"The Flagellation of Christ"

One can see the influence of Signorelli's master, Piero della Francesca, particularly in terms of the command of perspective and symmetry, as well as the firm, clear outlining of the nude figures, their solid modelling, and in the broad massing of the shadows. Even more apparent is the influence of Antonio Pollaiuolo, in the great realism with which the subject is treated, and in such superficial resemblances as the type of head of the executioner who binds the hands of Christ, and the characteristic striped loin-cloths.

Yet at the same time, Signorelli was beginning to set himself apart from the influences of della Francesca and Pollaiuolo, especially in his use of vibrant colors, and the more dynamic sense of action. One art historian stated "It would be impossible to overrate the excellence and beauty of drawing in the splendid swing of the bodies, the flexibility of the limbs, the sinewy elasticity of the leg muscles, and above all, the subtle suggestion of muscular movement under the loose skin of the backs"