MIDDLE PERIOD
We have now arrived at the paintings belonging to the year 1491, part of
which Signorelli spent in Volterra, three works still remaining in that
city to testify to the visit--"The Annunciation," of the Cathedral; the
"Madonna and Saints," now in the Gallery, both dated; and a much-injured
fresco in _grisaille_, representing S. Jerome, on the walls of the same
building--the Palazzo Communale.
The "Madonna enthroned with Saints" was painted for the altar of Maffei
Chapel in San Francesco, and was unfortunately removed not many years
ago to the Gallery of the Palazzo Communale, suffering the greatest
damage in the transit. Two large cracks run through the figures of the
Child and the seated Father; large pieces of the paint have dropped
away, and in the repainting the Child has lost all characteristics of
Signorelli's work. In the less ruined parts, however, enough remains to
testify to the original excellence of the painting, which is finely
composed, and broadly and vigorously treated, especially in the
draperies.
The Virgin sits enthroned between four saints, with a very Peruginesque
angel on either side, and seated below, at the foot of her throne, are
two Fathers of the Church, in one of whom we have repeated the burly
bishop with wide-spread knees and fine sweeping drapery of the Loreto
cupola, and which occurs later in the Florence Academy altar-piece. The
influence of Pollaiuolo can be observed in the sculptures on the
_gradino_ of the throne, little nude figures in violent action.
In better preservation is the "Annunciation," in the Cathedral, signed,
and with the same date as the foregoing. The architecture, with its
excellent perspective, again reminds us that Signorelli was the pupil of
Pier dei Franceschi, the painter of the wonderful _loggia_ in the
"Annunciation," of Perugia. The Virgin is painted with great feeling,
and in the solemn beauty of the Archangel we get the first of those
splendid creatures whose sublimity Signorelli felt in the same spirit as
Dante, who bent his knees and folded his hands at the sight of the
"_Uccel divino_," "_trattando l'aere con l'eterne penne_."[53]
[Illustration: [_Cathedral, Volterra_
THE ANNUNCIATION]
The resemblance is so great between this painting and the
"Annunciation," of the Uffizi _predella_ (No. 1298) that we are
justified in placing the latter somewhere about the same date. As is so
often the case in _predella_ pictures, especially with Signorelli's, the
spontaneity and freedom of execution, and even of conception, is much
greater here than in the more carefully thought-out and finished works.
Small as this panel is, the rush of the great Archangel, the solemn
beauty of the landscape, and the splendid attitudes of the young
courtiers in the last division, make it one of the master's most
important and characteristic paintings. The colour in the first panel
of the "Annunciation" is especially beautiful, and there is a noble
simplicity in the composition, as well as a breadth and certainty of
touch that give the picture great grandeur. The _predella_ is divided by
painted pilasters into three parts. In the first the Archangel hastens
through a rocky pass to announce the message, to which the Virgin bows
with awed acceptance of its solemn meaning. In the second, the shepherds
kneel to offer homage to the new-born Child, who lies at the Virgin's
feet, while the third represents the visit of the Magi.
The same freedom of brushwork characterises another "Annunciation," of
probably the same time, and treated in much the same manner, although
less stately than that of the Uffizi. This is one part of a _predella_
formerly belonging to the Mancini Collection of Citta di Castello.[54]
The Archangel, with great wings half folded, and blown drapery, is just
alighting at the feet of the Virgin, who has dropped her book, and drawn
back with startled gesture at the impetuous rush of the messenger.
Connected with these by the same qualities of breadth of treatment, and
almost modern impressionism in the conception of the scene, are two
compartments of a _predella_, belonging to Mr Benson in London,
representing "The Dispute by the Way," and "The Supper at Emmaus." In
the former especially, the dramatic realism with which the Apostles are
depicted, as they argue with animated gestures, is extraordinarily
vivid.
