n had
triumphed in the great mediaeval fresco of the Triumph of Death. By a
strange coincidence, by a sublime jest of accident, the antique and the
modern were destined to meet again, and this time indissolubly united,
in a painting representing the Resurrection. Yes, Signorelli's fresco in
Orvieto Cathedral is indeed a resurrection, the resurrection of human
beauty after the long death-slumber of the Middle Ages. And the artist
would seem to have been dimly conscious of the great allegory he was
painting. Here and there are strewn skulls; skeletons stand leering by,
as if in remembrance of the ghastly past, and as a token of former
death; but magnificent youths are breaking through the crust of the
earth, emerging, taking shape and flesh; arising, strong and proud,
ready to go forth at the bidding of the Titanic angels who announce from
on high with trumpet blast and waving banners, that the death of the
world has come to an end, and that humanity has arisen once more in the
youth and beauty of Antiquity.

II.

Signorelli's frescoes at Orvieto, at once the latest works of the
fifteenth century, and the latest works of an old man nurtured in the
traditions of Benozzo Gozzoli and of Piero della Francesca, mark the
beginning of the maturity and perfection of Italian art. From them
Michael Angelo learns what he could not be taught even by his master
Ghirlandajo, the grand and cold realist. He learns; and what he has
learned at Orvieto he teaches with doubled force in Rome; and the
ceiling of the Sixtine Chapel, the superb and heroic nudities, the
majestic draperies, the reappearance in the modern art of painting of
the spirit and hand of Phidias, give a new impulse and hasten on
perfection. When the doors of the chapel are at length opened, Raphael
forgets Perugino; Fra Bartolomeo forgets Botticelli; Sodoma forgets
Leonardo; the narrower hesitating styles of the fifteenth century are
abandoned, as the great example is disseminated throughout Italy; and
even the tumult of angels in glory which the Lombard Correggio is to
paint in far-off Parma, and the daringly simple Bacchus and Ariadne with
which Tintoret will decorate the Ducal Palace more than fifty years
later--all that is great and bold, all that is a re-incarnation of the
spirit of Antiquity, all that marks the culmination of Renaissance art,
seems due to the impulse of Michael Angelo, and, through him, to the
example of Signorelli. From the celestial horseman