Those on the other side of the arch are executed entirely by Signorelli, and, with the exception of one, from his own designs. This one is the weakest of his roof-paintings in execution, and the composition and actual drawing of the central figures, are the work of Fra Angelico. It represents the "Choir of Martyrs," a group of seven figures. In the centre are seated three Deacons in full canonicals, with Bishops on either side, and below two Saints in plain robes. These last have all Signorelli's characteristics of drawing, and sit with wide-spread knees and broadly-painted draperies, a striking contrast to the weak attitudes and niggling robes of the central group. Signorelli has indeed hardly altered the childish chubby features of the Deacon in the middle, nor the benevolent vacuity of the two Bishops, so different to his own austere types.
Opposite to this, over the portal, is a group of eight "Virgins," broadly and vigorously treated, in Signorelli's boldest manner. To the right is another of the pyramidal groups, fifteen "Doctors of the Church," some of whom are represented disputing and discussing points of theology.
The last of the roof-paintings is a powerful group of "Patriarchs," ranking, with that of the "Apostles," among the most impressive of the frescoes. Here appear many of his well-known types of face; the melancholy features of Pan are repeated in the turbaned youth in the top row, intended perhaps to be Solomon; the Christ of the Uffizi "Holy Family" is in the second tier to the left; the powerful Zacharias from the Berlin Tondo in the lowest.
Luzi, in his minute description of the paintings,[64] has bestowed names on all these figures, without much advantage, since they are for the most part doubtful. Few of them bear symbols, but the different groups are sufficiently described in large letters, by the painters themselves—GLORIOSVS APOSTOLORVM CHOIR—MARTIRVM CANDIDATVS EXERCITVS—etc. etc.
The figures, with the exception of those by Fra Angelico, and the design for the "Martyrs," are entirely the work of Signorelli himself. The decorations between the spaces seem to be in part by the assistant of Fra Angelico—perhaps Benozzo Gozzoli. In the first border heads are painted, in lozenges, at regular intervals, a few of which are in the older master's style, while many show the manner of Signorelli. The rounded projecting rib is painted with foliage of cypress-green, with here and there rich red and golden flowers gleaming out, and on either side a border of conventionalised water-lilies. It is difficult to say which of the masters designed this exceedingly beautiful decoration, but it is most effective, and well-calculated to accentuate the life of the fine curves in the vaulting.
[Cathedral, Orvieto
PATRIARCHS
These groups of Signorelli's are noble and impressive paintings, in technique strong and vigorous. The draperies are treated with simplicity and breadth of fold, and the gold background gives richness and beauty to the colour. No wonder that the authorities, jealous though they were at the beauty of their chapel, should have hesitated no longer to hand over the great spaces of the walls to the brush of the painter who had so well executed their first commission.