Luca Signorelli Part 6

[Ill.u.s.tration: [_Cathedral, Orvieto_

HEAVEN]

In the thickness of the small window which cuts into this fresco, are painted two coloured medallions, one of an angel vanquis.h.i.+ng a devil, the other of S. Michael, with the balances, weighing souls--both by the master himself. Below are two series of small pictures in _grisaille_, with scenes from the "Purgatorio." The lowest is unfortunately hidden by the altar. All of them are by Signorelli himself, exceedingly good, and worthy of careful study, one being especially beautiful--the top picture of the first series, in which Dante and Virgil stand before the Angel, with the gold-plumed Eagle in the foreground--a most n.o.bly conceived ill.u.s.tration to the ninth canto of the "Purgatorio."

[Ill.u.s.tration: [_Cathedral, Orvieto_

h.e.l.l]

On the opposite side of the altar is the Judgment of Minos, and the driving of the lost souls to h.e.l.l under the superintendence of the two Archangels, who stand in the sky with drawn swords, sorrowfully watching the fulfilment of divine justice. Signorelli here has followed very closely the text of the "Inferno." In the foreground "Minos standeth horribly and gnasheth," condemning the miserable souls before him each to his different circle, his tail wound twice about his middle. Farther back, the Pistoiese, Vanno Fucci, with blasphemous gesture, yells out his challenge to G.o.d; Charon plies his boat; and in the background despairing souls follow a mocking demon who runs before them with a banner.

The two medallions on the sides of the window contain, one the Archangel Gabriel with the lily of the Annunciation, the other a very beautiful group of Raphael and Tobias, both by Signorelli himself. Below, the decorations correspond to those on the opposite side, the _grisaille_ pictures, representing, according to Luzi, scenes from the "Metamorphoses" of Ovid, all, with the exception, perhaps, of the medallion just below the window, being also the work of the master, and very powerfully painted.

Leaving the window wall, we now come to the finest of all the frescoes, the magnificent scene of the "d.a.m.nation." So vivid is the realisation, so life-like the movements and gestures, that the writhing ma.s.s appears really alive, and one can almost hear the horrible clamour of the devils, and the despairing yells of the victims. The general effect is of one simultaneous convulsed movement, one seething turmoil. In detail, the horror is most dramatically rendered. The malignancy of the devils, their brutal fury as they claw their prey, tear at their throats, and wrench back their heads; the utter horror and anguish of the victims, the confusion, the uproar, are given with a convincing realistic force, which makes the scene ghastly and terrible. In most representations of h.e.l.l, and especially of Devils, human imagination fails in conveying any sense of real horror, even the earnest Durer and Botticelli treating them with a grotesqueness which shows how far they were from any conviction of their reality. Signorelli is the only painter of the Renaissance I can recall who has succeeded in giving a savage sternness, a formidable brutishness to his fiends, which is very far from grotesque, but is really appalling. These ferocious creatures are of all colours, slate-blue, crude purple, heavy green, livid mauve--sometimes of all these poisonous-looking colours fading one into the other. Strong and malevolent, they triumph in their work of torture, with a gloomy malignancy very different from the trifling malice of the fiends he painted at Monte Oliveto. Above stand the three Archangels, in armour, with half-drawn swords, menacing those who try to fly upward instead of toward the flames of h.e.l.l. Two, in their hurry to escape chastis.e.m.e.nt, let fall their prey; another, with great bat-wings which cut the air like scythes, swoops down again into the chaos below.

[Ill.u.s.tration: [_Cathedral, Orvieto_

THE d.a.m.nATION]

I suppose a ma.s.s of convulsed limbs has never been rendered in so masterly a manner. The effect is so natural that one is inclined to forget the difficulties Signorelli has so superbly overcome. But if one considers in detail the different att.i.tudes, the violent action of the arms and legs, the contorted positions of the bodies--every muscle either on the stretch or relaxed into a flaccid limpness,--the foreshortened limbs twisted into every kind of unnatural posture, and the complicated interweaving of the whole, one realises that it is indeed his masterpiece, not only for the mood of terror and awe it induces by its imaginative power, but for its marvellous rendering of tumultuous movement, and the ease with which enormous technical difficulties have been surmounted.

