[71] Vischer, p. 259.
[72] For these notices see Anselmi's monograph, "A proposito della classificazione dei monumenti nazionali nella provincia d'Ancona." (Foligno, 1888), p. 35. Also quoted by Cavalcaselle e Crowe, viii. p. 480.
[73] Vasari, iii, 686.
CHAPTER VII
LAST WORKS
We have now considered in detail most of the important works of Signorelli's early manhood and maturity, and up to his seventy-fourth year have found him, both in conception and execution, still maintaining a high standard of excellence, and at an age when the life's work is supposed to be over showing but little sign of failing powers. On the contrary, he seems to have gained ground in certain things most characteristic of his technical ability—in a rugged strength of modelling, in facility of drawing and freedom of brushwork, and particularly in that mastery of united movement, which it seemed his special desire to attain. Even in this last group of paintings which we have now to consider the mind works as powerfully, and the subjects are conceived with the same impressive grandeur, as before, and only in one or two instances can it be noticed that the hand does not always respond so readily to the purpose.
In the "Madonna and Saints," of the Mancini collection, Città di Castello, a slight technical falling off is apparent, although it is possible that this may be due to the assistance of pupils. Its history would seem, however, to point to its being the unaided work of Signorelli; but, as we have already seen, documentary evidence is by no means infallible. In the archives of Montone, a little town near Umbertide, a deed, dated September 10, 1515, was discovered, which speaks of an altar-piece presented by the master as a free gift to a certain French physician, Luigi de Rutanis, in gratitude "for services rendered, and for those which he hoped to receive in future."[74]
