,transcriber's notes3 ,text in italics has been marked with 4 ,text in bold has been marked with 994 ,text in small caps has been marked with 4 ,for this text version1 diacritical marks that cannot be represented in plain text are shown in the following manner where 'x' stands in for the letter4 x letter7s7 with macron above sx letter with a small 's' above xo letter with a circle in the centre4 ,the ,great ,masters in ,painting and ,sculpture ,edited by ,g4 ,c4 ,williamson ,,perugino ,,the ,,great ,,masters ,,in ,,painting ,,and ,,sculpture4 ,the following ,volumes have been issued1 price #es4 net each4 ,,bernardino ,,luini4 ,by ,george ,c4 ,williamson1 ,litt4,d41 ,editor of the ,series4 ,,velasquez4 ,by ,r4 ,a4 ,m4 ,stevenson4 ,,andrea ,,del ,,sarto4 ,by ,h4 ,guinness4 ,,luca ,,signorelli4 ,by ,maud ,cruttwell4 ,,raphael4 ,by ,h4 ,strachey4 ,,carlo ,,crivelli4 ,by ,g4 ,mc,neil ,rushforth1 ,m4,a41 ,classical ,lecturer1 ,oriel ,college1 ,oxford4 ,,correggio4 ,by ,selwyn ,brinton1 ,m4,a41 ,author of ,the ,renaissance in ,italian ,art4 ,,donatello4 ,by ,hope ,rea1 ,author of ,tuscan ,artists4 ,,perugino4 ,by ,g4 ,c4 ,williamson1 ,litt4,d4 ,in preparation ,,sodoma4 ,by the ,contessa ,lorenzo ,priuli-,bon4 ,,memlinc4 ,by ,w4 ,h4 ,james ,weale1 late ,keeper of the ,national ,art ,library4 ,,della ,,robbia4 ,by the ,marchesa ,burlamacchi4 ,,el ,,greco ,by ,manuel ,b4 ,cossio1 ,litt4,d41 ,ph4,d41 ,director of the ,musee ,pdagogique1 ,madrid4 ,,giorgione4 ,by ,herbert ,cook1 ,m4,a4 ,,michael ,,angelo4 ,by ,charles ,holroyd1 ,keeper of the ,national ,gallery of ,british ,art4 ,,the ,,brothers ,,bellini4 ,by ,s4 ,arthur ,strong1 ,m4,a41 ,librarian to the ,house of ,lords ,,rembrandt4 ,by ,malcolm ,bell4 ,others to follow4 99 99 99 99 99 ,,london3 ,,george ,,bell ,,sons ,illustration3 ,private photo4 ,marseilles4 ,the ,family of ,st4 ,anne4 ,,pietro ,,vannucci ,,called ,,perugino ,,by ,,george ,c4 ,,williamson1 ,,litt4,d4 ,,author ,,of ,,john ,,russell1 ,r4,a41 ,,richard ,,cosway1 ,r4,a41 ,,and ,,his ,,wife ,,and ,,pupils1 ,,portrait ,,miniatures1 ,,bernardino ,,luini1 ,,etc4 ,illustration3 logo ,,london ,,george ,,bell ,,sons #aijj ,,preface ,the following pages contain what is1 ,i believe1 the only full account of the life and works of ,perugino in the ,english language4 ,it is based upon a careful examination of almost every one of his works to be found in ,europe1 and upon a critical study of their characteristics4 ,the labours of other investigators have1 however1 been laid under contribution1 and ,i am especially indebted to the works of ,crowe and ,cavalcaselle1 ,morelli1 ,mariotti1 ,orsini1 and ,vasari1 and also to the works and advice of ,mr4 ,bernhard ,berenson1 ,mrs4 ,herringham1 and ,dr4 ,laurie1 and to the writings and researches of ,m4 ,broussolle4 ,to the ,archbishop of ,trebizond 7,monsignore ,stonor7 ,i am most grateful for obtaining permission for me to study the ,albani altar-piece1 and to ,prince ,torlonia for kindly granting my request1 and also to ,his ,excellency ,lord ,currie for constant and never-failing aid in regard to all the other ,italian galleries4 ,signor ,cecchetti has helped me to obtain good photographs of the pictures in and near to ,citt della ,pieve1 ,miss ,fearon has kindly re-measured some of the ,italian pictures for me1 and the ,rev4 ,h4 ,r4 ,ware1 and the ,rev4 ,t4 ,c ,robson1 have given me much help in rendering the ,latin verse of ,perugino into ,english verse4 ,to each and all of these ,i offer my hearty thanks4 ,i have also to thank the ,directors of the ,vatican and ,perugia galleries for special facilities afforded me2 ,mr4 ,murray for permission to quote from his handbooks1 and the photographers for the use of their photographs1 and finally to beg that if by chance ,i have made use of other material without the fullest acknowledgment1 the omission may be forgiven me inasmuch as ,i have endeavoured to avoid so serious a fault4 ,my own divergences from the accepted views will be found fully recorded in these pages1 and are in every case founded upon personal study1 and for them ,i alone am responsible4 ,g4 ,c4 ,w4 ,,contents ,,page ,list of ,illustrations ix ,bibliography xiii ,chapter ,i4 ,birth1 ,masters1 and ,environment #a ,,ii4 ,early ,days #ai ,,iii4 ,technique1 ,pigments1 and ,vehicles #cc ,,iv4 ,wanderings #ci ,v4 ,the ,story of the ,pillage #dg ,,vi4 ,in ,full ,strength #eh ,,vii4 ,the ,cambio #gd ,,viii4 ,florence1 ,perugia1 and ,citt della ,pieve #hc ,,ix4 ,age1 ,infirmity1 ,dignity1 and ,death #ii ,x4 ,st4 ,sebastian #aae ,catalogue of the ,works of ,perugino-- ,austria-,hungary #aba ,belgium #abb ,british ,isles #abb ,france #abg ,germany #aca ,italy #acc ,chronological ,list of ,pictures #aee ,index #aeg ,,list ,,of ,,illustrations ,,page ,the ,family of ,st4 ,anne1 ,frontispiece ,marseilles ,figure of ,st4 ,sebastian at ,cerqueto1 #adgh #aj ,the ,delivery of the ,keys to ,st4 ,peter 7double plate7 ,sistine ,chapel1 ,rome #ad ,predella panel from ,the ,baptism of ,christ the ,san ,pietro altar-piece ,rouen #ah 7,perugia7 ,madonna and ,child enthroned1 with four ,saints ,vatican ,gallery #bb ,the ,crucifixion ,la ,calza1 ,florence #bd ,the ,dead ,christ ,accademia1 ,florence #bf ,christ in the ,garden of ,gethsemane ,accademia1 ,florence #bf ,the ,albani altar-piece 7double plate7 #adia ,villa ,albani1 ,rome #bh ,the ,fiesole altar-piece1 #adic ,uffizi ,palace1 ,florence #cj ,portrait of ,francesco delle ,opere1 #adid ,uffizi ,palace1 ,florence #dj ,the ,ascension of ,christ ,borgo ,san ,sepolcro #db ,the ,entombment of ,christ1 #adie ,pitti ,palace1 ,florence #dd ,saint ,benedict1 from the ,san ,pietro 7,perugia7 altar-piece ,the ,vatican1 ,rome #eb ,the ,virgin appearing to ,st4 ,bernard ,munich #fb ,the ,virgin in ,glory1 #adif ,bologna ,gallery #fd ,the ,crucifixion 7double plate7 ,sta4 ,maria ,maddalena del ,pazzi1 ,florence #ff ,the ,certosa three-fold altar-piece 7double plate7 ,national ,gallery1 ,london #fh ,the ,madonna and ,child with penitents1 #adig ,perugia ,gallery #gj ,the ,intercession of ,st4 ,francis on behalf of ,perugia ,perugia ,gallery #gj ,the ,crucifixion ,accademia1 ,florence #gb ,fortitude and ,temperance with the ,warriors ,the ,cambio1 ,perugia #gf ,portrait of ,perugino1 #aejj ,the ,cambio1 ,perugia #gh ,the ,assumption of ,the ,virgin1 #aejj ,accademia1 ,florence #hb ,portrait of the ,abbot ,baldassare of ,vallombrosa ,accademia1 ,florence #hd ,portrait of ,don ,biagio ,milanesi of ,vallombrosa ,accademia1 ,florence #hd ,the ,resurrection ,vatican ,gallery #hf ,the ,crucifixion 7painted around a wooden crucifix7 ,perugia ,gallery #hh ,letter from ,perugino1 #bjth ,february #aejd ,citt della ,pieve #ij ,letter from ,perugino1 #ast ,march #aejd ,citt della ,pieve #ij ,letter from ,perugino1 #cjth ,march #aeab ,perugia ,gallery #ij ,the ,adoration of the ,magi1 #aejd ,citt della ,pieve #ib ,the ,deposition 7,filippino ,lippi and ,perugino71 #aeje ,accademia1 ,florence #id ,the ,schiavone altar-piece1 #aejg ,national ,gallery #ajj ,the ,crucifixion1 #aeaj ,st4 ,augustine's1 ,siena #ajb ,st4 ,sebastian and ,st4 ,apollonia1 from the ,sant' ,agostino 7,perugia7 altar-piece ,grenoble ,gallery #ajf ,the ,holy ,trinity and various ,saints 7,raphael and ,perugino71 #aeje and #aeba ,san ,severo1 ,perugia #ajf ,the ,adoration of the ,magi1 #aeba ,sta4 ,maria1 ,trevi #ajh ,the ,martyrdom of ,st4 ,sebastian1 #aeah ,perugia ,gallery #aah ,,bibliography ,austin1 ,alfred4 ,notes made in ,perugia4 7,an article47 ,bell1 ,n4 ,tourists' ,art ,guide to ,europe4 ,london1 #ahic4 ,bonacci ,brunamonti4 ,pietro ,perugino in ,rivista ,contemperanea1 i4 #ahhi4 ,fasc4 #b4 ,brachirolli4 ,notizie e documenti inediti intorno a ,pietro ,vannucci4 ,perugia1 #ahgd4 ,burckhardt4 ,art ,guide to ,painting in ,italy4 ,london1 #ahgi4 ,bryan4 ,dictionary of ,painters4 ,london1 #ahic4 ,berenson1 ,b4 ,central ,italian ,painters4 ,london1 #ahig4 ,broussolle1 ,j4 ,c4 ,plerinages ,ombriens4 ,paris1 #ahif4 ,cennino ,cennini4 ,trattato della ,pittura4 ,italian1 sixteenth century4 ,cennino ,cennini1 ,the ,book of the ,art of4 ,translated by ,mrs4 ,herringham4 ,london1 #ahii4 ,crowe and ,cavalcaselle4 ,renaissance in ,italy4 ,london1 #ahgg4 ,church1 ,a4 ,h4 ,cantor ,lectures on ,colours4 ,london1 #ahij4 ,eastlake1 ,sir ,c4 ,history of ,painting4 ,gaye4 ,carteggio4 ,galetti1 ,g4 ,lo ,stile di ,pietro ,perugino e l'indirizzo dell' ,arte ,moderna4 ,bologna1 #ahhg4 ,gazette des ,beaux ,arts4 ,hare1 ,a4 ,cities of ,central ,italy4 ,london1 #ahgf4 ,heaton1 ,mrs4 ,history of ,painting4 ,london1 #ahgc4 ,hoefer4 ,bibliographical ,dictionary4 ,paris1 #ahfj4 ,jameson1 ,mrs4 ,all her works4 ,london1 #ahgb4 ,kugler4 ,handbook of ,painting4 ,london1 #ahee4 ,lanzi1 ,luigi4 ,storia ,pittorica della ,italia4 ,bassano1 #ahji4 ,lomazzo4 ,idea del tempio della ,pittura4 ,rome1 #ahdd4 ,lafenestre4 ,les ,maitres anciens4 #ahhb4 ,lafenestre4 ,la ,peinture ,italienne4 ,lafenestre and ,richtenburger4 ,the ,louvre4 ,paris1 #ahih4 ,luebke1 ,w4 ,history of ,art4 ,london1 #ahfh4 ,laurie1 ,a4 ,p4 ,cantor ,lectures on ,vehicles and ,pigments4 ,london1 #ahib4 ,lupattelli1 ,a4 ,storia della ,pittura in ,perugia4 ,foligno1 #ahie4 ,lupattelli1 ,a4 ,petit ,guide de ,prouse4 ,paris1 #ahie4 ,lee1 ,vernon4 ,in ,umbria4 7,articles47 ,muntz1 ,e4 ,raphael4 ,translated by ,armstrong4 ,london1 #ahhb4 ,muntz1 ,m4 ,la fin de la ,renaissance4 ,marchesi4 ,il ,cambio di ,perugia4 ,prato1 #ahec4 ,mezzanotte4 ,della vita e delle opere di ,pietro ,vannucci4 ,perugia1 #ahcf4 ,morelli4 ,italian ,painters in ,german ,galleries4 ,london1 #ahhb4 ,morelli4 ,italian ,painters1 ,vols4 i4 and ii4 ,london1 #ahib-c4 ,morelli4 ,della ,pittura ,italiana4 ,milan1 #ahig4 ,mariotti4 ,lettere ,pittoriche ,perugine4 #aghh4 ,orsini4 ,vita e ,elegio dell' egregio pittore ,perugino e degli ,scolari di esso4 ,perugia1 #ahjd4 ,pascoli4 ,vite de ,pittori ,perugini4 ,passavant1 ,j4 ,d4 ,raphael d' ,urbin et son pre4 ,appendix1 #dde-dfa4 ,essai sur les ,peintres de l',ombrie4 ,paris1 #ahfj4 ,poynter1 ,sir ,e4 ,j4 ,classical and ,italian ,painting4 #ahig4 ,phillips1 ,claud4 ,perugino in the ,portfolio4 ,london1 #ahic4 ,rio1 ,a4 ,f4 ,de l',art ,chrtien4 ,paris1 #ahgd4 ,ris1 ,clement ,de4 ,les ,muses de ,province de ,france4 ,rosini4 ,storia della ,pittura ,italiana4 ,pisa1 #ahdg4 ,rumohr4 ,italienische ,forschungen1 ii4 ,rossi1 ,a4 ,storia artistica del ,cambio di ,perugia4 ,perugia1 #ahgd4 ,rossi-,scotti4 ,guida ,illustrata di ,perugia4 ,perugia1 #ahgh4 ,rea1 ,hope4 ,tuscan ,artists4 ,london1 #ahih4 ,symonds and ,gordon4 ,story of ,perugia4 ,london1 #ahih4 ,symonds1 ,j4 ,a4 ,italian ,byeways4 ,symonds1 ,j4 ,a4 ,sketches and ,studies in ,southern ,europe4 ,symonds1 ,j4 ,a4 ,renaissance in ,italy4 ,london1 #ahgg4 ,vasari1 ,g4 ,delle ,vite de piu ,eccelenti ,pittori4 ,firenze1 #aeej ,vasari1 ,g4 ,mrs ,foster's ,translation4 ,london1 #ahid4 ,vasari1 ,g4 ,blashfield and ,hopkin's ,edition4 ,london1 #ahig4 ,vermiglioli4 ,memorie di ,ber4 ,pinturicchio4 ,viardot4 ,les ,merveilles de la ,peinture4 ,paris1 #ahgj4 ,woltman and ,woerman4 ,history of ,painting4 #ahhj4 ,yriarte1 ,c4 ,isabella d',este et les artistes de son temps4 ,,erratum ,the ,illustration facing page #ajj should be described as ,the ,beckford ,altar-piece1 and not as ,the ,schiavone ,altar-piece of #aejg4 ,the ,schiavone ,altar-piece named on pages #ii and #ajj is not illustrated in the volume4 ,g4 ,c4 ,w4 ,,perugino ,,chapter ,i ,,birth1 ,,masters1 ,,and ,,environment ,it is not quite certain when ,pietro ,vannucci 7called from the name of his adopted town ,perugino7 was born1 but the place of his birth he himself announces in his signature4 ,probably his birth took place in #addf or #addg at the little town of ,castello della ,pieve1 now called ,citt della ,pieve1 as it was raised to the dignity of a city in #afja by ,clement ,,viii4 ,his signature preserves1 in the words ,petrus de ,castro ,plebis1 the older name of his birthplace4 ,vasari gives his father's name as ,christofano1 and tells us that he was a poor man2 but ,mariotti reminds,a his correspondent that the family1 although a poor one1 was not of low condition1 as it had enjoyed the rights of citizenship since #adbg4 ,he also mentions that one ,pietro ,vannucci was in #adbd a member of the ,guild of ,stone-workers1 and that in #adbh a member of the family signed himself proudly as citizen of ,perugia4 ,it is probable that ,vasari's story of the boy having been brought into ,perugia at a tender age and put as shop drudge with a painter in that city is correct4 ,citt della ,pieve is not more than some twenty-five miles from ,perugia1 and although the town is near to ,chiusi1 yet ,perugia1 as the capital of the district of ,umbria1 is the more important place1 and to it naturally would the lad be taken4 ,vasari speaks of the unknown painter to whom the youthful ,pietro ,vannucci was sent as one who was not particularly distinguished in his calling1 but who held the art in great veneration and highly honoured the men who excelled therein4 ,it would be very interesting to know the name of this painter1 as1 according to ,vasari1 he had great influence upon ,pietro4 ,he did not cease1 ,vasari continues1 to set before ,pietro the great advantages and honours that were to be obtained from painting by all who acquired the power of labouring in it effectually1 and kindled in the mind of his pupil the desire to become one of those masters4 ,we enter upon a curious speculation when we begin to surmise the name of this master4 ,lanzi speaks of an artist known as ,pietro of ,perugia1 but conjectures that ,niccol of ,foligno 7known also as ,niccol ,liberatore1 and incorrectly as ,niccol ,alunno7 may have been ,perugino's first master4 ,mariotti attaches much more importance to the early teaching of ,bonfigli4 ,fanelli1 quoted by ,lupattelli1,b speaks of a poor and obscure youth from ,citt della ,pieve in the school of ,alunno receiving instruction from ,niccol ,alunno and becoming eventually the immortal ,perugino1 master of ,raffaello4 ,crowe and ,cavalcaselle take ,bonfigli as this early master1 while later writers1 notably ,mr4 ,berenson1 attach far more importance to the training of ,fiorenzo di ,lorenzo4 ,leaving out of consideration for a space the question of what ,perugino learned from ,piero della ,francesca and in the botegas of ,florence1 it maybe well to briefly glance at the influences already named4 ,niccol da ,foligno was perhaps the originator of the school of ,umbrian painters in which ,perugino thereafter took so important a place4 ,he was clearly a pupil of ,benozzo ,gozzoli1 who derived his training from ,beato ,angelico2 but into the sweetness1 harmony1 and tender feeling of these earlier masters ,niccol forced a fiercer spirit1 an uncompromising realism1 which is at times almost painful in its stress4 ,niccol was a man of forceful spirit1 earnest and powerful1 and with a certain dry technique and rigid definition that is in full accord with the penetrating spirit that composed the pictures4 ,foligno is quite close to ,perugia1 and there is no difficulty in realising the presence of ,niccol at times in that city4 ,his influence is marked in ,perugino's early work1 but it does not stand alone1 and has associated with it characteristics that could not have come from the ,folignate botega4 ,bonfigli 7,benedetto ,buonfiglio71 to whom ,vasari once refers at the conclusion of his life of ,pinturicchio1 was the prominent painter of ,perugia4 ,he was greatly esteemed in that city1 and so largely confined his labours to his native place that even now it is impossible1 save in the gallery of that city1 to gain anything like an adequate knowledge of his art4 ,it was not1 however1 from ,bonfigli that we consider the strong influence came that affected ,perugino's work4 ,much of ,bonfigli's work was quite beautiful2 there is a fascinating grace about many of his figures2 there is a tenacious hold upon the laws of perspective1 rich1 varied1 and charming colouring1 and a general pleasing result in composition and in effect4 ,there is1 however1 little virile force1 very slight depth of feeling1 and1 above all1 an absence of the open space which is so characteristic of later ,umbrian art1 and which has such a wondrous effect in the pictures of the great ,umbrian artists4 ,bonfigli's pictures are crowded1 ,perugino's never were crowded4 ,bonfigli's are illustrations1 records1 decorative effects ever full of figures1 and of detail1 and with the beauty of certain single faces or separate groups swamped by the crowd of ordinary objects4 ,perugino's pictures1 whatever may be their faults1 never deserve this condemnation4 ,fiorenzo di ,lorenzo on the contrary1 must certainly have been a master from whom ,perugino received no slight influence4 ,once again it is needful to go to ,perugia in order to study the works of this artist1 as away from the hill-top city the pictures of ,fiorenzo di ,lorenzo1 are few and far between4 ,in ,england there is one that is noteworthy1 a ,virgin and ,child1 belonging to ,mr4 ,george ,salting4 ,in the works of this artist we are at once struck by the aloofness that distinguished ,perugino4 ,single figures stand apart one from the other1 each slightly connected as by a thread of thought1 and similarly each with the central feature of the picture1 but in every other way self-contained4 ,here again are the placid ,umbrian landscapes with which later on we shall become so familiar1 and the tall slender youths and sweet women full of tender grace1 that make their first appearance in ,umbrian art4 ,there is a grace and charm in the work of ,fiorenzo di ,lorenzo1 that is far removed both from the fierce truth of the ,folignate's pictures and from the crowded stress of ,bonfigli1 and those panels that tell the story of ,bernardino in the ,accademia at ,perugia1 and which represent the artist at his very best1 are possessed of a fascination both in line1 in colouring1 and in movement that are impressive to the highest degree4 ,occasionally the artist was able to attach two or more of his figures to one another by a gesture or a movement that formed a distinct and noticeable link2 but it was left for ,perugino to still further develop this power and to link his figures one by one into a single group when he so desired1 or at his will to keep them aloof one from the other1 and to the successors of ,perugino to complete this power which ,fiorenzo so slightly commenced and which ,perugino so greatly improved4 ,in another way can be seen the influence of ,fiorenzo di ,lorenzo4 ,the typical ,umbrian landscapes which are so important a feature in ,perugino's pictures first make their appearance in the works of this artist4 ,the special treatment of the landscape will be referred to in fuller detail later on2 but we may here mention that those expansive broad landscapes1 with distant hills bathed in a blue mist and revealing long stretches of level fertile land on either side1 with single trees1 standing silhouetted against the sky1 which1 like a vast arch of blue1 frames in the lovely scene1 are noteworthy in ,fiorenzo's pictures4 ,finally1 there is the pale golden sunlight to be seen in his works1 a sunlight which bathes all purely ,umbrian art1 but which does not appear to any marked extent in the works of the ,foligno school4 ,having now briefly glanced at the leading characteristics of these artists1 it will be well to examine the work of one who was far greater than either of those already named1 and whose influence on ,perugino is very marked4 ,i allude to ,piero della ,francesca4 ,whether1 as ,morelli suggests1 ,perugino journeyed to ,arezzo1 where ,piero was at work1 and aided him in his work1 or placed himself under his tuition1 or whether ,perugino met ,piero at ,borgo ,san ,sepolcro or in ,perugia1 is immaterial4 ,it will suffice to understand that1 somewhere near at home1 and in the early days of his training before ,perugino journeyed to ,florence1 the two men must have met1 and ,perugino learned much from the ,tuscan-,umbrian master and profited largely by his instruction4 ,one of the main features of ,piero's art was his accurate knowledge of perspective4 ,he was1 above all1 a mathematician1 well versed in arithmetic and geometry1 and the author of several treatises on the science4 ,he rejoiced in complicated problems of perspective1 in long vistas of columns stretching away into the far distance1 in mysterious hollows1 in exquisite alcoves1 curves1 and embrasures1 in the perfectly accurate drawing of roofs and rooms1 and in the grouping of his figures in such geometric array and such careful receding proportion as made clear the charm that such mathematical arrangements had over the mind of the artist4 ,there are1 however1 other characteristics of ,piero's work1 that must be carefully noted in making a survey of his style4 ,there is a wonderful gravity and solemnity about his figures1 a preoccupied look in most of their faces1 and we trace also the very beginning of that power already mentioned1 of linking figure to figure and group to group4 ,certainly1 in the long processions that form so essential a part of the frescoes at ,san ,francesco in ,arezzo1 there is a certain connection running through the group of figures which are arranged in processional order especially in the ,visit of the ,queen of ,sheba1 the ,invention of the ,cross1 and the ,exaltation of the ,cross1 but individually the figures composing these groups are separate and distinct from one another1 engaged in their own concerns and holding no converse one with the other4 ,in these respects it was left for the later men1 beginning with ,perugino1 to pull the picture together and make it one harmonious whole4 ,when to this aloofness1 this curious want of sympathy between the central group or scene in the picture and all the attendant groups or figures1 we add a severe absence of emotion1 an impassiveness in the faces of all the figures1 together with a simple dignity of style and a power of delineation that is very attractive1 we begin to understand ,piero della ,francesca4 ,he never considered whether the faces of his figures were specially suited to the group in which he used them4 ,he is quite unmoved by any ideas that the spectator may have as to fitness in the picture1 and he never reveals his own views as to the scene and its appropriate presentation4 ,rage1 pity1 scorn1 amazement1 jealousy1 passion1 or even the depth of devotion1 are no part of ,piero's repertoire1 but a quiet self-contained hauteur1 a learned solemnity1 and a religious calm characterise his figures1 both men and women4 ,there is abundance of dignity1 stately form1 earnest but impassive determination1 but1 even in the battle scenes1 nothing of the ,sturm und ,drang which would have been expected4 ,all these characteristics had direct influence upon ,perugino1 but even beyond them can be seen other marks of this master's tuition4 ,the fantastic head-dresses that are to be seen in ,piero's frescoes find their counterpart in the frescoes of the ,cambio2 the very same scheme of composition in ,the ,resurrection of ,christ in the ,borgo ,san ,sepolcro ,gallery is to be seen in one of ,perugino's pictures2 and the long vistas of arches and careful geometric proportion and the absolutely accurate drawing of arches and columns are to be equally realised in ,piero's picture in the ,gallery at ,perugia and in ,perugino's altar-piece in the ,villa ,albani4 ,even in the shape of the hand1 the clear cameo-like profile of the faces1 and the detail of the feathers on the angels' wings1 the relationship between these painters is marked1 and comparison between the frescoes at ,arezzo and the paintings in the ,accademia will be found to reveal these and other points of close contact4 ,in these early days of ,perugino's life1 it is therefore to the influence of ,niccol ,liberatore1 of ,fiorenzo di ,lorenzo1 and1 above all1 of ,piero della ,francesca1 that we attribute the growth of his art and the success of his later life4 ,one more artist he must have met in these days1 as ,luca ,signorelli1 who was some five years his senior1 was probably at ,arezzo with ,piero della ,francesca4 ,certain pictures of ,perugino1 notably the ,crucifixion1 at ,la ,calza1 and the similar scene painted around a carved crucifix now at ,perugia1 the ,piet in the ,accademia1 and the ,love and ,chastity in ,paris1 betray in their vigour1 hardness1 and movement some of ,signorelli's influence1 an influence that only occasionally was to be seen in the great ,umbrian master4 ,morelli,c considers that ,perugino's journey to ,florence after his ,perugian training1 of which ,vasari speaks1 took place in #adgj1 at which time ,perugino would be about twenty-five years old4 ,his name is recorded in the roll of ,st4 ,luke in #adgb1 and in the roll of the ,physicians in #adii4 ,vasari states that it was to ,verrocchio that he went4 ,lanzi and ,orsini confirm this2 ,morelli gravely doubts it2 ,resta distinctly denies it2 ,berenson rejects it2 and certainly there is but little trace of such a tutor in ,perugino's work4 ,in the ,baptism at the ,accademia1 which is an absolutely authentic picture1 although perhaps partly the work of ,leonardo1 and in the ,madonna and ,child in the ,uffizi1 also attributed to ,verrocchio1 we find nothing that would appear to have influenced ,perugino1 or that can be recalled by his work1 but if the magnificent bronze panel in the ,carmine ,church at ,venice is accepted as the work of ,andrea del ,verrocchio then there is evidently a feeling in this work such as ,perugino would naturally have appreciated1 and which does appear many times in pictures by the ,umbrian master4 ,the position of the ,christ on the ground1 and that of the women who bend over ,him1 the silent meditative devotion of the two men and of the child who kneel on the right1 the attitude1 wings1 drapery1 and movement of the flying angels1 and their very position with regard to the cross1 all find answering echoes in ,perugino's work that are unmistakable in their clearness4 ,what is1 however1 of special importance to notice at this juncture is that ,perugino did not go to ,florence in #adgb as a mere pupil or