The portraits below are, according to Luzi, of Ovid and Horace, the four medallions round the former seeming, in their energy and furious life, to carry out the tumult of the great fresco above. They represent scenes from "The Metamorphoses," and deal chiefly with Hades and the infernal Deities. Above stand four female figures with fluttering draperies, among whom we can distinguish Diana with the bow, and Pallas with the lance and s.h.i.+eld. Below, Pluto stands in a chariot drawn by dragons.

This painting is very much injured, as is much of this lower part of the wall, especially the grotesques. On the right Pluto bears away Persephone in his arms in a chariot drawn by two fantastic horses, which an attendant urges furiously forward with a caduceus. On the left Ceres, with wildly-floating hair, leaps into a tearing chariot drawn by two winged serpents, which Cupid goads onward with a flaming torch. These are all by Signorelli himself, and, for the rendering of violent movement, worthy of their position under the great painting.

Round the other portrait are subjects also connected with the infernal regions. Over it, aeneas stands before the c.u.moean Sybil, a very injured painting. Below, Orpheus in Hades plays before Pluto and Persephone to win back Eurydice, who lies bound before them. On the right Hercules rescues Theseus from Hades, and slays Cerberus, and on the left, Eurydice, following Orpheus, looks back, and is re-seized by the demons. These are all exceedingly good and dramatic paintings, and are by Signorelli himself.

The next large s.p.a.ce, after the fresco of "The d.a.m.nation," is filled with "The Resurrection." Above, the two mighty Archangels sound their trumpets, and the dead wake, and break through the crust of the grey earth below. 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 peac.o.c.k-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. To these last he has given a pathetic look of ecstasy, which is wonderfully expressive, considering it is obtained only by means of eyeless sockets and grinning jaw-bones.

[Ill.u.s.tration: [_Cathedral, Orvieto_

THE RESURRECTION]

The fresco has suffered much, particularly from the painting, in later times, of draperies round the loins, some of which have been worn or rubbed half off. Almost in the centre is a large stain, outlining the shape of a window, which Signorelli caused to be filled up, and which can still be seen on the outside of the Cathedral. The damp, oozing through the new plaster round the framework, partly destroyed the painting, but the centre is remarkably well preserved.

It is interesting to note in studying this fresco, that, student of anatomy though he was, the skeleton seems to have had little attraction for Signorelli. The placing of the bones is, of course, correct, but the delicacy of their curves, their relative proportions and thicknesses, their beauty of detail, are not given at all. For example, in the skeleton in the foreground, the pelvis has scarcely the shape, and none of the variety of line, of the bone itself, but is merely a coa.r.s.ely-drawn girdle. Compared to the extreme delicacy with which he models flesh, and his minute appreciation of every gradation of curve in the muscles, this carelessness in the treatment of the skeleton is noteworthy.

Under this, the last of the larger frescoes, is a recess, in which was formerly the sarcophagus containing the bones of Pietro Parens, the patron saint of Orvieto. In this recess, under the brackets on which the sarcophagus stood, Signorelli has painted one of his most beautiful "Pietas." Unfortunately, half hidden by a marble group, sculptured in 1574 by Ippolito Scalza, it is difficult to see, and impossible to photograph, and is therefore not so well known and appreciated as it deserves to be. The Christ is an exact repet.i.tion of the figure in the "Deposition," of the Cortona Cathedral, and was probably painted about the same time--1502. The position only is reversed. The other two figures are also repeated from that altar-piece, with only very slight variations. Behind is painted the Tomb, on which is a relief in _grisaille_ of four naked figures bearing the dead body of the Saviour.

