DOI Page / Citation link:
https://doi.org/10.11588/diglit.68668#0103
SIGNORELLI’S “PAN
61
a beautiful Madonna in the Christ Church
Collection at Oxford, hitherto believed to be
by Pier dei Franceschi, and this attribution,
if correct, would show that he came under
the influence of that great painter from
whom Signorelli obtained his inspiration.
He has left several other works, which all
who have studied them pronounce to be
reminiscent of Signorelli.
I should like to call attention to the
resemblance between several of the figures
on the right hand of this fresco and those
in Signorelli’s “Pan,” now at Berlin.
Any one who compares the two will notice
that the old man who leans upon his staff in
front of Moses is the same figure as in the
oil painting, but draped in a mantle, and
with the inclination of the body and one of
the arms altered. The pose of the patri-
arch, sitting on a raised seat, the knees
apart, feet together, and staff in hand, taken
in conjunction with the rest, recalls the
attitude of Pan. The young man in tight-
fitting doublet and hose, on the left, is drawn
almost precisely from the flute-playing nude,
61
a beautiful Madonna in the Christ Church
Collection at Oxford, hitherto believed to be
by Pier dei Franceschi, and this attribution,
if correct, would show that he came under
the influence of that great painter from
whom Signorelli obtained his inspiration.
He has left several other works, which all
who have studied them pronounce to be
reminiscent of Signorelli.
I should like to call attention to the
resemblance between several of the figures
on the right hand of this fresco and those
in Signorelli’s “Pan,” now at Berlin.
Any one who compares the two will notice
that the old man who leans upon his staff in
front of Moses is the same figure as in the
oil painting, but draped in a mantle, and
with the inclination of the body and one of
the arms altered. The pose of the patri-
arch, sitting on a raised seat, the knees
apart, feet together, and staff in hand, taken
in conjunction with the rest, recalls the
attitude of Pan. The young man in tight-
fitting doublet and hose, on the left, is drawn
almost precisely from the flute-playing nude,