Book Description
The frescoes of the Cappella Nuova in the Cathedral of Orvieto have fascinated visitors from Michelangelo to Freud and Czelow Milosz because of their dramatic portrayal of the end of the world and the Last Judgment. Creighton Gilbert’s study draws on previously overlooked documents to explain the commissioning of this extraordinary cycle of paintings, begun by Fra Angelico in the 1400s and completed almost a half-century later by Luca Signorelli. In contrast to most other art historians, who ascribe the iconographic and formal structure of the paintings to Signorelli, Gilbert contends that his predecessor, Fra Angelico, devised the entire program of decoration. Gilbert also situates the cycle in the contexts of liturgical practice, humanistic studies, and the rich body of texts and images shaping the Renaissance conception of the coming of the Antichrist and the world’s final moments. How Fra Angelico and Signorelli Saw the End of the World examines every element in the Cappella Nuova’s architecture and complex decoration, which represents not only the coming of the Antichrist, the end of the world, and the Last Judgment but also, on a high dado, features portraits of Dante and other poets, scenes from their texts, and sinuous grotesque ornaments. Although Dante’s likeness has long been recognized, Gilbert is the first scholar to establish that his great epic, The Divine Comedy, exerted a profound influence on the Chapel’s iconographic program.

About the Author
The frescoes of the Cappella Nuova in the Cathedral of Orvieto have fascinated visitors from Michelangelo to Freud and Czelow Milosz because of their dramatic portrayal of the end of the world and the Last Judgment. Creighton Gilbert’s study draws on previously overlooked documents to explain the commissioning of this extraordinary cycle of paintings, begun by Fra Angelico in the 1400s and completed almost a half-century later by Luca Signorelli. In contrast to most other art historians, who ascribe the iconographic and formal structure of the paintings to Signorelli, Gilbert contends that his predecessor, Fra Angelico, devised the entire program of decoration. Gilbert also situates the cycle in the contexts of liturgical practice, humanistic studies, and the rich body of texts and images shaping the Renaissance conception of the coming of the Antichrist and the world’s final moments. Creighton Gilbert is Professor Emeritus of the History of Art, Yale University. He has served as Editor-in-Chief of the Art Bulletin and has published numerous books, including Caravaggio and His Two Cardinals (Penn State, 1995) and Michelangelo On and Off the Sistine Chapel (Braziller, 1994).

FROM THE PUBLISHER