scholar4 ,young in years as he undoubtedly was1 he must have also been mature in experience and in knowledge2 for otherwise it is inconceivable that so sagacious a ,pontiff as ,sixtus ,,iv4 should have sent for him eight years afterwards and engaged him upon work in the ,sistine ,chapel4 ,vasari specially states that the invitation was given because of ,perugino's great fame throughout ,italy1 and it is clear that a request to work side by side with such men as ,ghirlandajo1 ,cosimo ,rosselli1 and ,botticelli was so high a compliment that it would not be given to one who was merely a student in ,verrocchio's botega4 ,there is no question about the date of this invitation1 as the original contract between the ,holy ,father and the artists has been published1 and it contains an undertaking to furnish ten stories between ,october #bg1 #adha1 and ,march #ae1 #adhb4 ,prior to these dates we hear of two other works executed by ,perugino4 ,the earliest of all is recorded by ,milanesi in his notes to the life in ,vasari4 ,he states that in #adge ,perugino was commissioned to paint certain frescoes in the ,palazzo ,publico in ,perugia2 but of these works not a trace remains1 and there is no evidence to support the learned author's statement,d ,milanesi1 moreover1 further records the fact that in #adgh ,perugino worked at ,cerqueto1 painting some frescoes in a chapel there1 and one solitary figure of ,san ,sebastian bearing that date only now remains out of the entire decoration4 ,illustration3 ,private ,photo ,cerqueto ,,saint ,,sebastian1 #adgh ,to this interesting figure1 the earliest known work of the master1 a reference will be made later on when consideration is given to other representations of the same saint1 but a record must here be made to the ,foligno1 and to the ,signorelli influence that this figure betrays4 ,in direct truth the figure might well be the work of ,niccol ,liberatore1 and is conceived on the lines of his school4 ,in nervous1 tense muscular representation1 and in the movement of the limbs1 it is strikingly ,signorellesque1 and the realism of its wounds bespeaks the same characteristic2 but the silky treatment of the skin1 the roundness of the limbs1 the upturned piteous face1 the locks of hair1 the extraordinarily exaggerated size of the great toe1 and1 above all1 the intricate puckered folds of the drapery1 are ,perugino's and ,perugino's alone4 ,the painting of the drapery which becomes a mannerism1 and one of the most accurate of tests here in the very early days of the artist1 takes certain definite forms1 and the dark hollows and curious hook-like folds are to be seen in this ,san ,sebastian1 not certainly as freely but quite as definitely1 as they appear in later days4 ,the picture is but a fragment of what must have been an important fresco1 but it is eloquent of better work to come1 and shows promise of masterly execution that only three years afterwards was to be revealed at ,rome in the ,sistine ,chapel4 ,no other work exists to bridge over the time between ,perugino's early training in ,umbria1 his sojourn in ,florence1 and his return as a well-known artist to the town and neighbourhood of ,perugia1 although there is said to be a picture near ,naples dated #adfj1 but the date is probably apocryphal4 ,in ,florence the artist would probably have met ,leonardo da ,vinci and ,lorenzo di ,credi4 ,if he attended at ,verrocchio's studio he certainly would have met them4 ,in ,florence also1 ,resta tells us1 he studied ,masaccio's work1 and we may be quite sure he used every endeavour to perfect himself in his art2 and it is to this period of residence that ,giovanni ,santi refers in his oft quoted lines3 ,due giovin par d'etate e par d'amori ,leonardo da ,vinci e ,p ,perusino ,pier della ,pieve4 --,two youths alike in age and love ,leonardo di ,vinci and the ,perugian ,peter of ,pieve4 ,he is mentioned in ,florence in #adij in one of the books relating to the ,cathedral1 and there is a story of his having been fined for fighting in ,florence in #adhh4 ,in the only picture that remains to us of the series executed by ,perugino in ,rome for ,sixtus ,,iv4 we see the result of all this ,florence training1 but we are also confronted at once by the great characteristic of the ,umbrian school--free open space4 ,in considering this great feature1 the most noteworthy characteristic of ,umbrian art1 it is impossible to avoid reference to ,mr4 ,bernhard ,berenson's pages and to his definition of what he terms space composition1 which he defines in this way3 ,space composition differs from ordinary composition in the first place most obviously in that it is not an arrangement to be judged as extending only laterally1 or up and down1 on a flat surface1 but as extending inwards in depth as well4 ,it is composition in three dimensions and not in two1 in the cube and not merely on the surface4,e ,farther on he remarks3 ,this art comes into existence only when we get a sense of space not as a void1 as something merely negative such as we customarily have1 but on the contrary as something very positive and definite1 able to confirm our consciousness of being1 to heighten our feeling of vitality4 ,it is the wonderful art of space compositions which so distinguishes ,perugino from his ,sistine ,chapel days down to the end of his life4 ,the power is so well expressed by ,mr4 ,berenson that nothing is needed to further define it but he still further emphasises space composition when he states that it is an intrinsically religious art capable of communicating the religious emotion and able to awaken in those who looked at the pictures a consciousness of preference for a life holy and refined4 ,in this first great picture ,christ giving the ,keys to ,st4 ,peter1 all the power of this marvellous capability is at once apparent4 ,it produces a sense of vastness1 of spaciousness1 of broad1 free1 open air enclosed only by the blue arch of ,heaven1 and therefore gathers up and retains all the higher emotions of the spectator4 ,there are the grand figures in the foreground1 majestic and wonderful in their dignity2 beyond them are others in the receding distance1 smaller and smaller as the eye notes the vast distance expressed in the picture4 ,in the centre rises the wonderful temple4 ,bramantesque and stately1 and beyond it1 disappearing away into the horizon are the everlasting hills that bound and yet seem to extend the broad space of the ,umbrian landscape the utmost distance of which is lost in the blue haze of the sky4 ,the two triumphal arches at the sides serve to emphasise the great space that the picture embraces and the effect is that of gazing through an open window in ,perugia or at ,montefalco4 ,there is no sense of crowding1 the space is so vast that the populace of a country could not crowd it1 and the air circulates in and around every group and serves to give the greater plein-air charm4 ,there is a soothing quiet about the whole1 a self-restraint and a stillness1 and even though figure stands apart from figure and each one hardly notices the other1 yet there is a fine thread of common interest to be seen connecting the whole of the foreground group and linking the spectators to the two central persons1 ,christ and the ,foundation of ,his ,church4 ,illustration3 ,alinari photo ,sistine ,chapel1 ,rome ,,the ,,delivery ,,of ,,the ,,keys ,,to ,,st4 ,,peter ,it is well when mentioning this great picture to state as a personal opinion that it is not possible to appreciate ,perugino adequately1 or even to understand him properly1 without a visit to ,umbria itself4 ,the country differs so much from other parts of ,italy that mere comparison with parts better known is useless1 but when once the student has sojourned in the country the charm of its landscape is felt and understood4 ,there is a vastness about its open spaces1 an immensity of view1 boundless and yet enclosed1 that must be seen to be understood4 ,to linger on the fortifications of ,montefalco1 to look out from the public square of ,trevi1 to wander along the road that divides ,san ,girolamo from ,spello1 to drive along the plains of ,foligno1 to stay at ,nervi1 ,deruta1 or ,bettona1 to gaze out over the plains around ,assisi1 or to appreciate the wonderland that is mapped out around lofty ,perugia--all these are so many lessons to the right understanding of ,perugino4 ,away and away in the rolling distance are those vast plains1 not flat surfaces1 but a luxuriant country-side1 irregularly marked by the contours of hills and valleys1 dotted with tiny fortified towns crowning each its own hill and looking down upon its neighbour4 ,great white winding roads meander hither and thither1 single trees stand out in sharp tall silhouette against the intense blue of the sky1 and around as far as eye can reach stretch the half-hidden1 half-revealed mountains clothed in a purple haze while the golden glare of sunlight bathes all the intervening space in its mystic light1 tinging with gold the very grass of the fields1 the grey drab of the roads1 the ruddy brown of the buildings1 and the radiance of the distant towers and houses4 ,all the ,umbrian artists felt the charm of this scenery1 but no one save ,perugino so fully and so consistently expressed it4 ,it is in all his works1 and as one gazes out upon this buoyant spaciousness of view1 the wondrous creatures of his conceptions1 holy women1 saints1 prophets1 apostles1 religious guilds1 praying populace1 seem once more to people the earth1 and away in the eternal immeasurable sky can be seen the ,assumption1 the angels1 the mandorla of cherub faces1 the comforting seraphim and the glowing cherubim1 as ,perugino saw them1 and the sky is again the scene of the glories which faith enabled ,perugino to visualise and depict4 ,it is the knowledge of his own country and the wonderful power of space composition that marks ,perugino's pictures so emphatically as to enable us to determine that the ,delivery of the ,keys to ,st4 ,peter is the only fresco from the master's hand in the ,sistine ,chapel4 ,it was ,morelli who first pointed out that ,crowe and ,cavalcaselle were in error in attributing ,moses and ,zipporah and the ,baptism of ,christ to ,perugino1 and ,i accept his teaching in this matter quite readily4 ,a careful study of the ,sistine frescoes has convinced me that ,morelli was right and ,crowe and ,cavalcaselle wrong4 ,even the two central figures in the disputed ,baptism1 those of ,christ and ,st4 ,john1 which are compared with the two similar figures in the predella at ,rouen1 which is undoubtedly authentic1 and with the same scene in the ,national ,gallery1 which ,i consider a copy only of the master's work1 betray the hand of ,pinturicchio rather than that of ,perugino4 ,in the fresco at ,rome1 the two figures are crowded closely together2 the arm of ,our ,lord almost rests on ,st4 ,john's head1 the face of the saint is weak and feeble1 the limbs are skinny and badly drawn1 there is no sense of security in the feet1 the hands are out of proportion and the draperies entirely lack the hook folds of ,perugino1 and are loose and inadequate4 ,above all1 neither figure stands upon its two feet2 in the case of the ,christ one foot alone supports the whole body1 a mistake that ,perugino never makes4 ,the whole picture is crowded with figures and hemmed in with hills4 ,it is pictorial certainly1 and effective1 but it entirely lacks the spaciousness of ,perugino4 ,there is a feeling of crush and crowd such as ,perugino never gives1 and a total absence even in the landscape of that extensive vista of scenery1 that breadth of treatment which is so important4 ,even the representation of the ,eternal ,father within the mandorla of cherubs and attended by angels is not placed high up in the illimitable aerial space1 but almost touches a neighbouring hill1 and serves but to overfill the picture and make its crowded composition a wearisome burden4 ,compare for a moment the predella at ,rouen4 ,the two central figures stand apart one from the other1 and therefore stand out clearly and distinctly1 while yet near enough for their mutual actions to be closely connected4 ,they stand firmly and well balanced on their feet1 the slight exaggeration of one of ,st4 ,john's feet1 being due to an accurate understanding on ,perugino's part of the distortion apparently given to the limb by its being below the surface of the water4 ,around are the kneeling angels and attendant figures1 eight only in number1 carefully graduated in size according to position1 aloof1 serious1 quiet1 and still4 ,away and beyond is the rolling landscape1 with its exquisite hills and dainty detached trees standing out clear against the sky4 ,on and on the eye travels1 eager to reach the limits of this limitless vision1 and impressed more and more by the skill that painted in so tiny a compass so vast a scene4 ,above is the sky free from any crowd of spirits1 and reaching up to unimagined heights4 ,here is undoubtedly ,perugino's work2 but at ,rome we see merely a clever overcrowded picture1 an illustration simply1 and most evidently the