_Luca Signorelli_ (Cortona: 1441-1523). _See 1128._
A dramatic representation in one canvas of the Gospel story told in
Luke ii. 1-17. _Scene 1._ "And it came to pass in those days, that
there went out a decree from Cæsar Augustus, that all the world
should be enrolled." This is represented by the Roman portico behind
the central group, under which, at a long table, is seated a row of
scribes, who are entering the names of the people. _Scene 2._ "And
Joseph went up ... to be taxed with Mary his espoused wife ... and she
brought forth her first-born son, and wrapped him in swaddling clothes,
and laid him in the manger." This is the subject of the central scene.
But the artist, no longer bound by conventional rules, treats his text
freely. There is no manger, but the stable is suggested by the heads
of the ox and the ass at the side; and instead of the Babe being found
"wrapped in swaddling clothes," it is naked. Joseph, in orange and
crimson robes, is full of benevolence. The shepherds on the left are
in deep reverence. The Virgin is robed in deep blue and green, typical
of the depth and mystery of her divine love. In the interstices of
the central group are three angels with golden hair and rainbow-hued
wings--"calm shining sons of morn." _Scene 3._ On the left is a group
of shepherds: "And there were in the same country shepherds abiding
in the field, keeping watch over their flock by night." The angel of
the Lord is appearing unto them from heaven, and they are sore afraid,
shielding their eyes from the heavenly light. _Scene 4._ On the right
of the spectator, and seen through an arch of natural rock, is a
shepherd playing on the pipe. This figure suggests the antique; he is
crowned with ivy leaves and might almost be Orpheus. Thus, instead
of representing the "Glory to God in the highest" being sung by "a
multitude of the heavenly host," Signorelli gives us a Greek singer--a
variation thoroughly characteristic of the classical revival of his
time.
The landscape is also thoroughly characteristic of the mediæval mind,
which loved the fields but dreaded the mountains. See here, for
instance, how lovingly the flowers in the foreground are painted, and
note the trailing ivy in the centre of the picture, as well as the
flowers and ferns; whereas the rocks upon which these latter grow are
altogether impossible in form and position (see _Modern Painters_, vol.
iii. pt. iv. chs. xiv. and xv., where the landscape of Dante, of whom
Signorelli was a close student, is analysed). The artist's signature is
inscribed on the frieze of the portico. Some, however, have questioned
its authenticity and declare the picture to be a weak imitation of the
master.