CHAPTER VIII
DRAWINGS
The study of Signorelli's drawings is unsatisfactory, both by reason of their scarcity, and the enormous difference of merit, even among those few which can be considered as genuine. Morelli writes: "His drawings are found in all the most important collections of Europe,"[78] but he mentions only thirteen, and although many certainly in all the galleries bear his name, and the impress of his influence, later study appears to accept only six as by his own hand; and of these six two are so much inferior to the rest that I cannot bring myself to feel any degree of certainty as to their genuineness.
This difficulty of acceptance arises from a comparison with the very high standard of excellence in the two magnificent studies of the nude in the Louvre collection, which correspond, in breadth of feeling, in grandeur of pose, and in boldness and accuracy of touch, to his best brushwork.
No. 345, formerly in the Baldinucci collection, represents two nude male figures of superb proportions, one standing with his hands on his hips, the other, in the characteristic attitude with wide-spread, firmly-planted feet, having his hand on the shoulder of the first. It is in black chalk, dashed in swiftly, with bold sweeping strokes, apparently direct from the life. It is one of the finest studies of the nude in existence, both for the splendid anatomy of the figures and the freedom and energy of touch. No. 343, also from the Baldinucci collection, which is here reproduced, is hardly inferior to it in the same qualities of boldness and freedom. It seems to be the study from which Signorelli painted the executioner in grisaille near the "Pietà," in Orvieto, and later the scourging figure of the Morra "Flagellation," although in both there are slight differences of position. The action is exceedingly fine, the poise of the figure on the well-drawn feet being especially good, while all the force of the strong body is thrown into the arms stretched high up over the head.
In Dresden is a sheet of studies, which, while less fine than these two, are yet very characteristic, and undoubtedly genuine. They are also in black chalk, but very much rubbed, and consequently rather indistinct They represent four nude figures in different postures, which Morelli considers to be studies for part of the Orvieto frescoes, although I have failed to discover there anything which corresponds to them.
[Louvre, Paris