work of ,pinturicchio4 ,three other frescoes in this chapel ,perugino did undoubtedly paint for ,sixtus ,,iv41 covering the eastern wall4 ,they depicted the ,assumption1 into which he introduced the kneeling figure of the ,pope1 the ,nativity1 and the ,finding of ,moses1 but all these works were swept away during the ,pontificate of ,pope ,paul ,,iii4 to make way for the tremendous work of ,michel ,angelo1 ,the ,last ,judgment4 ,it is infinitely to be regretted that no replica of these frescoes was retained1 as the ,delivery of the ,keys is so superb a composition1 that it but increases the desire of the spectator to know what ,perugino's other frescoes were in the same chapel4 ,the payment for the frescoes in the ,sistine ,chapel was not authorised till ,august #hth1 #adhi1 as ,mariotti,f records that at that time ,perugino was entitled to draw on the ,apostolic camera at ,perugia for #ahj ducats1 being the balance of money due for pictures in the ,apostolic chapel4 ,on the #eth of ,march #adij ,perugino gave a receipt in ,perugia for that money4 ,illustration3 ,petiton photo ,rouen ,,the ,,baptism ,,of ,,christ 7,a predella panel from the ,san ,pietro 7,perugia7 altar-piece7 ,,footnotes3 ,a ,mariotti1 ,lettere ,pittoriche ,perugine1 #aghh1 v4 #aba4 ,b ,storia della ,pittura1 ,a4 ,lupattelli4 ,foligno1 #ahie4 ,c ,italian ,painters1 ii4 #ajg4 ,d ,eastlake1 however1 refers to a picture painted for ,luca degli' ,albizzi for which the artist was paid #ajj gold crowns4 ,at this time1 it was1 he says1 in the ,palazzo ,albizzi1 and he says it was executed prior to #adgh1 as in that year ,luca1 who was in the ,pozzi conspiracy1 was exiled for twenty-five years4 ,this picture cannot now be traced4 ,e ,central ,italian ,painters of the ,renaissance1 #if4 ,f ,mariotti1 p4 #aej4 ,,chapter ,,ii ,,early ,,days ,there are three pictures1 one of which is especially named by ,crowe and ,cavalcaselle1 which seem to belong to the early days of ,perugino4 ,not that they should be ascribed to the ,cerqueto period1 or to the ,sistine ,chapel time1 but it is probable that they were painted between #adhj1 when the master was in ,rome1 and #adia1 when he produced on his second journey to the ,eternal ,city the magnificent altar-piece now in the ,villa ,albani4 ,crowe and ,cavalcaselle refer to the tondo in the ,louvre1 and to it we add the somewhat similar work at ,verona and the ,baptism at ,vienna4 ,there is a certain immaturity in these three pictures1 a straining after effect1 a poorness in colouring1 and a rigidity in the draperies1 together with a niggling technique1 with hard tight outlines1 that was to give place so speedily to far more breadth4 ,at the same time1 thus early1 if my surmise as to date is correct1 can be seen the characteristics of ,perugino4 ,all three pictures are full of plein-air effect1 the one at ,verona especially4 ,the group in ,paris of ,madonna and ,child with two saints and two angels is a little cramped and crowded4 ,the ,verona one omits the two saints and introduces as another child ,st4 ,john ,baptist4 ,in the ,vienna ,baptism1 which has been repainted in places1 there is a hardness in the draperies1 a stiffness in the attendant figures1 and an unfinished character to the landscape2 but in each of the three there is sweetness1 calm1 and devotion1 and they mark the beginning of quite a new movement in ,italian art4 ,it will be noticed that both in ,paris and ,verona the under draperies are regular and hard in their pleating1 that the head-dresses are merely conventional and stiffly angular and that ornaments1 decoration1 and jewellery have received an amount of fine laborious detail work1 which renders them somewhat too conspicuous1 and shows that the artist had not yet realised the sense of proportion in the various parts of his pictures that distinguished him later on4 ,from consideration of these three pictures1 remarkably interesting and thoroughly typical as they are of the new school of work just unfolding1 it will be well to pass on to more definite ground and consider some dated pictures which follow in due course4 ,there is an amusing story in ,mariotti respecting one masterpiece that should be mentioned here4 ,the ,priori of ,perugia desired to have an important altar-piece for their ,capella dell' ,magistrato1 and in the predella of the picture1 or else introduced into the altar-piece itself1 were to be the portraits of the worthy ,priori4 ,a local artist1 one ,pietro di ,maestro ,galeotto1 was selected for the work1 and on the #gth of ,june #adgi a contract was made with him for it1 the price to be #bjj florins1 and the picture to be completed in two years under a fine for non-compliance of #ej golden ducats4 ,galeotto from time to time drew payments on account from the ,priori1 and three years passed away and yet there were no signs of the altar-piece and no mention of the fine4 ,on ,june #bith1 #adhb1 another year's grace was granted to ,galeotto on the plea that there had been some contagious disease in ,perugia and he had struck work and absented himself2 but in ,may #adhc ,galeotto died1 whether from this plague or not is not recorded1 but when inquiry was made of his heirs as to the picture nothing could be found of it but the frame4 ,shortly after this time ,perugino visited ,perugia1 and to him the ,magistrates turned for help2 and1 bringing much pressure to bear upon him1 prevailed upon the artist to sign a contract dated #bhth ,november #adhc binding himself to produce the picture in four months for #ajj florins4 ,the details of the picture are all given in the contract1 and the names of the four ,saints1 who were to surround the ,madonna and ,child1 and1 above all1 the portraits of the ,priori were not to be omitted4 ,but by this time ,perugino had received the commands of ,pope ,sixtus ,,iv4 to come to ,rome1 and so a few days after signing the contract ,perugino left ,perugia without giving any further consideration to the wishes of the worthy ,priori or the text of the contract4 ,even the first section of the work1 containing the portraits which he had faithfully promised should be ready in ,december #adhc1 was quite forgotten4 ,the term of office1 however1 for which the ,priori were elected was rapidly nearing its close1 and there were still no signs of the portraits of these eminent men4 ,in despair the ,priori turned to a third artist1 ,santi di ,polonio del ,celandro1 and in a contract dated #cast ,december #adhc they bound him to supply the picture and complete it within a year1 but inserted a clause that all the portraits together with that of their notary were to be painted within a fortnight4 ,for the whole work he was to have one hundred florins4 ,this time the ,priori kept their eye on the artist2 there was no time to lose4 ,shortly they would go out of office1 and then the chance of having their portraits forever adorning their chapel walls would be gone1 and so the poor ,celandro had to paint the eleven portraits within fifteen days1 under pain of a very heavy fine4 ,somehow or other he accomplished the work2 the portraits were done1 and temporarily remained in the chapel standing against the wall waiting for the completion of the rest of the pictures4 ,but1 having accomplished this part of the work1 ,celandro took no further heed of the contract1 and the ,priori having obtained their desire1 troubled no further as to the ,madonna and saints1 or were powerless to force ,celandro to complete the work4 ,twelve years actually passed away1 and the chapel still lacked its altar-piece1 and ,celandro1 like ,galeotto1 died4,g ,in #adie ,perugino was again at ,perugia1 full of honour and fame2 and once more the decoration of the ,capella was resolved on4 ,the ,priori--quite a new body to the one which had originally planned the picture1 entered into another contract with ,perugino1 dated #fth ,march #adie--;for him to paint the altar-piece on the same scheme as before1 but with far higher remuneration4 ,perugino was to do the work in six months1 was to receive one hundred gold ducats in three payments1 and1 in lieu of the ,mother of ,mercy in the lunette1 was to paint a ,piet1 and for that purpose--alas for the poor ,priori--the portraits in fresco by ,celandro which filled the space allotted to the ,piet were to be removed1 broken up1 and carted away4 ,all1 therefore1 that remains concerning these notable ,priori of #adhc whose portraits were to have been handed down to perpetuity1 are their ten names recorded by ,mariotti1 and the name of ,rubino di ,giacomo1 their notary2 but of their portraits nothing is left4 ,illustration3 ,alinari photo ,vatican1 ,rome ,,the ,,madonna ,,enthroned1 ,,with ,,four ,,saints ,perugino at last set to work1 and the beautiful altar-piece now in the ,vatican is the result4 ,there is the ,madonna and ,child on the throne1 and near by there are the four great saints4 ,the picture is exquisitely beautiful1 full of ,perugino's special charm1 and bearing marks of the ,piero della ,francesca influence in the arches that support the canopy1 while below the feet of the ,madonna1 to make quite clear as to who painted the picture1 is the signature in somewhat remarkable form3 ,,hoc ,,petrus ,,de ,,chastro ,,plebis ,,pinxit4 ,inasmuch as consideration of this finished picture brings our chronological survey up to #adie1 it will be desirable for us to retrace our steps to the time that ,perugino spent in ,florence4 ,vasari records many works executed in that city1 but his chronology is so perplexing that it is difficult to say whether they were all executed at the time to which we refer1 or later in the artist's career4 ,probably the frescoes in the ,convent of the ,frati-,gesuati beyond the ,pinti ,gale1 a house that was destroyed in the siege of ,florence in #aebi1 were early works1 inasmuch as the panel pictures that were saved from the church1 and which now rest in the ,accademia1 were painted in #adib-ic4 ,there were1 however1 as already mentioned1 three pictures on panel executed for the same convent1 and these1 fortunately1 are still in existence4 ,they were carried1 at the time of the siege1 to the gate of ,san ,pier ,gattolini1 where the monks were provided with a refuge in the church and convent of ,san ,giovannino1 now known as ,la ,calza4 ,these three pictures are the ,crucifixion1 now in ,la ,calza1 the ,piet1 in the ,accademia1 dated #adic1 and the ,christ in the ,garden1 also in the ,accademia4 ,of these three early pictures the one in ,la ,calza is in some ways the most interesting4 ,it is a very puzzling picture4 ,vasari describes it so clearly that there is no possibility of error as to the picture he names4 ,he speaks of the infinite care with which it is executed4 ,he refers to its being carried for safety to the church1 where it still rests1 and he mentions its condition as injured by numerous cracks1 but the difficulty is that1 while much of the picture is distinctly ,peruginesque1 three of the figures might have been painted by ,luca ,signorelli1 so great a resemblance in general characteristics do they bear to his work4 ,crowe and ,cavalcaselle hesitate to ascribe it to either master1 inclining more to the view that ,raffaelino del ,garbo may have painted it1 but with this last ascription ,i cannot at all agree4 ,the composition is that of ,perugino1 the open air effect and the distance1 the single detached trees and the high rocks are all ,umbrian4 ,the draperies of the four standing figures and of the ,christ have the distinctive folds that are so thoroughly characteristic of our painter1 and the borders to the garments are equally noteworthy4 ,the attitude of ,st4 ,francis and of ,s4 ,giovanni ,columbini are thoroughly in accordance with ,perugino's methods1 but when we turn to ,st4 ,jerome and ,st4 ,john ,baptist the case is very different4 ,in these figures the fierce strength and muscular development is foreign to ,perugino's ordinary work1 and he appears to have been painting under ,signorelli's influence1 and even endeavouring to introduce into faces and limbs the virile power and movement of ,signorelli1 which at that time was specially attractive to him4 ,the figure of the ,magdalen 7strangely termed by ,crowe and ,cavalcaselle the best figure in the picture7 is1 ,i consider1 a much later addition by quite another hand4 ,the picture composes perfectly without it1 and a very close inspection convinced me that it was not originally in the design1 and that the draperies of ,s4 ,giovanni ,columbini can be traced through the draperies of the ,magdalen4 ,in no way does the ,magdalen recall ,perugino4 ,the attitude is not his2 the draperies have entirely different folds2 the hands are quite different in their structure2 and the hair is painted with entirely altered technique4 ,illustration3 ,alinari photo ,la ,calza1 ,florence ,,the ,,crucifixion ,i look upon this ,la ,calza ,crucifixion as one of the earliest1 if not the very first of ,perugino's works in ,florence that survives4 ,in the ,accademia 7two pictures7 we are on quite different ground4 ,here can be seen the hand of ,perugino in every part