PUPILS AND GENERAL INFLUENCE
It would not be possible, in the space at my disposal, to go with any
thoroughness into the work of Signorelli's imitators, even of those who
fell directly under his influence. The painters who stand foremost among
them, Don Bartolommeo della Gatta and Girolamo Genga, are both too
important to be dealt with in a short notice, while it would be a
thankless as well as an arduous task, to try to distinguish the
different painters of what is generically classed as school-work, being,
as it nearly always is, without either individuality or merit. I shall
do little more, therefore, than make a brief mention of the names and
principal works of the known imitators, and try instead to indicate the
influence of Signorelli's style upon painting in general.
Morelli says much of his "uncompromising guidance," and of the
"degeneration" of those who fell under his "crushing influence."[79]
Something of the sort has been said of Michelangelo, and might be said
of every strong man whose personality is powerful enough to stamp its
mark on his contemporaries, but since no one who is content to be merely
a copyist could produce valuable work, the world has probably lost
little by the submission. It is, however, true that, as the powerful
muscles of Michelangelo's statues become meaningless lumps in the works
of Bandinelli and Vasari, so the mannerisms of Signorelli, which were
the outward sign of his strong and energetic temperament, lost all
significance, and were merely coarse exaggerations in the work of his
imitators. The swaggering attitude, the freedom of gesture, and the
dramatic expression, shorn of the strength and earnest emotion from
which they sprang, became disagreeably incongruous in the pictures of
the feeble painters who imitated them.
But one, at least, of Signorelli's disciples was neither slavish nor
feeble. Bartolommeo della Gatta, otherwise Piero di Antonio Dei, the
most important of those who came under his influence, was a painter of
great charm and ability. If it be true, as a recent criticism has
pronounced, that the beautiful "Madonna," of the Christ Church
collection, Oxford, there attributed to Pier dei Franceschi, is from his
brush,[80] we have to deal with a man who started work under the same
ennobling influence as Signorelli himself. Be that as it may, and as
future research will decide, the fresco of "The Death of Moses," in the
Sistine Chapel, which later study has presumed to be almost entirely his
work, proves him to be a painter of great beauty and importance. Signor
Gaetano Milanesi has thrown doubt upon his existence as a painter of
anything except miniatures,[81] but the happy discovery of a document,
referring to his altar-piece of "S. Francis receiving the stigmata," in
the Church of that Saint in Castiglione Fiorentino, has placed the fact
beyond dispute.[82] The student who desires to know more of this painter
is referred to the last Italian edition of Cavalcaselle e Crowe, vol.
viii., and to the "Life" by Vasari, whose reliability in this case the
researches of the critics so well confirm. Born probably in 1408, he was
already a man of mature age when Signorelli himself was a child, but his
simple, pliable nature fitted him to be a follower rather than a leader,
and we find him now influenced by Pier dei Franceschi, now by
Signorelli, and again later by Fiorenzo di Lorenzo. If it be true that
the really splendid painting of the Sistine Chapel is due to him
entirely, it is, of course, his masterpiece, and reaches, indeed, a
level not very inferior to that of Signorelli himself. His most
important undisputed works are the above-mentioned painting in the
church of S. Francesco, Castiglione Fiorentino, the altar-piece in the
Collegiata of the same town, a S. Rock in the Gallery, and a fresco of
S. Jerome, in the Bishop's Palace, Arezzo, etc.
Another imitator of importance, Girolamo Genga, impressionable as his
nature was, yet has much individual excellence to distinguish him from
the rest of Signorelli's assistants. Born at Urbino in 1476, he was
placed, at the age of fifteen, in the studio of Signorelli, with whom,
according to Vasari, he remained for twenty years, becoming "one of the
best pupils that he had."[83] After assisting the master in the painting
of the Cappella Nuova, Orvieto, Genga (always according to the same
authority) placed himself to study perspective with Perugino, at the
time that Raffaelle was also under the influence of that painter. This,
as well as the fact that he was a native of Urbino, and had probably
also felt the impression of Timoteo Viti, would account for the enormous
influence Raffaelle's painting had upon his later work. He seems to have
had an extraordinary facility for changing his style; for, while under
the influence of Signorelli, as in the Petrucci Palace frescoes (Nos.
