Luca Signorelli

The Frontispiece and the illustrations facing pp. 40, 42, and 60 (2) are from photographs by Hanfstaengl (Munich), those facing pp. 46 (No. 2) and 68 by Anderson (Rome), that fa...

It is a curious fact that, considering the number of documents which exist relating to Signorelli, and the paintings time has spared, so little should be known beyond the merest...

judgments. Crowe & Cavalcaselle (see Cavalcaselle e Crowe, viii. 453) and Vischer (Signorelli, p. 311) have both maintained that a great part of the execution reveals the hand o...

The foregoing chapter contains only a bare record of certain facts in the life of Luca Signorelli. Fortunately time has spared many of his paintings, and in the study of these w...

One of the most remarkable things in the history of Signorelli's work, considering what a number of his paintings remain, is that only two of them can be placed with any degree...

We have now arrived at the paintings belonging to the year 1491, part of which Signorelli spent in Volterra, three works still remaining in that city to testify to the visit--"T...

There seems to be a moment in the life of every great man in which he touches the height of his possibilities, and reaches the limits of his powers of expression. To Signorelli...

We have seen that during the four years and a half in which Signorelli was engaged on the great work of the Orvieto frescoes, he yet spent some part of the time in his native ci...

We have now considered in detail most of the important works of Signorelli's early manhood and maturity, and up to his seventy-fourth year have found him, both in conception and...

The study of Signorelli's drawings is unsatisfactory, both by reason of their scarcity, and the enormous difference of merit, even among those few which can be considered as gen...

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....