and the wonderful power of space composition can be realised to the full4 ,the receding arches in the ,piet1 bespeaking the influence of ,piero della ,francesca1 the exquisite landscape in the background1 the curious aloofness of each figure1 and the delicate chain of sympathy that binds them all together1 the tender sorrowful face of the ,madonna seated in the midst bearing on her knees the dead body of her ,son1 all of ,perugino's best4 ,illustration3 ,alinari photo ,accademia1 ,florence ,,the ,,dead ,,christ ,the third picture1 the ,christ in the ,garden1 is fuller still of the genius of space composition4 ,far off are the hills that girdle the landscape1 and the eye is carried on from one to the other1 each step revealing new beauties1 till in the extreme distance the sky and land melt into one another4 ,in the immediate foreground are the three disciples sound asleep in the attitudes that convince you of heavy slumber4 ,in the centre of the picture is ,our ,lord kneeling on a hillock deeply engaged in prayer1 and above is an angel flying toward ,him bearing the chalice of sorrow4 ,below and still further removed from the eye of the spectator are groups of soldiers on the one hand and of priests and people on the other rapidly moving toward the central figure4 ,their proportions are finely adjusted to their distance and position1 and there is an admirable sense of movement in all4 ,beyond them are the distant town1 the hills1 the country1 and above1 with its depth and arch and vastness1 suggested in most subtle manner by the light fleecy clouds and by the very curves of the angel's figure and the movement of his wing rises the blue vault of the heaven4 ,illustration3 ,alinari ,photo ,accademia1 ,florence ,,christ ,,in ,,the ,,garden ,,of ,,gethsemane ,all the genius of ,perugino exists in this picture4 ,later on there is a greater sweetness in some of the faces1 there are more figures1 there is a purer and more exquisitely sunny colouring1 but in composition this early work contains all the characteristics of the master4 ,these two must be attributed1 however1 to a later period than the frescoes and ,la ,calza picture already mentioned1 which were for the same convent1 and in the interval between painting the frescoes for the ,gesuati and the ,la ,calza picture and these two ,accademia pictures1 ,perugino had declined a commission at ,orvieto1 and had been to ,rome and painted there for ,cardinal ,giuliano della ,rovere1 afterwards ,julius ,,ii4 ,once more we must retrace our steps and tell the story of the ,orvieto contract4 ,it is unnecessary to refer to the work done in ,orvieto ,cathedral by ,beato ,fra ,angelico2 but after his death the work remained unfinished1 and the authorities of the cathedral could not find anyone who was prepared to complete the scheme of decoration and whose work appeared to them worthy of its place4 ,forty-four years had passed away1 and then ,perugino visited ,orvieto4 ,he was asked to examine the chapel and give a price for its decoration4 ,he did so2 at #aejj gold ducats for the whole chapel1 provided that scaffolding1 lime1 gold1 and ultramarine were furnished to him4 ,he agreed to use such subjects as were submitted to him1 and to personally execute the hands and faces of all the figures4 ,his offer was not accepted in its entirety2 but a contract was made for him to do the ceilings and spaces above the capitals for #bjj gold ducats1 ten of which were paid him1 on the understanding that he began the work in ,april #adij and continued it through the whole of the following summer4 ,perugino1 however1 having secured the contract1 was in no hurry to fulfil it1 and as the question was being discussed in ,florence as to the completion of the cathedral west front1 he left ,orvieto1 and hurried on to ,florence to compete in the proposed work4 ,the work in ,florence1 however1 did not come off1 and ,perugino proceeded to ,perugia and went on again to ,rome4 ,here he commenced the work for his patron ,cardinal ,giuliano della ,rovere1 almost all of which has since perished1 one notable picture only being left4 ,the artist seems to have dreaded lest the canons of ,orvieto should demand his presence in their cathedral1 and it is clear that they made strenuous efforts to lay hold of him4 ,the ,cardinal1 very desirous of retaining his services for himself1 protected the artist1 and when the ,orvieto authorities determined to cancel the contract1 he wrote to the ,priori an exceedingly strong letter1 telling them to await the convenience of the artist and himself4 ,this letter of ,june #b1 #adib1 was in reply to one sent to ,perugino stating that the ,priori would appoint some one else in his stead4 ,illustration3 ,anderson photo ,villa ,albani1 ,rome ,,the ,,albani ,,altar-,,piece1 #adia ,the ,cardinal reminded the authorities that they had promised1 in reply to a previous letter from ,perugino1 to wait a few months1 and he adds3 ,now ,maestro ,pietro has stated that1 contrary to your word1 you intend to substitute for him another painter who shall do your work4 ,this is indeed truly remarkable conduct4 ,we laboured under the impression that you were to be compliant as best suits the love we have ever borne to your community4 ,so we now again exhort and pray that you do reserve this place1 which is his due1 to ,maestro ,pietro1 and refrain from molesting him for the short time during which he has to expedite our affairs4 ,the ,orvietans had1 however1 meantime1 been in correspondence with ,pinturicchio1 but fearing to offend so great a dignitary as the ,cardinal1 they retained the chapel of ,s4 ,brizio for ,perugino1 giving ,pinturicchio work in another part of the cathedral4 ,perugino1 however1 never kept his promise1 though it does not appear whether he returned to the ,priori of ,orvieto1 the ten ducats they had advanced him1 and eventually1 as is well known1 ,luca ,signorelli was employed to decorate the chapel in question4 ,as already mentioned1 but one picture remains of the work done for the ,cardinal at ,rome4 ,this is the wonderful altar-piece1 dated #adia1 now the property of ,prince ,torlonia1 and to be seen in the ,villa ,albani4 ,it is in six compartments1 and is a most beautiful work1 full of brilliant colour4 ,in the centre is ,the ,nativity1 represented as having taken place beneath a sort of temple with open sides1 its roof resting on a series of beautiful arches forming a centre and two aisles and springing from square pillars with rich capitals4 ,the three divisions above contain the ,annunciation and ,crucifixion4 ,on either side of the cross are ,st4 ,john the ,divine and the ,virgin1 and at its foot kneels the ,magdalen4 ,if with this figure of ,mary ,magdalen is compared the similar one in the ,la ,calza picture the difference will be apparent4 ,there is a beauty and nobility of face and a grace of posture wholly lacking in the ,la ,calza picture1 and the draperies1 so sure a mark of ,perugino's hand1 are here as true to his method as in the ,florence picture they are manifestly different4 ,on one side of the lunette is a panel representing the ,virgin kneeling beneath the open arcading of a temple1 and on the opposite side a similar panel containing the ,archangel ,gabriel4 ,the altar-piece is full of the influence of ,piero della ,francesca1 the fine drawing of the receding arches1 the architectural details1 the marble of the pavement and the proportion of all the figures mark in unmistakable form the teaching of the man of ,arezzo1 but beyond all this there is that marvellous charm of open air and composition in depth that is so marked in the best works of our ,umbrian master4 ,the lunette gives ,perugino at his best in this period1 and the distance1 with its rocks1 pools of water1 cities1 plains1 and hills1 is of fascinating beauty1 and fills the spectator with amazement4 ,the whole picture is bathed in a haze of golden colouring4 ,the tones1 in places almost jewel-like in their transparent brilliancy1 are tender and expressive1 and there is a serenity and quiet about the work that is quite wonderful and expressive of complete peace and masterful resignation4 ,the picture is signed3 ,,petrvs ,,de ,,pervsia ,,pinxit #adia4 ,now for a while we return to ,florence1 picking up the threads that we dropped a few pages back4 ,illustration3 ,alinari photo ,uffizi ,palace1 ,florence ,,the ,,fiesole ,,altar-,,piece1 #adic ,in #adic ,perugino was balloted1 so ,orsini says1 into the municipal council at his native place1 ,citt della ,pieve1 for ,may and ,june1 and is said to have served his time there1 but in the same year he was painting at ,florence1 and1 according to ,mariotti1 had a botega in that city and accepted many commissions4 ,to this period belong two notable pictures1 one in ,florence and the other in ,vienna4 ,the face of the ,virgin in each picture is identical1 and the infant ,christ in each is painted from the same model4 ,the picture in the ,uffizi was painted for ,san ,domenico in ,fiesole1 and was the second altar-piece ,perugino did for that church1 the first1 painted in #adhh1 having disappeared4 ,it represents the ,virgin on a throne bearing the infant ,christ on her knees4 ,on one side stands ,st4 ,sebastian 7to whom reference will be made later on7 and on the other1 ,st4 ,john the ,baptist4 ,the group stands under the vaulted arching resting on square pillars1 of which ,perugino was so fond4 ,in the distance is the customary landscape4 ,the picture is signed3 ,,petrvs ,,pervsinvs ,,pinxit ,,an #adic4 ,the other work is at ,vienna1 and bears an inscription denoting the name of the priest who commissioned its execution4 ,the ,blessed ,virgin is on a throne in this picture also1 but the group is enclosed by high stone walls only open to the sky4 ,on one side stand ,st4 ,john the ,baptist and ,st4 ,paul1 on the other1 ,st4 ,jerome and ,st4 ,peter4 ,the ,st4 ,jerome is the same face as appears in the ,albani altar-piece of #adia1 and the curious long white beard which he wears1 and which hangs in two divisions1 will be noticed many times in later works notably at ,trevi and ,montefalco1 and constitutes a mark of ,perugino's own handiwork4 ,,footnotes3 ,g ,in #adia the incomplete picture begun by ,galeotto turned up4 ,it had been at his father's house1 and quite overlooked2 but in that year the heirs of ,galeotto's father found it and sent it to the ,priori1 together with a number of colours that had been prepared for it4 ,for three years the incomplete picture stood in the ,priori's room1 silently reminding them of ,galeotto2 but no further progress in the negotiation was made till #adie4 ,,chapter ,,iii ,,technique 3 ,,pigments 3 ,,vehicles ,we now come to the year #adid2 but before dealing seriatim with the pictures painted at that time it will be well to refer briefly to a question of technique4 ,crowe and ,cavalcaselle make a definite statement to which ,i can give no adherence4 ,they speak of ,pietro's work changing from tempera to oil work1 and they allude to his inability at this time to use the new medium in all its complexity1 and later on to his complete mastery over oil-painting and his constant use of it4 ,mr4 ,herbert ,horne1 on the other hand1 states with an equal assurance that all ,perugino's pictures were painted in tempera on a gesso background1,h and ,i find it as difficult to accept this statement as that of ,crowe and ,cavalcaselle as a sufficient explanation of the question4 ,it is quite clear to a careful observer that the technique of the ,albani picture differs from that of the triptych in the ,national ,gallery1 for example2 but the difficulty is then only stated4 ,it is an extremely puzzling question to determine from an old master painting whether it was painted in tempera or not4 ,even ,ruskin once admitted that he had for a long time been holding up for admiration as the finest oil-painting what he finally discovered to be tempera4 ,the repeated oiling and varnishing to which ,italian pictures have been submitted renders the task of discriminating the original medium one of the greatest perplexity4 ,when to this is added the further statement that in some pictures it would appear that the under-painting which gives the shadows is in tempera and the glazes in oil colour1 the danger of making such dogmatic statements as those already mentioned1 is still more apparent4 ,the information which we possess as to tempera painting in the fourteenth century is derived from the ,trattato of ,cennino ,cennini1 and this has just been re-translated by the one person in ,england1 who1 more than anyone else has practised and understands tempera work4 ,mrs4 ,herringham1 who has for years worked in tempera and copied the ,quatrocento pictures in the ,national ,gallery1 has discussed this abstruse question1 and to her knowledge1 derived both from personal conversation and from her invaluable book1,i ,i have obtained much information1 and have coupled it with close personal examination of the pictures1 and some interesting experiments4 ,i think1 in considering tempera painting1 one factor1 that of climate1 has not always