This formed the lower part of the now removed sarcophagus, the three stone supports of which still project from the wall. On the right of the "Pieta," is painted the martyr Pietro Parens himself. 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 att.i.tude most natural, and the whole figure is one of the n.o.blest and most sympathetic of all Signorelli's works, and deserves to be better known. On the other side, and also as supporter of the "Pieta," stands Faustinus, another patron saint of the city, also a very beautiful figure, with features which recall the type generally used by Signorelli for S. John. At his feet lies the millstone with which he was drowned. On either side, in the thickness of the wall, is a medallion in _grisaille_, containing the scenes of their deaths, very powerfully painted.

This recess occupies more than one half of the s.p.a.ce below "The Resurrection," allowing room for only one portrait and two medallions.

The former Luzi has decided to be Lucan, and represents a beautiful youth, with a ma.s.s of loose curling hair crowned with oak-leaves and acorns. The scenes of the medallions are supposed to be from "The Phaisalia." In that above three nude men fight with fists, one binds his prostrate foe, and another bears off a slain body. In that on the right four men fight with clubs and swords. All are powerful figures, painted by Signorelli in his most characteristic manner. Below the portrait of the poet is an inscription of 1667, honouring the memory of Signorelli, and of Ippolito Scalza, the sculptor of the marble "Pieta."

The frescoes round the beautifully-proportioned entrance portal, being on an inside wall, are in a state of better preservation than the rest, and the colours brighter. They represent "The Signs of the Destruction of the World." For imaginative power they can be compared only with the woodcuts of Albrecht Durer's "Apocalypse." To our right on entering, the "Rain of Fire" shoots in heavy lines from the hands and bodies of demons with outspread wings. The distraction of the people on whom it falls is well rendered. In the foreground armed men on horse and foot seek wildly to escape the shafts, which have already precipitated some to the ground. In the middle distance the flames pursue a flying mob of terrified women clutching their infants, and men trying to protect them; while in the foreground old men, youths, and children, are struck down in heaps, stopping their ears, and gazing up in panic at the unearthly apparition.

On the opposite side the sun and moon are eclipsed, and a dark rain of blood falls from the gloomy sky. An earthquake has shaken the city, and its buildings totter and fall in fragments on the people. In the foreground is a group, perhaps intended for the Prophets of the Destruction, who gaze up, less terrified, but with fear and solemn awe.

[Ill.u.s.tration: [_Cathedral, Orvieto_

SIGNS OF DESTRUCTION]

Next to "The d.a.m.nation," these are perhaps the finest of the series, and show most imagination and dramatic feeling. The foreshortening of some of the figures is admirable, the composition in the restricted s.p.a.ce is good, and there is superb drawing and modelling in the foreground figure among the Prophets in the last fresco.

In the centre, over the arch, Signorelli has painted a group of winged children, who hold a tablet by a bunch of ribbons, in one of whom are repeated the features of the Christ-child of the Uffizi "Holy Family."

In the s.p.a.ce under "The Rain of Fire" has been painted a portrait, but not a fragment of the face remains, an obelisk-shaped monument having in later times been placed against the wall, completely destroying it.

Cavalcaselle, for what reason is not clear to me, supposes that it represented Niccol Franceschi, the treasurer of the works. On the opposite side of the doorway is a coloured medallion, representing a man with a turban, who, leaning his back over the frame as though it were a window, seems to be gazing up at the painting above. This, Cavalcaselle suggests, is a portrait of the painter himself; Luzi, however, considers it to be Empedocles. Over it in the decorations are two small tablets bearing the master's initials, L. and S.

We began by considering the general impression of the frescoes upon the mind, their great imaginative qualities, and the solemn mood they induce. We will conclude by summing up the technical excellences, which distinguish them from all his previous work by extra power and ability.

The beauty of the compositions, the filling of the s.p.a.ces and the effectiveness of the scheme of decoration are as much above the work of three years before--the Mount Oliveto series--as is the freedom and dramatic power with which the scenes are rendered.

