wood.
INDEX
Adoration of the Magi, The (Louvre), 37; (Arcevia), 93; (New Haven), 95
Agony in the Garden, The, 88
Ahasuerus and Esther, 103
Annunciation, The (Volterra), 7, 49, 50; (Uffizi), 50; (formerly Mancini collection), 51; (Arcevia), 93, 94
Arcevia, Altar-piece at, 11, 92
Baptism, The (Arcevia), 93
Berensen, B., 6, 112
Bernabei, Tommaso, 115
Betrayal, The (Florence), 23, 88; (Cortona), 23, 88
Bicchi Family, Altar-piece for, 8, 59
Birth of the Baptist, The (Arcevia), 95
Birth of the Virgin, The (Arezzo), 96
Bode, Dr, 43
Botticelli, 6; his "Calumny," 19; passion for swift movement, 23
Bramante, 11
Caporali, Giambattista, 11
Castagno, Andrea di, 19; influence of on Signorelli, 21
Christ in Gethsemane, 88
Circumcision, The, 38, 39, 47
Citta di Castello, Frescoes at, 4, 5, 53; citizenship of presented to Signorelli, 7
Conception of the Virgin, The, 103
Conversion of Saul, The, 24, 30, 36
Coronation of the Virgin, The, 105
Cortona, Signorelli born at, 2; municipal appointments at, 5, 6, 8, 10; the "Deposition" in the Cathedral of, 10, 87
Crowe and Cavalcaselle, 6, 21, 37, 39, 83, 113, 118
Crowning of the Elect, The, 24, 29, 42, 73
Crucifixion, The (Urbino), 52; (Borgo San Sepolcro), 61, 88; (Morra), 61, 104
Damnation, The, 8, 22, 76
Dante, Portraits of, by Signorelli, at Orvieto, 71, 74; scenes from the Divina Commedia, 74, 75
Dead Christ supported by Angels, 26, 91
Death of Lucretia, Study for a, 109
Death of Moses, The, 6, 112
Decapitation in Prison, The, 95
Denouncing of Herod and Herodias, 95
Deposition, The (Cortona), 10, 87; (Umbertide), 14, 22, 100
Descent of the Holy Ghost, The, 52, 53
Discovery of the Cross, The, 101
Dispute by the Way, The, 51
Donatello, his influence on Signorelli, 3, 19; mastery of combined movement, 23
Entry of Heraclius into Jerusalem, The, 101
Feast of Herod, The, 95
Feast in the House of Simon, The, 52
Flagellation, The (Brera), 1, 3, 22, 24, 25, 26, 27, 32; (Cortona), 88; (Florence), 88; (Morra), 27, 104
Flight into Egypt, The, 93
Foiano, Altar-piece at, 16, 105
Foligno, Niccolo da, 95
Forli, Melozzo da, 3
Fra Angelico, frescoes at Orvieto, 8, 64, 65, 69
Franceschi, Pier dei, Signorelli the pupil of, 2, 3, 11, 17, 50; and Signorelli compared, 17, 18; his "Death of Adam," 32; his "Resurrection," 61; his "Baptism," 94
Francesco, Niccolo, Portrait of, by Signorelli, 9, 83, 85
Gatta, Bartolommeo della, 6, 35; an imitator of Signorelli, 111, 112, 113
Genga, Girolamo, 9; an imitator of Signorelli, 111, 113
Gozzoli, Benozzo, 8, 66, 69
Guidobaldo, of Urbino, 9
Hercules overcoming Antaeus (chalk drawing), 109
Holy Family (Rospigliosi Collection), 27, 30, 46; (Pitti), 38, 45; (Uffizi), 26, 47
Homer, Scenes from, at Orvieto, 72
Institution of the Eucharist, The, 95
Journey of Moses and Zipporah, The, fresco by Pintorricchio, 6
Last Judgment, The, 8, 22, 76
Last Supper, The (Cortona), 88; (Florence), 88
Lazzaro de' Taldi, Signorelli's uncle, 2
Lorenzo, Fiorenzo di, Reminiscences of, in Signorelli's work, 21
Loreto, Frescoes at, 5, 24, 29, 34
Lucan, Scenes from, at Orvieto, 81, 82
Luzi, Ludovico, "il Duomo di Orvieto," 69, 72, 74, 78, 81, 83
Madonna and Saints (Brera), 1, 29, 32, 99; (Volterra), 7, 29, 35, 49; (Arezzo), 14; (Uffizi), 28, 37, 41, 43; (Munich), 28, 41, 44; (Florence Academy), 29, 35, 89; (Corsini Gallery), 46; (Citta di Castello), 24, 98; (S. Niccolo, Cortona), 91, 92; (S. Domenico, Cortona), 100
Magdalen, The, altar-piece (Orvieto), 85, 88
Mancini, Giacomo, 5, 99
Mancini, Girolamo, 5
March of Constantine, The, 101
Marriage of the Virgin, The, 96
Medici, Giovanni dei (Pope Leo X.), 12
Medici, Lorenzo dei, 4; friendship with Signorelli, 12, 41, 43
Michelangelo, Story of his dealings with Signorelli, 13
Milanesi, Signor, 89, 112
Missaghi, Guiseppe, 37
Monte Oliveto, Frescoes in the Benedictine Cloister at, 7, 22, 54, 63
Morelli, on the frescoes in the Sistine Chapel, 6; on Signorelli, 30, 61, 63; on his drawing, 107, 109; on his influence, 111; on Girolamo Genga, 114
Murder of the Innocents, The, 93
Nativity, The (Arcevia), 93; (Cortona), 96
Nude, Early treatment of the, 32
Orvieto, Frescoes in the Cathedral of, 8, 9, 29, 42, 58, 63 et seq.
