INDEX
Reading edition
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
Città 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, Niccolò da, 95
Forlì, 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, Niccolò, 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 Antæus (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;
(Città di Castello), 24, 98;
(S. Niccolò, 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
Pietà (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 Città 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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TRANSCRIBERS' NOTES
General: Corrections to punctuation have not been individually noted.
Page xii: Erratum applied to text.
Page xiii: GUIDÀ 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: Pietá corrected to Pietà.
Page 135: Unicode character X2183 (Roman Numeral Reversed One Hundred) is not supported in all fonts.
Page 138: PSPICVE without tilde as in original, probably intended as an abbreviation for PERSPICUE. FIGVRADṼ 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.