Luca Signorelli

“ Finally, having executed works for almost all the princes of Italy, and having become old, Luca Signorelli returned to Cortona, where, in his last years, he worked for his pleasure, rather than from any other motive, and because, having ever been accustomed to labour, he could not prevail on himself to live in idleness. ”

“ For not even the shrill music of Luca Signorelli's angels, hovering above the gloomy fortresses of Orvieto with their hair streaming in the breeze of the dawn, can raise her up to life. She is a city of the dead—shrivelled and dark-browed, standing high over the plain on an island of volcanic rock, 'dark-stained with hue ferruginous,' like Malebolge within the depths of hell. ”

“ LUCA SIGNORELLI OF CORTONA [Pg 71] LIFE OF LUCA SIGNORELLI OF CORTONA [LUCA DA CORTONA] PAINTER
Luca Signorelli, an excellent painter, of whom, according to the order of time, we have now to speak, was more famous throughout Italy in his day, and his works were held in greater price than has ever been the case with any other master at any time whatsoever, for the reason that in the works that he executed in painting he showed the true method of making nudes, and how they can be caused, although only with art and difficulty, to appear alive. ”

“ You may discern something, perhaps, of the same thought, but already a little cold, a little indifferent in its appeal, in the Adoration of the Shepherds which Luca Signorelli painted, now in the Uffizi, where the shepherds are fair and naked youths, the very gods of Greece come to worship the Desire of all Nations. But with Botticelli that divine thought is altogether fresh and sincere. It is strange that one so full of the Hellenic spirit should later have fallen under the influence of a man so singularly wanting in temperance or sweetness as Savonarola. ”

“ Of the frescoes that Luca Signorelli, Girolamo Genga and Bernardino Pinturicchio painted for the Magnifico, there now remains nothing but a few fragments in one room, doubtfully ascribed to the last-named master. Hardly can we now conjure up in imagination the days when Machiavelli, coming here as ambassador of the Signoria of Florence, found Pandolfo after dinner surrounded by the chief men of his faction, whom he had invited to talk over the matter, or when Borghese gathered together all the loveliest women of Siena at a banquet to do honour to the younger Lorenzo de’ Medici. ”

“ Luca was born about 1441, as we gather from Vasari, and if 1452 is the correct date of his uncle Lazzaro's death, his apprenticeship to Pier dei Franceschi must have begun before his eleventh year. It is probable [Pg 3] that, with his fellow-pupil Melozzo da Forlì, his senior by three years, Signorelli assisted the master with the frescoes in S. Francesco, although there is no trace of any work that might be from his hand. ”

“ Piero handed on his scientific accomplishments to a pupil, also an Umbrian of Florentine sympathies, Luca Signorelli of Cortona. He achieved still greater success than Pollaiuolo in the rendering of the nude form in action, but more conspicuously than any others of this group he sacrificed beauty to truth, and the nudes in his great series of frescoes on the Last Things at Orvieto are anatomized like écorchés, and are in colour and texture positively repellent. Luca’s work is, however, of historical importance as leading on to that of Michelangelo. ”

“ Vasari, iii. 695.
[Pg 17]
CHAPTER II DEVELOPMENT AND CHARACTERISTICS OF HIS GENIUS
The foregoing chapter contains only a bare record of certain facts in the life of Luca Signorelli. Fortunately time has spared many of his paintings, and in the study of these we get a fuller insight into his nature and his aims. A man's work is, after all, the most satisfactory and reliable document for those who take the pains to decipher it—the autobiography which every man of genius bequeaths to posterity. ”

“ We next employed an old man as guide. Of course he knew all about Luca Signorelli. He could show us all his frescos and pictures in Cortona. Some of them were bad enough, as he supposed the Signore knew; they were painted in the artist's youth. But we wanted to see his house? Ah! we had but to follow him, and he led us in triumph to that of Pietro da Cortona. As this would not do, he consulted with an old woman, who recommended a visit to a certain padre. The padre was in his kitchen. He had never heard of Signorelli's house, and honestly admitted his ignorance. ”

