Even more does the intense and rugged art of Melozzo’s fellow disciple, Luca Signorelli.[65] Born at Cortona in 1441, we know little of his early career except that he studied with Piero della Francesca, passed to Florence and was permanently swayed by the anatomical and passionate realism of Antonio Pollaiuolo. Signorelli’s early work is obscure to us. We may well study him first in the pastoral mythology, Pan, God of Harmony, Figure 174, now at Berlin. It was painted about 1490 for the Medici, for the villa for which Botticelli designed the Primavera and Birth of Venus. It is inferior to its companion pieces in imagination and delicacy, and particularly in color, but in its own measured way it echoes delightfully the poetic wistfulness of early Florentine humanism. Similar qualities of imagination are in the great fresco The Last Days of Moses, in the Sistine Chapel, painted in 1482 after his design. But the vein is exceptional in Signorelli. Soon he gave himself to a rugged realism, unpleasing in his religious themes. Meeting little favor in the great cities, he painted many altar-pieces for the Umbrian towns. These pictures are stern in spirit and leaden in color. There is no attempt to please. Relentlessly Signorelli pursued his personal quest of expressive anatomy. Legend tells us that, dry-eyed, he sketched the fair body of his own murdered son for the picture of the Entombment at Cortona. We see him introducing nude figures into the background of the round Madonna at the Uffizi, Figure 175. The experimentalist dominates the artist. [Illustration: FIG. 175. Signorelli. Madonna.—_Uffizi._ ] In the year 1500, being nearly sixty, he found the real use for his truculent art. He was called to paint in the Chapel of S. Brixio, in the Cathedral of Orvieto. The subject was the Last Judgment. More than fifty years earlier Fra Angelico had begun the work with angel choirs in the vaults. With a far different temper Signorelli continued the task. At the entrance and back of the Chapel he showed mankind scourged by the final plagues. In the four arched spaces at the sides he set The Preaching of Antichrist, a sinister scene detailed with all the circumstantiality of the Early Renaissance. For the three remaining scenes, the Resurrection of the Dead, Figure 176, the Condemnation of the Sinful, Figure 177, and the Reward of the Just, he invented new modes both of interpretation and of composition. How far we are from the solemn assizes of Giotto or the garden and labyrinth motives of Fra Angelico! In every case we have in the lunette celestial figures, or at least supernal, while below we have swarming masses of nude folk, bewildered at the forgotten light, aspiring heavenwards or shrinking from the clutches of the fiends.