Tempera and oil on panel. 1484 (located in the Museum of Perugia Cathedral) (w)
This scene shows the Virgin, seated on a throne, reading a bible while the infant Jesus holds a white lily, a symbol of purity. The saints John and Lawrence are placed at each side of the mother and child.
In the foreground St. Onofrius and St. Herculanus are separated by the central figure of a lute-playing angel.
Considering Signorelli's keen interest in the human form some of his figures in this work seem a little experimental and disjointed. The pot-bellied angel with the spindle legs is unflattering, while St Onofrius is depicted as a withering example of old age. However, the work was accepted as an Altarpiece despite the awkwardness of some of the figures! Ouch!
The Antichrist. Fresco, Chapel of San Brizio, Orvieto Cathedral. (Photo Georges Jansoone (JoJan) )
There are thought to be many portraits of famous renaissance personalities within the Antichrist. These include Raphael, Christopher Columbus, Cesare Borgia, Dante and a self-portrait of the artist.
The following three images (The Damned, The Resurrection and the Elect) all display an impressive number of male and female nudes. It is clear that the artist had made extensive studies of human anatomy even to the point of dissecting dead bodies. His figures twist and turn, bend and stretch, gesticulating in all manner of positions in what is a magnificent study of the human form. Michelangelo was greatly influenced by these works and even used Signorelli's frescoes as a reference point when completing his own great masterpiece, The Last Judgement in the Sistine Chapel.
The Damned banished to Hell. Chapel of San Brizio, Orvieto Cathedral. (Georges Jansoone (JoJan) )