received sufficient attention4 ,mr4 ,spencer ,stanhope has expressed to ,mrs4 ,herringham that tempera never dries completely in this country1 and should not be varnished1 but that has not been her experience4 ,it1 however1 expresses in crude statement1 the difficulty there is in this moist climate in using tempera satisfactorily1 and there is little doubt that part of the success of ,italian tempera work is due to the climate in which the artists worked4 ,it is quite clear from ,mrs4 ,herringham's work1 that tempera painting1 by which ,i mean strictly yolk-of-egg painting1 is capable of the soft transparent effects which are to be seen in ,perugino's pictures1 and that no admixture of another vehicle with the egg is needful4 ,it is not1 however1 clear whether the whole of many of his pictures were painted with yolk of egg alone4 ,i was in hopes at one time that a careful study of cracking and a comparison of the shape and formation of the cracks on different pictures would give me some definite formul by which the medium used could be detected1 but a very careful examination only gave inadequate results4 ,there appear to be certain thick ridge-like formations in the darker colours especially at the very edges of the draperies1 which it is very difficult to imitate in tempera1 and while the landscape is most clearly put in quite lightly in tempera1 yet the draperies are so different in handling as to give the impression that another medium was used for them4 ,there is also a curious variety in ,perugino's pictures as to hatching1 especially after #aejj1 and the hatching which till then only appears in the flesh1 is later on to be seen in other parts of the picture4 ,blending of one colour with another is also to be seen in some of the later pictures to an extent that the earlier pictures never show1 as with pure tempera painting the paint cannot be moved and blended as in oil work1 but it must be put on and left alone till it is dry4 ,i do not pretend to have touched more than the fringe of this subject1 but my opinion is that ,perugino did many of his pictures wholly in tempera1 and that with others he used tempera for the under-painting and oil for the glazes1 and that there are also pictures where size has been used as a medium for the draperies when great solidity and heavy cordy outline was desired4 ,the question of oil colours cannot be dismissed in a sentence4 ,perugino probably learned a good deal as to the use of colours from the ,gesuati1 who were1 as ,vasari informs us1 well practised in the art of colours1 and conversant with glass-painting and enamel work1 but the mystery remains as to how it is that the very fugitive colours he used have stood and remained as brilliant as ever4 ,for his ,cantor ,lectures in #ahib1;,j ,dr4 ,a4 ,p4 ,laurie carried out some remarkable experiments with certain fugitive colours and certain oils and balsams1 with a view to ascertaining whether any oil varnishes were impervious to moisture1 and securely locked up the colours against change4 ,some of these experiments ,i have repeated1 and ,i have had some interesting conversation with ,dr4 ,laurie1 and ,i agree with him absolutely that the only vehicles which lock up the colours against moisture and against the action of sulphuretted hydrogen are those composed of balsams4 ,the stickiness of colour ground in balsam to which he alludes can1 ,i have ascertained1 be overcome by a few drops of pure linseed oil and a morsel of wax1 and the result can then be used easily with a brush4 ,experimenting with the balsams of the larch and of the silver fir1 ,i have been able to protect verdigris1 orpiment1 and kermes lake securely1 and the experiments have been mainly conducted with verdigris and orpiment as notoriously fugitive colours and yet colours which it is quite clear ,perugino used4 ,it may be well perhaps to allude here to ,vasari's story respecting the artist's use of ultramarine4 ,the colour was so costly that in several of his contracts ,perugino expressly stated that his patron was to provide it1 and ,vasari states that when he was painting in the cloister of the ,ingesuati1 the ,prior1 who himself prepared and supplied the ultramarine1 was mean and mistrustful as to ,perugino's use of it1 and would always be present when it was used4 ,the artist took the ,prior's distrust to heart1 and by constantly washing his brush in a bowl of water allowed more colour to be precipitated than he was using in his fresco4 ,having punished the ,prior in this way1 he gathered up the blue from the water and returned it to him with the words1 ,this belongs to you1 father2 ,learn to trust honest men1 for such never deceive those who confide in them1 although they well know how to circumvent distrustful persons like yourself when they desire to do so4 ,pliny records a singular story about vermilion4 ,perugino's skies were painted with this colour1 and put on very thinly1 and they have a peculiar formation of cracking which is quite recognisable4 ,as regards grounds1 ,i believe that all ,perugino's panel pictures are upon gesso laid upon panel1 but in many of them it seems to me that linen has been used between the panel and the gesso as if to bind them together4 ,verdigris is1 ,i believe1 the only colour that will produce some of ,perugino's greens1 and1 as far as ,i have experimented1 the balsams1 as ,venice turpentine and olio d' abezzo1 are the only varnishes that protect it unchanged against the action of sulphuretted hydrogen and moisture4 ,these few statements as to technique are only suggestive4 ,i am not a chemist1 and the subject demands prolonged experiments in a laboratory2 and such experiments should result in most interesting discoveries4 ,resta calls ,perugino's colouring dry and sparing2 ,lanzi alludes to what he terms its skimpiness1 but the very thinness of it is but proof of the artist's complete mastery of his medium1 and that this medium was always mainly tempera1 and was never what we know as oil painting is my distinct opinion1 based upon an examination of almost every one of his works in ,italy4 ,,footnotes3 ,h ,magazine of ,art1 ,april #ahii4 ,i ,the ,book of the ,art of ,cennino ,cennini 7,geo4 ,allen71 #ahhi4 ,j ,the ,pigments and ,vehicles of the ,old ,masters4 ,society of ,arts1 #ahib4 ,,chapter ,,iv ,,wanderings ,crowe and ,cavalcaselle1 in speaking of the beautiful picture at ,cremona dated #adid1 refer to it as executed in ,florence and sent to ,cremona1 but there are grave reasons against accepting this statement4 ,it is quite clear that in that year ,perugino was in ,venice1,k and it is more natural to believe that he painted the picture in ,cremona itself4 ,the picture is one of great beauty1 but is singularly unlike most of the painter's other creations in a sturdy robustness of pose and countenance1 both in the ,madonna and in the ,child1 unlike the calm and slightly insipid composure of other works4 ,this characteristic may perhaps be attributed to the recent influence of the works of ,giovanni ,bellini and ,antonello da ,messina4 ,the picture represents the ,blessed ,virgin and ,child on a throne1 while ,st4 ,james is on one side1 ,st4 ,augustine on the other of the central figures4 ,it is signed #adid1 and still hangs in ,st4 ,augustine's ,church1 ,cremona1 on the altar of the ,roncadelli family4 ,in #adif the ,duke ,il ,moro of ,milan was anxious to obtain the services of another painter for the rooms at the ,castello1 and he wrote to his envoy in ,florence for information4 ,the envoy replied1 giving to the ,duke information as to the leading characteristics of each of the greater ,florentine artists4 ,of ,perugino he wrote3 ,he is a rare and singular artist1 most excellent in wall painting4 ,his faces have an air of the most angelic sweetness4 ,the ,duke ,lorenzo at once decided to employ ,perugino1 and wrote to his friend ,guido ,arcimboldo1 ,archbishop of ,milan1 who was then in ,venice1 begging him to inquire about ,perugino1 and1 if possible1 engage him4 ,the ,archbishop replied on ,june #adth to say that ,perugino had left ,venice4 ,unable to secure his services himself at that time1 the ,duke recommended ,perugino to the monks of the ,certosa at ,pavia1 and commissioned a great altar-piece from him4 ,accordingly1 in ,october #adif1 we hear of ,perugino being at ,pavia working at the altar-piece4 ,in the following year1 #adig1 ,il ,moro again tried to secure the services of ,perugino for the ,castello1 and wrote to one of the ,baglioni1 who at that time ruled over ,perugia1 begging him to send ,perugino to him2 but the artist was then at work in ,perugia1 and so full of commissions that he declined ,il ,moro's offer1 and never went to the ,castello4 ,the two years1 #adid and #adie1 saw the completion of the altar-piece for the ,magistrates' ,chapel in ,perugia--now in the ,vatican ,gallery and already mentioned1--the great ,entombment in the ,pitti ,palace1 the ,ascension altar-piece for ,san ,pietro1 ,perugia1 the portrait of ,francesco delle ,opere in the ,uffizi1 and the commencement of the greatest work of all1 which was finished in #adif1 the ,crucifixion at ,sta4 ,maria ,maddalena dei ,pazzi4 ,illustration3 ,alinari photo ,uffizi ,palace1 ,florence ,,portrait ,,of ,,francesco ,,delle ,,opere1 #adid ,the ,ascension altar-piece is the first one that we have to consider of that group of ,perugino's altar-pieces which have been divided1 the component parts being scattered throughout ,europe4 ,to this division and scattering fuller attention is given in the next chapter1 and it will suffice here to state that the centre part is at ,lyons1 the lunette at ,st4 ,gervais1 ,paris1 the predella in three panels at ,rouen1 and the surrounding saints divided1 three in the ,vatican ,gallery and five in the church of ,s4 ,pietro1 where at one time the complete work rested4 ,the picture at ,borgo ,san ,sepolcro is usually spoken of as a replica of the centre piece of this great picture1 but ,i am strongly disposed to take an opposite view of the case4 ,vasari records the painting of the ,borgo picture1 which was1 he says1 executed for the ,abbot ,simone de' ,graziani and transported to the church of ,san ,gilio at ,borgo on the backs of porters at very heavy cost4 ,he also records the painting of the picture for ,s4 ,pietro1 naming it almost at the close of his biographical notes on the artist2 and of this picture he says3 ,the whole of it is replete with evidences of thought and care1 insomuch that it is one of the best paintings in oil executed by ,pietro in ,perugia4 ,it is quite impossible to accept the chronology ,vasari gives1 as he mixes up dates in the most hopeless confusion2 but in this instance ,i think he is right in putting the ,borgo picture before the ,lyons one rather than vice vers4 ,the picture at ,borgo is in bad condition3 the one at ,lyons has been transferred to canvas and very much repainted1 and still shows signs of two vertical splits in the panel2 but1 despite all these injuries1 the ,borgo picture is1 ,i consider1 the finer of the two1 and the ,lyons one1 although by the same hand1 a later and more careless replica4 ,in the ,borgo picture the ,virgin is in religious garb and has the head covered3 in the ,lyons picture there is a more secular garb1 the head uncovered and short hair to be seen4 ,in the ,borgo picture the angels carry loosely looped narrow ribbon carefully and gracefully drawn3 the ribbon in the ,lyons picture is broader1 more coarsely painted1 lettered throughout1 and falling in awkward folds4 ,the wings of the cherubs in the mandorla at ,borgo are painted with exquisite detail1 every little scale and feather being carefully represented2 these details are almost entirely absent in the ,lyons picture1 where the wings of the cherubs appear to be hurriedly painted and lacking altogether in finish4 ,there is far greater sweetness in the faces at ,borgo1 especially those of the ,redeemer1 the ,virgin1 ,st4 ,peter1 and ,st4 ,paul1 than at ,lyons1 where all these four important faces are roughly and even coarsely delineated4 ,in some of the attendant disciples1 the hair1 which at ,borgo is daintily painted in1 and flows in slightly ringletted form1 hangs loosely at ,lyons and is of a harsher texture1 and the wonderful trees sharply delineated against the sky and full of exquisite foliage at ,borgo1 are hardly to be seen at ,lyons1 and are represented by half-a-dozen dwarfish shrubs4 ,the mandorla in the ,borgo picture is a deep luminous band of mysterious colour1 out of which1 and against the light fleecy clouds1 rise the cherub faces3 at ,lyons it is a flat band of heavy colour1 the clouds are woolly and thick1 and the cherub faces1 instead of rising from the wondrous depth1 lay superimposed upon the mandorla as upon a piece of board4 ,illustration3 ,alinari photo ,borgo ,san ,sepolcro ,,the ,,ascension ,,of ,,christ ,i am strongly of opinion that the ,borgo picture was the original work1 the ,lyons one1 for which he contracted to the monks of ,cassino1 ,march #fth1 #adie1 being either a somewhat hurried replica of it in which the master grew tired