“ And, of a truth, it would often be much better to retain the works of excellent masters, though half spoiled, than suffer them to be retouched by less capable artists. In the same city Luca Signorelli painted a picture in tempera, for the church of Sant’ Agostino, and covered the predella with small figures representing the Crucifixion of Christ: this work has ever been considered to be one of extraordinary beauty. ”

“ In Perugia, also, Luca Signorelli executed many works; among others, one in the cathedral, painted by command of the Bishop, Messer Jacopo Vannucci, of Cortona: in this picture is the Virgin, with Sant’ Onofrio, Sant’ Ercolano, San Giovanni Battista, and San Stefano: there is also an exceedingly beautiful angel tuning a lute. ”

“ The saint gazes down with tender reverence at the scene at his feet, standing in fur-trimmed robes and cap, one hand on his breast, the other holding the palm of martyrdom. Over his head is the hammer, the instrument of his death. The face is of extreme beauty, with gentle expression, the robes are finely draped, the attitude most natural, and the whole figure is one of the noblest and most sympathetic of all Signorelli's works, and deserves to be better known. ”

“ In sombre black, and standing outside the scene, Signorelli has painted the portrait of himself, with fingers interlaced and firmly-planted feet, and behind, the milder, but still gloomy figure of Fra Angelico.
There is something sinister in the saturnine melancholy on the faces of the crowd, unrelieved by any lightness, and culminating in the evil expression of Antichrist himself. The peace of the gold-flecked landscape only accentuates the horror of the scene of the downfall in the background. ”

“ Perugino is here and Botticelli, Fra Bartolommeo and Leonardo, Luca Signorelli, Fra Lippo Lippi and Filippino Lippi. And here is a Masaccio. The great Perugino Assumption has all his mellow sunset calm, and never was a landscape more tenderly sympathetic. The same painter's Deposition hangs next, and the custodian brings a magnifying glass that the tears on the Magdalen's cheek may be more closely observed ”

“ The central figure of the Madonna, too, has always seemed to me a thing of marvellous beauty, and of stupendous power in the strained attitude and nobly modelled arms. It has often been asked what the male nudes have got to do with the subject. Probably Michelangelo intended in this episode to surpass a Madonna by Luca Signorelli, with whose genius he obviously was in sympathy, and who felt, like him, the supreme beauty of the naked adolescent form. Signorelli had painted a circular Madonna with two nudes in the landscape distance for Lorenzo de' Medici. ”

“ Signorelli's greatest gift to us is his conception of humanity, not only of its robust strength, but of its mental vigour. His figures are solemn, but it is a solemnity untainted with sadness, conscious only of the dignity of the human race, its significance and responsibilities. ”

“ We have seen how by good fortune he was placed as a child to study painting under Pier dei Franceschi, who was of all men most able to bring out in his pupils the finer instincts and nobler qualities of their genius. By his guidance and example, no doubt, Signorelli cultivated his natural breadth of conception and of treatment, which give grandeur and impressive solemnity to all his works, besides acquiring the technical excellences of good drawing, solid modelling, and the broad massing of the shadows, which are so characteristic of Piero's own painting. ”

“ They stand about embracing each other, or helping each other to rise, or gazing with rapture up at the Archangels, who, with fluttering draperies and ribbons, and great spread wings of purple and peacock-green, stand, surrounded by little shadowy cherubs, in the gold-embossed sky. Most of the figures are of Signorelli's usual powerful build, one, however, is an emaciated youth with little on his bones but skin, many are skeletons. ”

“ Ye shall behold me, the Son of Man, coming in the clouds to judge both the quick and the dead." And he shall take great wings, formed by devilish cunning, and shall soar into the sky amid thunders and lightnings, surrounded by his disciples in the semblance of angels.'
Giovanni listened, pale as death, his eyes terror-struck; he remembered the broad folds of the raiment of Antichrist in Luca Signorelli's fresco; and he remembered also the folds flapping in the wind on Leonardo's shoulders as he stood upon the precipice edge on the lonely summit of Monte Albano. ”

