FOOTNOTES:

FOOTNOTES:[78]"Italian Painters," i. 93.

[78]"Italian Painters," i. 93.

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, hasplaced 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 withPerugino, 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 Æneas 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 attributedto 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 bearinghis 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 Città di Castello, and aTondoof 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 sopoorly composed, that it is probable even the whole of the drawing is not by him.

TIBERIUS GRACCHUS[Gallery, Buda-PesthTIBERIUS GRACCHUS

[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 Città 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 "Terribilità" 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 reflectedon 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 Dürer, 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.

[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.

[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, Città 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 Città 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 façade 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, Città 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, Città 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 Niccolò, 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 madeto 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, Città 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 Piève.1521. (July 7) Commission for the picture for the Convent of S. Trinità 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.

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, Città 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 Città 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 façade 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, Città 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, Città 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 Niccolò, 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 madeto 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, Città 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 Piève.

1521. (July 7) Commission for the picture for the Convent of S. Trinità 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.

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. × 1 ft. 4 in. [No. 26.]

LONDON, NATIONAL GALLERY.

The Circumcision.Oil. 8 ft. 6 in. × 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.

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,MrBENSON'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,MrLUDWIG MOND'S COLLECTION.

Predella:

1. Ahasuerus and Esther. 2 and 3. Scenes in the Life of S. Augustine.

LONDON,MrMUIR MACKENZIE'S COLLECTION.

Madonna.Tondo.

ON SALE IN LONDON.

Annunciation.

Part of Predella formerly in the Mancini Collection, Città 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).

Pietà.

PARIS, LOUVRE.

Part of Predella.1525. Oil. 1 ft. 1 in. × 2 ft. 4 in.

From the Collection of Louis XVIII.

Adoration of the Magi.Oil. 10 ft. 10 in. × 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.

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.

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. × 2 ft. 5½ 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. × 8 ft. 6½ 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.

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. × 10 in. Tondo. [No. 79B.]

From the Patrizi Collection, Rome. Bought 1875.Inscribed:LVCHAS SIGNORELLVS DE CORTONA.

From the Patrizi Collection, Rome. Bought 1875.

Inscribed:LVCHAS SIGNORELLVS DE CORTONA.

Portrait of Man.Oil. 1 ft. 7 in. × 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.

ARCEVIA, S. MEDARDO (between Fabriano and Sinigalia).

Polyptych. Madonna and Saints.1507. Oil. 8 ft. 8 in. × 8 ft. 8 in.

In the original Gothic frame. Inscribed:LVCAS SIGNORELLVS PINGEBAT. M.D.VII.

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. × 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. 7½ in. × 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. × 4 ft. 6 in.

On one side a Crucifixion; on the other, SS. Antonio and Eligio.From the Confraternity of S. Antonio Abbate.

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. × 8 ft. 10 in.

CITTÀ DI CASTELLO, GALLERY.

Martyrdom of S. Sebastian.1496. Oil, 9 ft. 4 in. × 5 ft. 9½ in. [No. 19.]

From the church of S. Domenico.

CITTÀ 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.

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. × 8 ft 10 in.

From the church of Santa Margherita.Inscribed (under frame):LVCAS AEGIDI SIGNORELLI. CORTONENSIS. MDII.

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. × 8 ft. 2 in.

From the high altar of the Gesù.Inscribed:LVCAS SIGNORELLIVS CORTHONIENSIS PINGEBAT. MDXII.

From the high altar of the Gesù.

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 EP̃S CORTONEÑS ICONAM ET ORNATUM P. P. FACIERI A.D. CIↃIↃXV. HAEREDES VERO D. ASTRVBALIS EJVS EX FṼE AB NEPOTIS P. S. INSTAVRAN. CVRAVERVNT. A.D. CIↃ. IↃ. CXIX.

Painted for the Bishop of Cortona.

Inscribed:IO SERNINIVS EP̃S CORTONEÑS ICONAM ET ORNATUM P. P. FACIERI A.D. CIↃIↃXV. HAEREDES VERO D. ASTRVBALIS EJVS EX FṼE AB NEPOTIS P. S. INSTAVRAN. CVRAVERVNT. A.D. CIↃ. IↃ. CXIX.

CORTONA, GESU.

Madonna and Saints.

CORTONA, S. NICCOLO.

Dead Christ upheld by Angels.Oil. 5 ft. ½ in. × 5 ft. 8½ 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. × 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. Trinità, 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. × 2 ft 11 in. Tondo. [No. 355.]

FLORENCE, UFFIZI.

Madonna and Child(1st Corridor). [No. 74.]

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