Ovid, Scenes from, at Orvieto, 78
Pan, 28, 41, 42
Parens, Pietro, 80, 81
Perugia, Altar-piece in the Cathedral of, 7, 28, 38
Perugino, 6, 8, 11, 20, 66; his influence on Signorelli, 20, 37, 72
Pieta (Orvieto), 80
Pintorricchio, 6, 11; frescoes in the Sistine Chapel by, 6; asserted influence of, on Signorelli, 21
Pollaiuolo, Antonio, his influence on Signorelli, 3, 4, 18, 22, 37, 42, 50, 62, 94, 109; his "S. Sebastian," 18; his "Battle of the Nudes," 18, 22, 32; "Hercules," 18, 32
Portrait of a Man (Berlin), 45
Preaching and Fall of Antichrist, The, 70
Preaching in the Desert, The, 95
Presentation, The, 96
Quercia, Jacopo della, 60
Raffaelle, 11, 12, 114
Rain of Fire, The, 82
Resurrection, The, 79
Rome, Frescoes in the Sistine Chapel, 6; decoration of the Vatican chambers, 11
Rosselli, Cosimo, 6
Rumohr, on Signorelli, 21
S. Augustine, Scenes from the Life of, 103
S. Benedict, Scenes from the Life of, 54
S. Jerome, 7, 49
S. Martin, Scenes from the Life of, 106
S. Sebastian, The Martyrdom of, 53
Scalza, Ippolito, 80, 82
Signorelli, Antonio, 10, 115
Signorelli, Francesco, 115
Signorelli, Luca, little known of his life, 1; Vasari on, 1; birth, 2; studied painting under Pier dei Franceschi, 2; influence of Antonio Pollaiuolo and Donatello, 3, 4; gap in his biography, 4; early frescoes, 5; municipal appointments at Cortona, 5, 6, 8, 10, 16; his social status, 5; supposed visit to Rome, 6; frescoes in the Sistine Chapel ascribed to, 6; painted the altar-piece in Perugia Cathedral, 7; received the honour of citizenship from Citta di Castello, 7; pictures at Volterra, 7; frescoes in the cloister at Monte Oliveto, 7; altar-piece at Siena, 8; frescoes in the Cathedral of Orvieto, 8, 9; portraits of himself, 8, 9, 71, 85; the "Deposition" at Cortona, 10; death of his son Antonio, 10; and of Polidoro, 10; pictures at Arcevia, 11; decoration of the Vatican chambers, 11; disappointments at Rome, 12; alleged transaction with Michelangelo, 13; visit to Arezzo, 14, 15; death, 15; Vasari's character of, 16; artists who influenced, 17, 20; origin of the swaggering posture so characteristic of his paintings, 19, 20; use of gold and gesso, 21, 29; his great achievement, the rendering of combined action, 22; his defects, 24, 25; his colour, 25; his line and modelling, 26; an unequal illustrator, 26, 27; his painting of children, 27; realism, 28; repetitions, 29; chief qualities of his work, 29; earliest works, 32; frescoes at Loreto, 34; altar-piece at Perugia, 38; qualities of his Tondos, 47; works at Volterra, 49; frescoes at Monte Oliveto, 54; the Orvieto frescoes, 63, 86; later works, 87; altar-piece at Arcevia, 92; last works, 98, 106; drawings, 107, 110; his imitators and influence, 111, 119
Signorelli, Pier Tommaso, 15, 115
Signorelli, Polidoro, 9, 115; his death, 10
Signs of the Destruction of the World, 82
Sodoma, 8, 11, 40, 59
Standards painted by Signorelli, 7, 52, 61
Supper at Emmaus, The, 51
Uccello, Paolo, 18
Van der Goes, Hugo, 39
Vasari, on Signorelli, 1, 3, 11, 13, 14, 15, 16, 35, 38, 40, 54, 59, 60, 64, 87, 95, 96, 102, 113
Verrocchio, Reminiscences of, in Signorelli's work, 21, 36
Vischer, on the frescoes in the Sistine Chapel, 6; on Signorelli, 21, 35, 36, 39, 92; list of Signorelli's drawings, 110
Visitation, The, 60
Way to Calvary, The, 88
Zaccagna, Turpino, 116
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Transcriber's note:
General: Corrections to punctuation have not been individually noted.
Page xii: Erratum applied to text.
Page xiii: GUIDA corrected to GUIDA. RELLA corrected to NELLA.
Page 64: "By the which he roused" amended to "By means of this he roused".
Page 72: Duplicate a removed from "In that on the left a a man".
Page 94: ninteen corrected to nineteen.
Page 102: Campagnia standardised to Compagnia.
Page 108: Pieta corrected to Pieta.
Page 138: PSPICVE without tilde as in original, probably intended as an abbreviation for PERSPICUE. FIGVRADṼ as in original, perhaps a misspelling of FIGURANDUM. ATFRGO as in original perhaps intended A TERGO. CVPIDVSQ (Cupidusque?) and VTRIVSQ (Utriusque?) as in original without overlining.
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