“ To be over-critical of the shortcomings of his colour, therefore, would be as foolish as to miss the charm of Bonifazio's splendid harmonies in abuse of some defect of drawing. Sometimes, in fact, Signorelli gains his end by the very crudeness and heaviness for which he is generally condemned, the sharp contrasts giving a rugged strength to his painting, and the copper colour of the flesh adding robustness to the figures.
It would, however, be most unjust to speak as if his colour were always, or even usually, crude and harsh. On the contrary, in landscape it is invariably beautiful ”

“ I cannot leave this series of early works, which includes so many Tondos, without drawing attention to the excellence of Signorelli's composition in this difficult form. The figures fill the space naturally and without any artificial bending of the heads to fit the shape; there is a sense of space, and ease of grouping, and the large sweeping lines of the draperies follow most harmoniously the curves of the panel. ”

“ Somewhat inferior in execution, but painted in exactly the same spirit, is the "Madonna," of the Munich Gallery, formerly in the Palazzo Ginori, Florence. [52] Here, as in the last, the Virgin sits, filling the foreground space, a stately figure, with fingers pressed together, as if in prayer to the Child at her feet. 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. ”

“ The flesh-painting, as in all the frescoes, is perhaps somewhat heavy in colour, but the whole effect is rich and harmonious. The chief defects in the work are the overcrowding of the composition, and the bad values of distance, caused in a great measure by the gold background. Signorelli's treatment is too realistic, his figures are too solid and too true to life, to bear the decorative background so suitable to the flat, half-symbolic painting of the Sienese school. They need space and air behind them, and lacking that, one feels a disagreeable sensation of oppression and overcrowding. ”

“ It was closed between 1530 and 1541, [170] after which Bazzi’s son-in-law, Bartolommeo Neroni or Il Riccio, painted upon the new wall the fresco we now see. It represents St Benedict sending out Maurus and Placidus as missionaries, the one to France, the other to Sicily.
The eight frescoes that follow are Luca Signorelli’s, but they hardly rank among his best works and are, in addition, in a bad state of preservation. In the first is the punishment of Florentius; the devils have thrown down his chamber upon him and are carrying off his soul ”

“ CHAPTER V ORVIETO
There seems to be a moment in the life of every great man in which he touches the height of his possibilities, and reaches the limits of his powers of expression. To Signorelli it came late, at an age when most men begin to feel at least their physical powers on the wane. The two last frescoes of the Monte Oliveto series indicate that an immense force lay in reserve, waiting an opportunity for some wider and freer field of action, than had hitherto presented itself. ”

“ Now a man of nearly seventy, Signorelli's energies seemed to grow greater with increasing age, for in 1508 we find him, besides being elected to his usual offices, deputed as ambassador to Florence, to demand there permission to reform the offices and ordinances of Cortona, and in the same year he was at Rome, together with Perugino, Pintorricchio, and Sodoma, working at the decoration of the Vatican Chambers, already begun by Pier dei Franceschi. ”

“ With all Signorelli's mannerisms, it lacks his resolute touch and powerful presentation. It is probable that the great inequalities in many of his paintings, especially at this later time, are due to his leaving much of the execution to assistants. Whatever faults are in the work of the master himself, he is never, up to the last, guilty of any feebleness or insipidity, such, for instance, as in the painting of this unsolid figure. ”

“ Botticelli, who, with so different a nature, had yet, in common with the robust Signorelli, this passion for swift movement, achieved later, it is true, almost as great triumphs [37] ; but to Luca belongs the merit of having endowed painting with the same freedom of combined movement which Donatello had given to sculpture.
Unlike Botticelli, he is consistently a lover of energy all through his life, and as the source of energy, of strength, and vigorous health. His grand conception of the body is one of the chief characteristics of his work. ”