1133. THE NATIVITY.
Luca Signorelli (Cortona: 1441-1523). See 1128.
A dramatic representation in one canvas of the Gospel story told in Luke ii. 1-17. Scene 1. "And it came to pass in those days, that there went out a decree from Cæsar Augustus, that all the world should be enrolled." This is represented by the Roman portico behind the central group, under which, at a long table, is seated a row of scribes, who are entering the names of the people. Scene 2. "And Joseph went up ... to be taxed with Mary his espoused wife ... and she brought forth her first-born son, and wrapped him in swaddling clothes, and laid him in the manger." This is the subject of the central scene. But the artist, no longer bound by conventional rules, treats his text freely. There is no manger, but the stable is suggested by the heads of the ox and the ass at the side; and instead of the Babe being found "wrapped in swaddling clothes," it is naked. Joseph, in orange and crimson robes, is full of benevolence. The shepherds on the left are in deep reverence. The Virgin is robed in deep blue and green, typical of the depth and mystery of her divine love. In the interstices of the central group are three angels with golden hair and rainbow-hued wings—"calm shining sons of morn." Scene 3. On the left is a group of shepherds: "And there were in the same country shepherds abiding in the field, keeping watch over their flock by night." The angel of the Lord is appearing unto them from heaven, and they are sore afraid, shielding their eyes from the heavenly light. Scene 4. On the right of the spectator, and seen through an arch of natural rock, is a shepherd playing on the pipe. This figure suggests the antique; he is crowned with ivy leaves and might almost be Orpheus. Thus, instead of representing the "Glory to God in the highest" being sung by "a multitude of the heavenly host," Signorelli gives us a Greek singer—a variation thoroughly characteristic of the classical revival of his time.
The landscape is also thoroughly characteristic of the mediæval mind, which loved the fields but dreaded the mountains. See here, for instance, how lovingly the flowers in the foreground are painted, and note the trailing ivy in the centre of the picture, as well as the flowers and ferns; whereas the rocks upon which these latter grow are altogether impossible in form and position (see Modern Painters, vol. iii. pt. iv. chs. xiv. and xv., where the landscape of Dante, of whom Signorelli was a close student, is analysed). The artist's signature is inscribed on the frieze of the portico. Some, however, have questioned its authenticity and declare the picture to be a weak imitation of the master.