Yet another _predella_ picture--"The Feast in the House of Simon," now
in the Dublin Gallery--belongs approximately to this period. It is a
most beautiful representation of the scene, and is treated somewhat in
the gay manner of Bonifazio or Paolo Veronese. At a long table, crowded
with guests, Christ sits, with His Mother on His right hand, the master
of the feast being conspicuous in the middle. Over Christ's head, the
Magdalen, a charming and graceful figure, pours the ointment, and on the
left of the table Judas, with expressive gesture, calls attention to the
waste. Notwithstanding the small size of the panel, and the number of
the figures, the effect is exceedingly spacious and free. It is a
well-composed scene, full of animation, and broad in treatment, and is
fortunately in a good state of preservation. The altar-pieces to which
all this series of _predelle_ belong are unknown.
We will now consider the fine Standard, painted in 1494 for the church
of Santo Spirito in Urbino.[55] On one side was represented the
"Crucifixion," and on the other "The Descent of the Holy Ghost at
Pentecost," but the canvases have now been divided. In the former, at
the foot of the Cross is grouped the first of those characteristic
scenes of the fainting Virgin which was, probably from its dramatic
element, so favourite a subject with Signorelli. Sincerely and naturally
felt, it in no way trenches on the melodramatic, as one or two of the
later groups tend to do, and the solitary figure of Christ, raised high
above the sorrowing women, is for once, among his Crucifixions, of
dignity and real pathos. The solemnity of the mood given, is enhanced by
the fine idea of the soldier on the left, who, impressively standing out
against the sky, shades his eyes, with bewildered gesture, as though
blinded by a sudden comprehension of the sacrifice. The grief of the
women who tend the unconscious Virgin, is sympathetically realised, and
without exaggeration of outward sorrow. The composition is specially
beautiful, the sides are well-balanced, while the two mounted soldiers
on either side (notwithstanding their characteristically badly-drawn
horses) give the scene a ceremonious stateliness, which is very
impressive.
[Illustration: [_Uffizi, Florence_
THE ANNUNCIATION]
In the "Pentecost" we have another most masterly bit of perspective and
fine spacious effect. At the end of a long room, between two rows of the
Apostles, is seated the Virgin. Above is God the Father, attended by two
angels, and below, the tongues of flame, the gift of the hovering Dove,
have alighted on the heads of all the company. Apart from the sense of
space and the well-composed grouping, the technical execution does not
appear so satisfactory as in the "Crucifixion," but this may be
accounted for by the fact that the painting has suffered more from
restoration.
Very closely allied to this Standard in composition is the fine "S.
Sebastian" of Citta di Castello, painted in 1496 for the church of S.
Domenico, now in the Gallery, which, in spite of its bad condition is a
picture of great importance and beauty. The least satisfactory part is
the Saint himself, who stands bound high up upon the tree, his
sentimental face with upturned eyes and open mouth recalling the S.
John of several of the Crucifixions. Above him leans God the Father, and
below five soldiers string their bows or shoot, with superb gestures.
Three of them are in the tight-fitting clothes in which Signorelli loved
to display the fine proportions and splendidly-developed muscles of his
figures, and the other two are draped only with the Pollaiuolesque
striped loin-cloth. In the middle distance, burgesses and sad-faced
women look on at the martyrdom, and in the background a distant street,
filled with soldiers, leads steeply up to a ruined classic building, not
unlike the Colosseum. The great damage which the picture has suffered
makes it difficult on a superficial view to give it the place it really
deserves among the master's works. The colouring is somewhat crude,
especially the flesh-tints, which are red and heavy, but it must
nevertheless be ranked high on account of the composition, and the fine
drawing and modelling of the foreground figures.
