Vaulting of the Sacristy of St John Luca Signorelli (c.1445-1523)

The painted vault presents a complex arrangement of figures within a radial composition emanating from a central point. Eight triangular sections dominate the visual field, each containing a narrative scene set against a deep blue background populated with swirling clouds and golden light. A decorative border, rendered in muted tones, delineates these segments, emphasizing their individual character while simultaneously integrating them into the overall design.
At the apex of each triangle, we observe figures engaged in dynamic action. They appear to be ascending or descending, enveloped by radiant halos and accompanied by smaller attendant figures that suggest a celestial retinue. The color palettes within each section vary considerably; one displays predominantly warm hues of red, orange, and yellow, while another is characterized by cooler tones of pink, purple, and blue. This variation contributes to the visual richness and prevents monotony across the vault’s surface.
The central figure, positioned directly below the apex, stands out due to her pale pink dress and the surrounding arrangement of figures. She appears to be gesturing outwards, drawing attention towards the narratives unfolding in each triangular section. The male figure situated at the base of one triangle is seated, absorbed in reading a large volume. His posture conveys an air of contemplation and scholarly dedication.
The artist’s use of light is particularly noteworthy. Golden light emanates from various points within each scene, illuminating the figures and creating a sense of divine presence. The interplay between light and shadow enhances the three-dimensionality of the forms and adds to the overall drama of the composition.
Subtly embedded within this elaborate visual structure are suggestions of knowledge transfer and spiritual ascension. The reading figure likely represents an embodiment of wisdom, while the ascending figures symbolize a journey towards enlightenment or divine grace. The radial arrangement itself reinforces the concept of a central source – perhaps representing God or ultimate truth – from which all knowledge and inspiration flow outwards. The decorative border serves not only as a visual frame but also as a symbolic barrier between the earthly realm and the celestial sphere depicted above.