Four years at least, Signorelli laboured at these frescoes, although not consecutively, as we shall presently see.
But Mantegna and Botticelli and Signorelli made him sad, and almost morose.
They walked slowly found the four sides, lingering where Signorelli's deeper sentiment gave them cause for study.
The portrait of Signorelli in the frontispiece is the half of this painting.
Nor are Signorelli's angelic beings of one uniform type like the angels of Fra Angelico.
It is, as I have said, by form rather than colour that Signorelli obtains his best effects.
Crowe and Cavalcaselle maintain that Raffaelle also studied carefully the works of Signorelli.
Signorelli is, before all, the painter of the dignity of human life.
With all Signorelli's mannerisms, it lacks his resolute touch and powerful presentation.
Signorelli's pictures, when not frescoed, are invariably painted with oil.