[Illustration: [_Santo Spirito, Urbino_
THE CRUCIFIXION]
To the following year, 1487, belong the series of eight frescoes painted
by Signorelli in the cloister of the Benedictine Monastery of Monte
Oliveto. Vasari writes: "At Chiusuri, near Siena, the principal
habitation of the monks of Monte Oliveto, he painted on one side of the
cloister eleven scenes of the life and work of S. Benedict."[56] Vasari
has mistaken the number of the paintings, for there were never more than
nine, even supposing the last, of which only a slight fragment remains,
to have been by him. To me it seems doubtful, but the fragments are in
so ruined a state, the fresco having been almost entirely cut away in
the enlarging of the doorway, that certainty one way or the other is
hardly possible. The remaining eight are for the most part in a
deplorable condition, both from the damage of time and neglect, and also
from repainting, the lower part of the foreground in all of them being
completely lost, and smeared over with a surface of thick green. The
paintings are very unequal, some being comparatively poor, while the two
last are exceedingly fine. The story begins in the middle of the Saint's
life. The first scene shows "How God punished Florenzo," a wicked rival
abbot, who had tried to poison S. Benedict, and to lead his monks
astray. In the background four grotesque devils are tearing down the
walls of his convent, with extraordinary energy of action, and three
others bear away the soul of the monk, whose body may be seen crushed
beneath the ruins. In the foreground the Saint listens to the tale, told
by a kneeling brother.
The scene is conceived in a spirit somewhat trivial for Signorelli, and
has but little of his usual stately strength. The composition is too
much crowded on one side, and, as far as can be judged from the state of
the fresco, the draperies of the monks are mechanically treated. The
parts most worthy of praise seem to be the vivacity of the devils, and
the effect of spacious distance, but it is in so damaged a condition
that it would be unfair to be over-critical.
The next is in an even worse condition. It illustrates "How S. Benedict
converted the inhabitants of Monte Cassino," to whom, supported by two
monks, he preaches in the foreground. In the middle distance others pull
down from its pillar the statue of Apollo, worshipped by these people.
This is a very much finer painting. The composition is again overcrowded
on one side, but there is much noble dignity in the figures of the three
monks, and the beautiful architecture and perspective of the Temple, are
admirable. The foreground has been entirely destroyed, the draperies are
nearly effaced, and a little town in the background is so smeared over
with green paint, that the effects of distance are lost.
No. III. is in better condition, though very much injured in the
foreground. It shows "How S. Benedict exorcised the Devil upon the
stone," who guarded the place where the statue of Apollo was buried,
which brought a curse on the convent. In the background is seen the
disinterment of the statue, and to the right, the vengeance of the
Devil, who sets fire to their building. Flames burst through the
windows, and the monks hasten with excited gestures to quench them.
These remind one in their _naivete_ of Carpaccio's scurrying friars, in
S. Giorgio degli Schiavone, Venice. There are some very fine bits in
this fresco; the attitude of the monk to the left who is heaving up the
stone is exceedingly good and true to nature, and the landscape is
spacious and distant.
No. IV. shows "How S. Benedict resuscitated the monk upon whom the wall
fell," the scene of the death taking place in the background, the Devil
having precipitated him from the scaffolding on which he was at work. In
the middle distance three brothers bear the dead body, and in the
foreground the Saint stands and raises him again to life. This fresco is
very fine both in general composition and detail. The little scene of
the death is full of action and animation, the group of monks who bear
the corpse is dignified, and very noble is the kneeling figure of the
resuscitated friar.
The paintings get gradually better, as though Signorelli had warmed to
his task. The next is very charming and one of the most successful in
composition. It illustrates "How S. Benedict reveals to two monks where
and when they had eaten out of the Convent." The two disobedient
brothers sit in the foreground of a long room (of most excellent
perspective), and are served with meats and drinks. At the end of the
room, at the open doorway stands the graceful figure of a youth. The
section of the wall is given, showing in the distance the penitent
brothers on their knees before the Saint, who has reproved their
disobedience. There is something almost German in the domestic
simplicity with which Signorelli has conceived the scene. The woman who
waits on the right is Peruginesque in type and attitude, although with
the robust physique that belongs to Signorelli. The fresco is much
repainted especially in the roof.
