I can do no better than conclude this scanty history with the character of the man, as it is told us by Vasari: "Luca was a person of excellent habits, sincere and affectionate with his friends, sweet and agreeable in his converse with everyone, specially courteous to those who had need of his help, and kindly in his instructions to his pupils. He lived most splendidly, and delighted in dressing well. For the which good qualities he was always, in his own country and elsewhere, held in the highest veneration."[31]
[1] The "Madonna" (No. 281), and "The Flagellation" (No. 262), Brera, Milan.
[2] It was the fame of Lazzaro's son Giorgio as an imitator of antique vases that won for the family the name Vasari.
[8] Muzi, "Memorie," p. 48; and Giacomo Mancini, "Istruzioni," ii. 66 and 67.
[9] For the dates of these various appointments, see the Chronological Table, p. 121.
[10] I have thought it best only to translate those titles which have a corresponding meaning in our own country.
[12] It is with the utmost diffidence I venture to hold a different opinion from a critic of such weight as Morelli (see "Italian Painters," i. 92), but a careful comparison has forced me to subscribe to the later 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 of Bartolommeo della Gatta. One of the latest critics, Mr B. Berensen, presumes that the whole fresco is by him. I know too little of this painter's style to be able to form an opinion, feeling certain only that it is not by Signorelli.
[14] Arch. dell opera del Duomo di Firenze. Deliberazioni dall'anno 1486 all'anno 1491. A Carte 77. The document merely mentions his name among those who were unable to attend.
[16] See "Guida all'arcicenobio di Monte Oliveto" (Siena, 1844), p. 20.
[17] Proved by a document in the Orvieto Archives, containing a list of materials handed over by the Treasurer of the Works to Polidoro. See Vischer, p. 102.
[18] Now in the Opera del Duomo, Orvieto. The portrait of Signorelli in the frontispiece is the half of this painting.
[19] The letter is transcribed in Vischer, p. 356.
[21] In the reprint of Cesariano's "Comments on Vitruvius," by G. B. Caporali. (Perugia, 1536). The passage is quoted in Vermiglioli's "Memorie di Pintorricchio" (1837), pp. 5 and 6.