of the monotony of repetition1 or else that it was a picture in which a certain amount of labour was left to assistants and pupils4 ,there is an important study for three apostles1 in the ,uffizi1 which was clearly prepared for the ,borgo picture and not for the ,lyons one1 as1 while closely resembling the former1 it differs from the latter in one or two important details4 ,this is not the accepted theory1 ,i know1 and it is one that will probably not meet with universal acceptance1 but a careful comparison of the pictures leads me to a clear opinion in the matter4 ,with regard to the pilaster saints the case is different4 ,those at the ,vatican are all genuine work of the master and are extremely fine1 and the same may be said of three of the five at ,perugia1 but two of them are not entirely ,perugino's work1 and bear traces of a pupil's hand4 ,the three predella pictures on the other hand1 which are at ,rouen1 are charming examples of the master's work1 and are bathed in that wonderful golden sunlight which is so distinctive of his finest work4 ,in each picture a strip of the foreground which was damaged in transit has had to be restored3 in the ,adoration it is the very slightest bit along the front of the whole picture2 in the ,resurrection it is a wider piece1 embracing part of the feet of three of the sleeping soldiers and the edge of the stone slab on which the tomb rests2 but in the third picture1 the ,baptism1 the damage is serious1 as the foreground strip includes the feet of ,our ,lord and one foot of the ,baptist4 ,in all other respects these three panels are exquisite specimens of ,perugino's fine and discriminative work4 ,with respect to the lunette it must be noted that ,crowe and ,cavalcaselle and many other writers are in error in stating that it hangs in ,st4 ,germain l',auxerrois in ,paris1 whereas it is in ,st4 ,gervais1 a very different church4 ,it is not in good condition1 having suffered much from cleaning and repair1 and it has a horizontal split which nearly divides it into two pieces4 ,it is nevertheless clearly discernible as a fine work from the master's hand4 ,there is neither predella nor lunette at ,borgo ,s4 ,sepolcro4 ,there is no question as to the date of the ,s4 ,pietro altar-piece1 as the original contract for painting it is still in existence and appears in full in ,orsini4,l ,it is dated #hth ,march #adif1 and recites how the abbot and chapter of the monastery gave out on contract to ,perugino the picture of the ,high ,altar for the price of #ejj gold ducats4 ,the ,borgo picture was therefore1 ,i contend1 a little earlier1 but perhaps only a year in advance of the other4 ,the picture of ,francesco delle ,opere belongs to this same period1 but as in the chapter on the ,cambio it will be further discussed1 it may well be passed with brief mention at this place4 ,finally1 as part of the work of these two prolific years1 comes one of our artist's masterpieces1 the ,entombment1 now in the ,pitti ,palace4 ,space composition is seen in this picture in its full vigour4 ,how quiet is the atmosphere of the scene1 how reverent and tender a mood it creates4 ,how vast is the space in which the episode is placed1 and how marvellously is the sense of immeasurable distance produced4 ,illustration3 ,brogi photo ,pitti ,palace1 ,florence ,,the ,,entombment ,,of ,,christ1 #adie ,the picture is one of the most beautiful that ,perugino ever painted4 ,the composition is very clever1 well balanced and well grouped1 while the faces are of a serene beauty that was never surpassed in later works4 ,it is well to notice that the dead body of ,our ,lord retains much of the flexibility of life1 while quite as clearly is seen the weight and the looseness of death4 ,the mourners around are full of tender pity1 while the grief of the ,virgin is too great for words1 and evinces itself in the look of deep affection that fills that wonderful face4 ,each figure is1 however1 distinct1 self-centred1 and enfolded in its own grief4 ,it is only the fact that each one is thinking of the great central figure that gives to the picture1 as a whole1 any real completeness4 ,it is a sober1 thoughtful composition1 full of sentiment1 but lacking any of the strong moving force that other schools gave to a similar representation1 and1 although the forerunner of ,fra ,bartolommeo's greater work1 it has none of the intensity that his more emotional nature could present4 ,some delightful studies for this picture appear in the ,uffizi1 marked by most careful study4 ,the clenched hands of one of the two persons who stand close to ,nicodemus are very noteworthy4 ,the action is so expressive of intense1 but restrained sorrow1 and the drawing of the fine1 delicate1 but muscular hands1 is particularly excellent4 ,in the studies the richly-ornamented cap of the youth in the group does not appear4 ,the cap in the drawing is quite plain1 and the face1 which in the picture is very expressive1 is hard and uninteresting4 ,another large pen drawing for this picture exists1 and is in ,christ ,church1 ,oxford4 ,by some critics it is not accepted as a work of ,perugino's4 ,it is ascribed to one of his pupils1 or to a later man altogether1 especially because several of the faces are hard and unimpressive4 ,let1 however1 the drapery be closely examined1 and the curious formation with dark hollows and oval curves will be recognised at once4 ,the large projecting great toe1 and the manner in which it sets away from the other toes1 leaving a clear space between it and them1 is noticeable1 while the limp flexibility of the bare flesh of the ,christ is also an important criterion in deciding on the origin of the drawing4 ,to me it appears as a thoroughly genuine work1 marking out the general grouping of the picture4 ,the positions of ,nicodemus1 ,mary ,cleophas1 and the youth1 underwent some slight changes1 and the other figures near to ,nicodemus were introduced1 but the picture preserves very closely the original suggestions of the drawing4 ,the finished picture was executed for the nuns of ,santa ,chiara1 but when they had obtained it1 so highly was it admired1 that ,vasari records that a rich ,florentine1 ,francesco del ,pugliese1 offered them three times the price that they had paid for it1 as well as a replica from the master's own hand1 but the tempting offer was declined1 as ,pietro had told them that he did not think he could equal the one they possessed4 ,,footnotes3 ,k ,vide ,gaye ii4 #fi2 and ,morelli #ahhc1 #bhg4 ,l ,orsini1 ,vita dell' egregio pittore ,pietro ,perugino1 #ahjd1 #adj4 ,,chapter ,v ,,the ,,story ,,of ,,the ,,pillage ,there are two noteworthy circumstances that affect the biographer of ,perugino4 ,on the one hand is the fact that so many of his pictures are dated1 and hence along the story of his life stand out clearly defined certain pieces of definite evidence1 marking his progress and his years4 ,on the other hand is the opposing circumstance that most of his altar-pieces have been taken to pieces1 removed from their original home1 and scattered in all directions throughout ,europe1 so much so that the task of reconstructing the most important1 that of ,s4 ,agostino1 is one of serious difficulty4 ,this scattering has enormously increased the troubles of the biographer1 obliging him to journey from ,paris to ,marseilles1 from ,grenoble to ,bordeaux1 from ,strassburg to ,tarbes in order to inspect all the parts of even one picture1 and even in ,perugia itself renders it almost impossible to speak definitely of the history of certain altar-pieces4 ,it is from the ,french occupation of ,italy that all these difficulties result4 ,there was a time prior to #agif when ,perugia was very rich with the works of her adopted son ,pietro ,perugino4 ,at that time almost every church possessed pictures by the master2 the altar-piece painted in #adie for the magistrates' chapel was still in situ1 and the public buildings in the city were possessed of rich decoration1 the work of that artist whom ,perugia had delighted to honour and employ4 ,after the armistice of ,bologna had been signed in #agif1 ,french commissioners were sent through ,italy to demand and select pictures and other works of art which ,napoleon required as spoil from his defeated enemies4 ,perugia1 as a city rich in art treasures1 suffered greatly4 ,the treaty of ,tolentino 7#agig7 demanded urgency1 and1 without any delay1 a commissioner1 ,tinet by name1 descended upon ,perugia1 and1 on the very day on which the treaty was signed1 addressed a letter to the ,priori1 demanding in the name of the ,republic leave of entry into all churches1 monasteries1 and public places1 in order to select such objects as he thought were worthy of transmission to ,paris4 ,he did not confine himself to an arrangement that had been made in the previous ,july1 that ,perugia was to furnish three pictures as its ransom1 but demanded free right to take what he pleased4 ,his orders were too pressing to be eluded1 and the ,priori had no course but to obey4 ,the pillage commenced on the #bjth1 and lasted for two days1 but ,tinet was not satisfied4 ,he had a strong impression that many of the best things were hidden from him1 and so in even more emphatic terms he demanded that the superiors of ,st4 ,augustine and ,st4 ,antoine1 and the librarians of the religious orders and of the town should give him access in order that he might select their greatest treasures and whatever he thought worthy of adorning the museums of the great republic4 ,meantime1 secretly by night1 with urgent haste1 the treasures of the religious houses were being hidden away4 ,the altar-pieces were divided and the smaller portions1 pictures from the predelle1 and panels of attendant saints were carried to private houses1 hidden under floors and behind panelling1 and secreted in every possible way4 ,reliquaries and monstrances were in wells1 and railings and iron grilles covered over with grease and dirt in order to hide them from the covetous gaze of the commissioner4 ,tinet was1 however1 unfortunately1 a very determined man1 and a connoisseur to boot1 and in the two days' search1 he had obtained the chief treasures in ,perugia4 ,it appeared at one time as though that notable picture1 the altar-piece in the ,magistrates' ,chapel1 painted in #adie1 would be overlooked1 but he remembered it at the very last moment and it was included4 ,to add insult to injury1 the ,perugians were ordered to pack and transmit their treasures1 but every possible effort was made to delay the work and prevent their being sent off4 ,much correspondence ensued1 and the ,priori did their utmost to raise difficulties1 but all was to no purpose1 and on ,march #bgth six carriages drawn by twenty-four oxen and attended by six peasants1 quitted ,perugia amid the tears and lamentations of the people1 carrying with them the greatest treasures of the city1 never to be seen again within its walls4 ,the very magnificent proportions of many of ,perugino's pictures rendered it impossible for them to be concealed1 their predella pictures and pilaster saints were in some instances safe1 but the central panels it was impossible to guard1 and in the thirty-two pictures carried off to ,paris1 there were included twelve of the greatest of the master's works1 and also the famous ,sposalizio from the chapel of the ,anello1 and the ,palladium of the city1 the altar-piece from the ,magistrates' ,chapel4 ,drawn by the great white ,umbrian oxen1 and slowly journeying across ,europe1 these heavily-laden vans took their way1 and the pictures that for three hundred years had been objects of devotion and delight to the good people of ,perugia1 and were cruelly torn from their resting places1 went to swell the vanity of the terrible conqueror in ,paris4 ,still1 however1 ,perugia now so poor in her master's works1 was too rich for envious eyes4 ,the peace of ,vienna had been signed1 there was a pause in the warfare in ,europe prior to the invasion of ,russia in #ahab1 and some attention was given to internal affairs4 ,on the #beth of ,february #ahaa appeared an ,imperial decree1 requiring that the treasures in the department of the ,trasimne 7as the district under its new ,french rulers was styled7 should be brought together in order to ornament the picture galleries that ,napoleon had erected4 ,with cruel irony the decree stated that1 doubtless1 the people of ,perugia would rejoice that their pictures were deemed worthy to ornament the galleries of ,paris4 ,napoleon himself had a great admiration for the works of ,perugino1 and the pictures he owned by the master made him desirous of possessing more2 and as with the conqueror to desire was to obtain1 he immediately issued this decree regardless of the feelings of his newly conquered subjects4 ,the ,count de ,champagny1 who was the minister charged with the execution of the decree1 passed on to ,count ,daru1 his subordinate in the ,french city of ,rome1 a list of pictures that had been prepared by ,baron ,denon1 the director of the gallery1 who had passed his youth in ,italy1 and being a great connoisseur1 had