[Illustration: [_Monti Oliveto, Maggiore_
MIRACLE OF S. BENEDICT]
The next shows "How S. Benedict reproves the brother of the monk
Valerian for his violated fast," and reveals to him that it was the
Devil who had tempted him in the disguise of a traveller, the different
scenes, as usual, going on in the background. In front the youth kneels
before the monks, and to the right the Devil, his horns showing through
his cap, tempts him. 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. VII. we have the scene "How S. Benedict
discovers the deceit of Totila," and unmasks the shield-bearer, who,
disguised as the King of the Goths, comes to prove the knowledge of the
saint. In the background, a plain covered with camps and soldiers,
Totila sends forth his servant, and in the foreground the Saint,
surrounded by four monks, proclaims to him his identity. Statesmen,
arrogant pages, and warriors, stand behind the exposed shield-bearer. It
is interesting to observe how Signorelli's attention has wandered from
the empty faces and mechanically executed draperies of the monks, and
concentrated itself on this group. The figures, in their tight clothes,
are superbly posed and modelled, especially the three who stand next to
the shield-bearer.
The last of the frescoes is almost as fine a study of magnificent
attitude. It shows "How S. Benedict recognises and welcomes Totila," the
real King of the Goths, who kneels before him, surrounded by his army on
horse and foot. In the background, troops are marching with great
animation, (one of those fine effects of combined movement so
characteristic of the master). Some of the foreground figures are again
splendidly drawn and modelled, and the mounted soldiers sit their horses
exceedingly well.
[Illustration: [_Monte Oliveto, Maggiore_
THE MIRACLE OF S. BENEDICT]
In these two last paintings we get a hint of the great work that was to
come three years later--at Orvieto. Signorelli has put forth all his
strength in these groups of swaggering youths in every posture of
conscious power and pride, and never perhaps been more successful in
individual figures. Some of the faces in the last fresco appear to be
portraits, and if it be true, as Vasari says, that he painted the
Vitelli and Baglioni, it is here probably that we should find them
rather than among the audience of Antichrist.
In running the eye down the whole series of frescoes, the scheme of
colour, as far as can be judged in their present condition, does not
strike one as pleasant. Crude blues, emerald greens, brownish purples,
heavy earthen browns--these are the predominating tints. The flesh tones
are uniformly red and heavy. Neither is the decorative effect of the
compositions specially good, as at Loreto, and more particularly at
Orvieto. Perhaps even, on a superficial view, the space-filling by
Sodoma is happier, and has a more imposing effect. It is chiefly in
detail that the great qualities of Signorelli show themselves.
The rest of the walls of the large cloister are painted with
twenty-seven subjects by Sodoma, showing the youth and hermit-life of
the saint, and continuing, after the series by Signorelli, with his
miracles and his old age. Although the subjects chosen by Luca
illustrate the later years, yet they were painted first, and it is
probable that the place of each scene was arranged before any of the
work was entered upon.
The year following the execution of these frescoes Signorelli was in
Siena, painting the two wings for the altar-piece of the Bicchi family,
formerly in the church of S. Agostino, now in the Berlin Gallery, No.
79. A MS. of the Abbate Galgano Bicchi, which gives the date, speaks of
it as an _Ancona_, the centre of which was a statue of S. Christopher by
Jacopo della Quercia, and with a _predella_, which the Abbate minutely
describes.[57] Nothing now remains of the altar-piece but these two
beautiful wings, one of which contains figures of the Magdalen, Santa
Chiara, and S. Jerome, the other, of S. Augustine, S. Antonio and S.
Catherine of Siena. Vasari writes of it: "At Siena he painted in
Sant'Agostino, a picture for the chapel of S. Cristofano, in which are
some Saints surrounding a S. Christopher in relief."[58]
Both panels are of very rich and harmonious colour, especially the one
containing the noble figure of the Magdalen, in her green robe shot with
gold and deep red mantle, and her ropes of honey-coloured hair.
[Illustration: [_Gallery, Berlin_
SAINTS]
Perhaps about the same date, perhaps somewhat earlier, we may place the
fine _Tondo_ (No. 79B) hanging in the same gallery, formerly in the
Patrizi collection, Rome. I have not given it its usual name of a
"Visitation," because that scene, conventionally treated, took place
before the birth of the children who here play so important a part.