375 and 376 in the Gallery of Siena), his work bears so much resemblance
to that of the master, that so observant a critic as Morelli declared
the composition of both to be most certainly by Luca himself.[84] Genga
seems to have caught, not the superficial forms only, but also the
spirit of Signorelli in these frescoes, for in one--"The Flight of AEneas
from Troy"--there is an exaggeration of the characteristic energy and
movement, which, almost hysterical though it be, is yet successful and
full of real life; while in the swaggering strength of the nude figures
in "The Rescue of Prisoners" there is something of Luca's own dignity
and impressiveness. In his later work, although he never departs from
certain likenesses to his first master, yet he gives himself up to the
influence of Raffaelle unreservedly, as may be best seen in the Cesena
altar-piece, now in the Brera, Milan. Morelli writes of him: "This
eclectic painter, who, though working in a baroque style, is not without
talent, is confounded with the most diverse masters, both in drawings
and paintings";[85] and the fact that besides the above-mentioned
variations of style, his work is also pardonably attributed to Girolamo
del Pacchia[86] and to Sodoma,[87] fully justifies the epithet and the
assertion. Of the other and less important followers, Tommaso Bernabei,
called Papacello, seems to have been first assistant of Giulio Romano,
and then of Giambattista Caporali, with whom he is said to have painted
the frescoes in the Villa Passerini, near Cortona. His first original
work is of the year 1524--a "Conception of the Virgin," in the church of
Santa Maria del Calcinaio, near Cortona, in which the manner of
Signorelli is very apparent. In the same church are two other paintings
by him, dated 1527, an "Adoration of the Magi," and an "Annunciation,"
which are sufficient to indicate the small amount of artistic ability of
the painter. The date of his birth is unknown; he died in 1559.[88]
We have, besides, four members of Signorelli's own family. First, his
son Polidoro, whom we know to have been his assistant at Orvieto; for,
in a document of 1501, he is mentioned as having received certain
payments there for salary, as well as for materials for the work.[89]
His manner of painting is unknown to us, so that it is impossible to
distinguish his share in the frescoes.
Two other sons, Antonio and Pier Tommaso, were, it seems, also
assistants of their father, the former being the painter of a dated
altar-piece in the church of Santa Maria del Calcinaio, near
Cortona.[90] Lastly, his nephew Francesco, the most important of the
assistants bearing his own name, from whose hand there are several
paintings very close to the master in style. To him, at least, are
attributed the standard of "The Baptism," in the Gallery of Citta di
Castello, and a _Tondo_ of a "Madonna and Saints," in the Palazzo
Pubblico, Cortona. There is one signed altar-piece by him, "The
Conception of the Virgin," in the choir of S. Francesco, Gubbio.
Turpino Zaccagna is another pupil, of whom Manni writes that he was a
noble youth of Cortona, who took to painting, and imitated Signorelli's
style.[91] Of his work remains an altar-piece in the church of S. Agata
di Cantalena, near Cortona, signed and dated 1537.
With him the list of known pupils closes. But more really important than
either of these minor scholars is the unknown imitator who painted the
beautiful "Magdalen," of the Florence Academy. Executed on linen, and
evidently intended for a church standard, this is the most successful of
all the works in Signorelli's manner, which yet cannot be accepted as
genuine. The design of the principal figures in the foreground and
middle distance I believe to be by Signorelli himself, and the intensity
of emotion in the Magdalen, who has cast herself at the foot of the
Cross, and the impressive grandeur of the three figures to the right,
have lost none of the original spirit of the master. The colour is
entirely different, and would alone preclude the acceptance of the
painting as Signorelli's work, but, moreover, the general effect has so
little of his sweeping breadth, and the details of the shadowy landscape
are so poorly composed, that it is probable even the whole of the
drawing is not by him.