What chiefly strikes one is the h.o.m.ogeneousness of the whole design, each part of the work keeping its due place in the great scheme. We are never unconscious, even while carried away by the emotions of each separate scene, of the solemn presence of the Judges above, who preside over the final justice. Considered as subject-pictures, the intense dramatic feeling makes them extremely powerful in their different effects, so that it is impossible to look at them unmoved. Finally, the facility and freedom with which his anatomical knowledge has allowed Signorelli to render all the possibilities of movement and gesture, is as much in advance of his age, as is his modern and natural visualisation, and the impressionistic breadth of his brushwork. In that respect, indeed, it is impossible to go farther. Later painters have erred as much in exaggerating violent action and over-developing muscles, as the earlier master fell short in dry and laborious stiffness. Signorelli, while retaining the earnest sincerity and thoughtfulness of the earlier workers, has been able at the same time to render with modern facility every movement of the human frame, and the result is an achievement which no later skill has surpa.s.sed, which is perhaps the last word in the treatment of the nude in action.

Before closing these remarks, I must not omit to record the grat.i.tude due to the two German painters, Bothe and Pfannenschmidt of Wurtemburg, who, in 1845, at their own cost, cleaned and carefully restored the frescoes, a work done on the whole with great discretion.

Two other paintings of the master, now in the Opera del Duomo, are so closely connected with the chapel, that the description would be incomplete without mention of them here--the altar-piece of the Magdalen, and the portraits of himself and the treasurer of the Cathedral, Niccol Franceschi.

The former, painted originally for the Cathedral, is a life-sized, very broadly painted figure, somewhat coa.r.s.e in execution, but exceedingly powerful. She wears a gorgeous gold garment, elaborately embroidered, and over it a brownish-red mantle lined with green. There is a stately dignity in the picture itself which the photograph unfortunately does not reproduce. It is dated 1504, and on the old frame is the following Inscription:

CECCARELLEVS . DE . APVIDVTIS--ET . RVFINVS .

ANTONII . --

CONSERVAT . PA . PACIS . CONSERVATRICI . EX . SE .

CONSVLTO . M.D.IIII.

The double portrait, painted in 1503,[66] is a work of the greatest importance, both by reason of the interest attached to the portraiture, and also that it remains to us absolutely untouched, every stroke being in the original state as the master left it. The heads are full of character and life, powerfully and rapidly painted in black and red, on a brick or tile, thickly overlaid with gesso. The brush-strokes are bold and firm, and the outline slightly incised in the plaster. Under each head Signorelli has painted the names LVCA and NICOLAVS, and on the back is a most interesting inscription, apparently painted by himself, although the words are most probably the composition of the Treasurer.

The following is a translation: "Luca Signorelli, an Italian by race, citizen of Cortona, renowned for his skill as a painter, comparable to Apelles for attainment, has, under the rule and in the pay of Niccol Franceschi, of the same race, but a citizen of Orvieto, Treasurer of the vestry of its Cathedral, painted with clear meaning this chapel, dedicated to the Virgin, with figures of the Last Judgment; and, eager for immortal fame, on the back of this inscription, has painted the effigy of both, life-like, and with wonderful art. In the reign of Pope Alexander VI. and of the Emperor Maximilian IV. in the year of grace M.CCCCC. in the third Kalends of January."

FOOTNOTES:

[60] "Italian Painters," i. 92.

[61] Vasari, iii. 690.

[62] It was not till the seventeenth century that the chapel was dedicated to the Madonna di San Brizio, on account of a Byzantine miraculous picture of the Virgin, still on the altar.

[63] For an account of the Cathedral, see the Padre della Valle's "Storia del Duomo di Orvieto."

[64] "Il Duomo di Orvieto." Ludovico Luzi. Firenze. Le Monnier, 1866.

[65] Preserved among the Archives of the Cathedral. Transcribed by Vischer, p. 349, etc.

[66] The head of Luca is reproduced, divided from the other, as the frontispiece.

CHAPTER VI