Signorelli has, according to his habit, conceived the subject without
any reference to traditional custom. I have already spoken of the ease
with which he composes in the _Tondo_ form, and this is perhaps the best
example of his skill. The natural grouping of the figures, the sweeping
curves of the draperies, which, especially that of S. Joseph accentuated
with gold, carry out the lines of the circle, give a sense of rest and
harmony to the eye. The scene is treated with a simplicity and noble
dignity which deserve special praise. It is in some ways the most
sympathetic of all his Holy Families, and he seems to have felt the
charm of every-day simple life, and for once has given the Christ the
life and beauty of childhood. The tender foreboding sadness in the face
of the Virgin, the reverential sympathy of the aged Elizabeth, and the
kindly care with which the powerful Zacharias holds the Child, are
touches full of poetry.
Morelli places this _Tondo_ as a late work,[59] but the soft and
harmonious colour, as well as the poetic feeling, seem to belong to this
period, before the painting of the Orvieto frescoes, if not even
earlier.
[Illustration: [_Gallery, Berlin_
HOLY FAMILY
(CALLED VISITATION)]
Lastly, in this group must be placed the Standard of Borgo San Sepolcro,
painted for the Confraternity S. Antonio Abbate, now in the Municipio.
It is interesting to note, as its position in the Gallery allows us to
do, how completely Signorelli has now detached himself from the
influence of his first master--outwardly at least. No greater contrast
could well be, than the unrestful dramatic realism of the "Crucifixion"
on this Standard, and the inspired serenity of the "Resurrection" of
Pier dei Franceschi close by; than the coarsely-conceived figure of the
crucified Christ, with its heavy features and uncouth limbs, and the
spiritual beauty of the risen Saviour.
This "Crucifixion" is the least successful of all Signorelli's
renderings of this subject (with the exception, perhaps, of the Morra
fresco), both from its technical defects of extreme hardness and
heavy colour, as well as from the lack of any real feeling in the
painter for his subject. The unfortunate introduction of the patron
saint, posing as Joseph of Arimathoea, disturbs the harmony of the
mood, while his exaggerated gesture contrasts disagreeably with the
apathetic coldness of the other figures, over-dramatic as their action
is. The Christ is treated deliberately as a study of muscle, and is
among the most ignominious of his types, and the fantastic landscape,
with its shadowy rocks and solid clouds, is badly composed and without
existence. Although there is no trace of the influence of Piero
remaining, yet there is much of Antonio Pollaiuolo, especially in the
muscular figure and bent legs of the Christ.
[Illustration: [_Municipio, Borgo San Sepolcro_
THE CRUCIFIXION]
The two large Saints on the reverse of the Standard are, on the other
hand, imposing and noble figures, splendidly painted in Signorelli's
grandest and most sweeping manner. S. Antonio, in the black habit of the
order for which the banner was executed, stands reading in a book, and
by his side is S. Eligio, the smith-saint, in red mantle and dark-green
robe, holding in one hand the farrier's tool, and in the other the
cut-off horse's hoof of the legend. Below kneel small figures of four
brothers of the Confraternity.
We have now come to the end of the series of works, executed, as nearly
as can be judged, between 1490 and 1499, and with the latter date have
arrived at the time of the painting of the Orvieto frescoes, which were
to be the crowning point in the life's work of the master.
FOOTNOTES:
[53] "Purg." ii. 37 and 35.
[54] When last heard of by the author it was for sale in England.
[55] The contract, dated June 1494, is transcribed in Pungileoni's
"Elogio Stor. di Giov. Santi.," p. 77.
[56] Vasari, iii. 689.
[57] The MS. is in the possession of Conte Scipione Bicchi-Borghese,
Siena.
[58] Vasari, iii. 688.
[59] "Die Galerie zu Berlin," p. 46.