[Illustration: [_Gallery, Buda-Pesth_
TIBERIUS GRACCHUS]
An interesting picture in the Gallery of Buda-Pesth, there attributed to
Luca himself, connects the charming and mysterious "Griselda" series
(Nos. 912, 913, and 914), of the National Gallery,[92] with some
follower of Signorelli, for it is sufficient to glance at the background
of this "Tiberius Gracchus" to be convinced that its painter is the same
unknown master. In the "Griselda" pictures there is more evidence than
here of the influence of Pintorricchio, to whom they are, not
unnaturally, attributed; while in the "Tiberius," in the drapery of the
figure, and the type of the children who support the tablet, especially,
there is much of the real spirit of Signorelli, as well as a good deal
of his breadth and solidity of drawing. The painter must, for the
present, remain as an unknown Umbrian, almost equally influenced by
Pintorricchio and Luca, and with peculiar qualities of simple grace and
romance, which give his work an extremely individual character.
Very different is the imitation of Signorelli's mannerisms in such works
as "The Nativity," of the National Gallery, "The Madonna and Saints," of
the Gallery of Citta di Castello, and "The Abbondanza," of the Uffizi.
In these the imitation is mechanical, and without any comprehension of
the master's spirit. It would be useless to mention more of the
school-work, in which superficial excellences and defects are copied
with equal zeal.
On the other hand, the spiritual qualities which these mechanical
imitators missed, were felt intensely by men who never adopted his
mannerisms, and it is in the work of these that the real effect of
Signorelli's influence is to be found. The frescoes of Orvieto never
became, like Masaccio's in the Carmine, a school to which the younger
painters thronged, purposely to learn the methods of the master, but
their impressive grandeur and solemnity, and the breadth of brushwork
and solid modelling by which these qualities were in a great measure
obtained, worked, nevertheless, a very important change in the Art of
the time, and a wave of strong fresh blood was sent through its veins.
Without them, perhaps, we should never have had the same appeal to the
imagination and the nobler instincts in the Sistine paintings, although
there is not in the whole of the work one single mannerism from
Signorelli's style.[93] But what is called the "Terribilita" of the
older master was entirely free from the sombre melancholy which strikes
so gloomy a note in the work of Michelangelo. 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.
By his power over his materials, won by hard study, he added much to
Art, and presented things, not as conventional symbols, but as they are
actually reflected on the eye. His people stand on solid ground by the
help of firm muscle, substantial realities that we feel could be touched
and walked round. His atmosphere gives the sense of real space and air.
His trees seem to have roots, and their branches to be full of sap. By
this truth and power of presenting things as they are he was able to
endow his paintings with his own conception of Nature, grander and wider
than our own, and to make us see mankind with his eyes, built on
broader, stronger lines. Nothing trivial or insignificant enters into
his perception of life. He takes his place with Mantegna, with Duerer,
and with Cossa, the austere painters, who felt the dignity of life to
lie in rugged strength, iron resolution, and unflinching
self-reliance.
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 E[~P]S CORTONE[~N]S ICONAM ET ORNATUM P.
P. FACIERI A.D. CI[C]I[C]XV. HAEREDES VERO D. ASTRVBALIS EJVS EX
F[~V]E 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 CORTON[~E]SIS. ARTE
PICTVRE EXIMIVS. MERITO APELLI CONPAR[~A]DVS. SVB REGIMINE ET
STIPENDIO NICOLAI FR[~A]CH. EIVSD[~E] NATIONIS PATRIE
VRBEVETANE. CAMERARII FABRICE. HVIVS BASYLICE SACELL[~V] HOC
VIRGINI DICAT[~V] IVDICII FINALIS ORDINE FIGVRAD[~V] PSPICVE
PINSIT CVPIDVSQ [~I]MORTALITATIS VTRIVSQ EFFIGI[~E] ATFRGO
LITTERAR[~V] HAR[~V] NATVRALITER MIRA EFF[~I]SIT ARTE. ALEXANDRO
. VI . PON . MAX . SEDENTE . ET MAXIMIANO. IIII . INPERIANTE
A[~N]O SALVTIS MCCCCC. TE[~R]IO 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 CORTONE[~N] 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. FIGVRAD[~V] 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.