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"

This, believed to be Signorelli's earliest surviving work, was commissioned by the one-time "Confraternita dei Raccomandati" fraternity of the Church of Santa Maria del Mercato in Fabriano, Italy. It was intended to be included in processional demonstrations of public flagellation, and was thus requested by the members of the fraternity. The image directly references the biblical passages of John 19:1, when Pilates had sentenced Christ to be crucified, but not before being flogged by Roman soldiers while tied to a post. This work is believed to be one side of a double-sided panel, with the second side presenting The Nursing Madonna (as the fraternity also carried out philanthropic work to help orphaned and abandoned children). At some point between the sixteenth and nineteenth centuries, the two sides were separated. 

this painting is Tempera on panel and is in the Pinacoteca de Brera, Milan, Italy