In 1499...1504 he frescoed "The Dammed Cast into Hell" in San Brizio chapel in Orvieto cathedral.
His series in Orvieto cathedral cover "Deeds of the Antichrist", "The Chosen Ones", "The Damned", "Resurrection of the Flesh" and the "Final Judgement".
These scenes, decorated with great accuracy in shades of blue and pink, show a tangle of trembling bodies which have a strong visual impact, heightened by the cutting light which crosses them.
Works by Signorelli at the Uffizi include the "Crucifix with Mary Magdalen", in which the main subject of the painting appears completely separate from the background, where a scene of deposition is taking place, made luminous by the range of dark colours used.
In the room dedicated to Signorelli himself and Perugino, is the "Virgin and Child with people", and the "Holy Family" tondo, in which the figures fit exactly into the shape of the frame and look like great bronze statues. "
The effect of light and shade can be seen clearly in the folds of the clothes and in the two books (the one held by the Virgin, and the one on the ground in the foreground).
From Piero della Francesca, Signorelli appears to have derived extraordinary proficiency in the modeling of painted figures that seem fully sculptural, achieved via a powerful command of line and light.
To Piero's singular mastery of the rendering of rational form, Signorelli brought a genius for designing complex interactions and movement.
Painted figures, packed into dramatic, action-filled compositions, display an artistic sensibility that Signorelli shared with other fifteenth-century Florentine artists.
Signorelli enjoyed an active practice in central Italy.
Widely known and respected, and praised by Michelangelo, he worked with Perugino and assisted on the walls of the Sistine chapel in Rome.