an excellent memory of what fine ,italian pictures were left in the plundered city4 ,count ,daru was to pass on the list to ,baron ,roederer1 ,prefect of the ,trasimne1 who on his part was to see that the ,sub-,prefect ,spada gave every assistance to one1 ,tofanelli1 who was to select and transmit the pictures4 ,tofanelli arrived in ,perugia ,september #cjth1 #ahab1 and one day sufficed for him to make his selection4 ,forty-eight pictures were selected1 and packed in cases ready for transmission1 an agreement entered into between him and the town1 signed by himself and countersigned by the mayor1 and a contract sealed between him and ,signor ,franceschini for removing the pictures to ,rome1 and then ,tofanelli hurried off back to ,rome4 ,the pictures were to be sent immediately1 but upon ,tofanelli's departure1 a long series of delays and negotiations commenced1 suggested and arranged by the mayor in order to save the pictures4 ,this worthy man1 ,cesarei1 deserves better recognition to-day in ,perugia4 ,he worked valiantly for the city1 and now his name is nearly forgotten4 ,while ,tofanelli was in ,perugia1 he dissembled his feelings1 aided the commissioner1 signed any papers that were presented to him1 had the pictures packed1 and gaily saluted ,tofanelli as he left the city2 but once the commissioner had gone1 he determined to do his very utmost to prevent the forty-eight pictures gathered from the shrines of his city leaving its gates4 ,he appealed to the bishop and to the government1 he worried the prefect and the sub-prefect1 and eventually obtained a promise that those pictures which were specially dear as objects before which the ,perugians paid their devotions might be retained4 ,forthwith the cases were opened1 and these pictures replaced in their original positions1 to the great joy of the people4 ,hardly had this been done than the permission was countermanded4 ,the mayor was regretting that he had asked for so little1 and that the pictures in the sacristies and corridors of the monasteries would not be grouped with those taken from the churches4 ,he was explaining that all the pictures were equally dear to the ,perugians1 when again an order arrived to send on all the pictures4 ,once more the mayor dissembled4 ,he promised to send the cases as soon as he could obtain carriages1 but at the same time wrote1 to the ,count ,daru1 to the ,director of the ,police in ,rome1 and to the ,count ,baglioni ,oddi1 one of the deputies in ,paris1 invoking the interests of religion and of art of the province and of the capital to save his beloved pictures4 ,again he won a temporary success4 ,on ,august #bfth an order arrived from headquarters1 permitting ,perugia to retain twenty out of the forty-eight pictures chosen by ,tofanelli4 ,once more there was rejoicing1 but again came disaster4 ,count ,daru intervened1 every concession was overturned1 and a fresh order from even higher authorities reached the mayor1 ordering him to send on without delay to the ,capitol at ,rome1 every picture selected by ,tofanelli4 ,these instructions the mayor stated he could not understand4 ,he wrote on ,november #af1 stating that1 of course1 this last order did not include the pictures just given back to ,perugia1 and appealing to ,baron ,roederer for consideration1 adding as a reason that he could not be responsible for the people should the pictures that they cherished be taken away4 ,illustration3 ,alinari photo ,vatican1 ,rome ,,saint ,,benedict ,to this appeal ,roederer turned a deaf ear4 ,he wrote on ,december #d1 again on ,december #h1 and again on ,december #ac1 stating that it was impossible to admit any reasons1 and he must demand that all the pictures be sent at once4 ,the mayor1 indefatigable as ever1 wrote again and again1 raised all kinds of difficulties1 continued to warn the authorities that the people would make a tumult1 and that he could not be responsible for their tranquillity1 and finally sent letters from the clergy of ,san ,severo and ,san ,costanzo supporting his statements4 ,all was of no avail4 ,on ,november #fth1 #ahac1 final definite orders arrived1 and the precious cases had to be sent to ,rome4 ,a few more days' delay would have saved the pictures1 as at the moment that the cases reached ,rome the ,neapolitans under ,murat entered the city1 and ,french dominion in ,rome was at an end4 ,even then the irony of circumstance continued1 for1 when1 on ,january #fth1 #ahad1 the pictures arrived in ,paris1 the allied forces arrived also1 and ,baron ,denon was ordered to restore to their lawful proprietors the pictures that had been stolen4 ,the most unfortunate part of the story has now to be told4 ,instead of forcing ,france to restore the booty at her own cost and at once1 the allies1 in more merciful mood1 simply demanded that she should send for the ,italian representatives and permit them to take away their property4 ,only ten days were allowed in ,paris for the booty to be secured1 packed1 and transmitted1 and1 as envoys arrived from all parts of ,italy1 and each was eager to obtain what he could as quickly as possible1 very many pictures were left behind4 ,the pictures sent to ,paris in #agig had been more in number than could be accommodated in the gallery1 and1 as it is so easy to give away other people's property1 the government had distributed as marks of favour and bribes for tranquillity many of the best ,italian pictures amongst the provincial museums in ,france4 ,many of these pictures ,canova1 who was sent by the ,holy ,see1 failed to trace2 others it was impossible to obtain1 as1 although the allies were in possession of ,paris1 they were not equally masters of the distant provinces in ,france1 and1 consequently1 in ,france these pictures remained4 ,even of those twenty-one pictures stolen from ,perugia in #ahab but two were returned to ,italy1 and those only got as far as ,rome4 ,englishmen may well feel proud of their part in this transaction4 ,it was the firmness of the ,british ,government,m that enabled the ,vatican ,gallery to take its position as one of the great picture galleries of the world4 ,they not only enforced the restitution by the ,french of the plunder accumulated in the ,louvre by the rapacious arms of ,napoleon1 but even contributed some #cj1jjj to defray the expenses of the removal1 which the finances of ,pius ,,vii4 could ill afford1 no other allied power contributing one farthing4 ,canova gathered up1 in the short time at his disposal1 and with the limited means that he possessed1 all the fine pictures that he could obtain1 and the treasures now in ,rome are the proof of his zeal and exertions4 ,meantime the ,priori of ,perugia waited for two years1 hoping against hope that their treasures might come back to them4 ,at length1 in ,september #ahaf1 they wrote to ,canova1 and he replied to them on the #bjth4 ,his letter explained how encompassed with difficulty he had been in ,paris1 how short a time had been allowed him in which to remove the pictures1 how small were the means at his disposal1 how scattered were the pictures1 and how impossible it was1 without force of arms to travel from department to department and take possession of the property4 ,with regard to one notable picture about which the ,perugians were specially anxious1 the ,ascension1 from ,san ,pietro1 he explained that the people of ,lyons had appealed to the ,pope for permission to retain it4 ,they set forth their attachment to the ,holy ,see1 their zeal for the ,chief ,pontiff1 and the singular affection which they had manifested toward ,his ,holiness whenever he passed by ,lyons4 ,their petition received attention1 and the cardinal secretary wrote1 on ,november #acth1 #ahaf1 an authorisation to the city of ,lyons to retain the picture which had been so disgracefully torn from its resting-place in ,perugia4 ,canova was evidently as anxious as were the ,perugians to obtain back all the pictures2 but events were too strong for him1 and the poor ,perugians never again possessed the great treasures of art which1 prior to #agig1 made their city one of the richest in ,italy4 ,cesarei1 the indefatigable mayor of ,perugia1 who had been appointed gonfaloniere year after year in order to obtain restitution of the pictures1 did not give up hope of obtaining his end for some years4 ,he tried hard to obtain the two pictures which ,english generosity had restored to ,italy1 and he worried the ,holy ,see with repeated letters and appeals4 ,at length ,cardinal ,consalvi1 on ,october #hth1 #ahag1 closed the whole episode by a letter to ,cesarei4 ,he explained that the pictures were all presented by the allied forces to the ,sovereign ,pontiff as the ,head of the ,pontifical states from which they had been taken1 and that they were exposed in ,rome for the education of the students who came from all over ,europe to study in the ,queen of ,cities4 ,in consequence1 the ,papal ,government had the right1 the ,cardinal continued1 to retain the pictures4 ,it may be added that1 even if the ,holy ,see had not the right to retain the pictures1 it had too much business on hand at that time to be able to give attention to works of art1 and insufficient money in its depleted treasury to pay for their removal4 ,such is the story1 with all its mournful details1 of the pillage of ,perugia1 and it will now be easily understood why the provincial museums of ,france are so rich in the works of this master4 ,to reconstruct the great altar-piece of ,st4 ,agostino means that visits must be made to ,lyons1 ,grenoble1 ,toulouse1 ,nantes1 and ,perugia4 ,for another altar-piece it is necessary to visit ,rouen1 ,lyons1 ,perugia1 ,rome1 and ,paris2 while yet other pictures are at ,caen1 ,nancy1 ,tarbes1 ,bordeaux1 ,strassburg1 ,marseilles1 ,lille1 and ,chantilly4 ,the scattering is not now wholly confined to ,france1 for pictures at one time in ,france are now at ,altenburg1 ,frankfort1 ,vienna1 and ,st4 ,petersburg1 while odd pieces of these self-same pictures remain to-day in ,perugia4 ,,footnotes3 ,m ,murray1 #ahii1 #bec4 ,,chapter ,,vi ,,in ,,full ,,strength ,in the early spring of the year #adif ,perugino was in ,venice1 but in the autumn back in ,florence and in ,perugia1 although possibly the winter saw him in ,bologna4 ,in #adig he was in ,florence1 in ,perugia1 and in ,fano4 ,in #adih he was in ,florence1 and then again at ,fano4 ,the proof that ,perugino was in ,florence in #adif consists in the document quoted by ,morelli recording the purchase of certain land in ,florence with a view to a permanent residence in the city4 ,to this year ,morelli attributes the ,sposalizio from the chapel of the ,anello at ,perugia1 which is now at ,caen4 ,vasari states that for the altar of the ,sacrament where the ring with which the ,virgin ,mary was espoused is preserved1 this master painted an altar-piece representing the ,marriage of ,our ,lady4 ,mariotti quotes ,vasari1 and on his evidence gives the picture to him1 and every succeeding writer1 including ,crowe and ,cavalcaselle1 and ,morelli1 continues the ascription4 ,what is quite clear is that the company of ,st4 ,guiseppe received1 as ,mariotti records1 the grant of a subsidy for an altar-piece2 but ,professor ,adam ,rossi states that up to ,november #aejj the picture had not been commenced4 ,to #aejj1 therefore1 ,crowe attributes this picture1 ,morelli putting it earlier1 in #adif4 ,on these attributions a theory has been built up that ,raphael in his ,sposalizio 7painted in #aejc or #aejd7 took as his motif the picture painted by his master ,perugino1 and improved considerably on the original conception4 ,crowe and ,cavalcaselle in their inspection of the picture refer to its most striking quality1 its bright colouring1 and qualify their praise by stating that the tones have not the glow of the master's usual work1 and that the forms are less pliant than of old4 ,it is exactly these features that first attract the spectator and which1 ,i must confess1 puzzled me very considerably4 ,a little closer examination revealed the strange inequality in the surface of the picture1 the stringiness and lumpiness of the draperies and the streaky character of the background4 ,much of my perplexity1 however1 ought not to have existed1 inasmuch as in the ,gazette des ,beaux ,arts1 ,april #ahif1 ,mr4 ,berenson had carefully examined the whole question1 and ascribed the picture not to ,perugino at all1 nor to an earlier period than the ,raphael ,sposalizio1 but to the hand of ,lo ,spagna1 and since #aejd4 ,with his opinion1 although contrary to the accepted judgment1 ,i am in the fullest accord1 and ,i think that ,vasari1 going only upon hearsay1 and with probably only a casual glance at the picture1 if ever he saw it at all1 makes a grave mistake when he attributes it to ,pietro4 ,mr4 ,berenson examines all the evidence pro and con with his usual ability1 and produces1 in my opinion1 overwhelming proof of his attribution4 ,he compares the ,sposalizio with the pictures by ,lo ,spagna in other places1 the ,virgin and ,child at ,perugia1 the ,nativity and the ,madonna and ,child at the ,louvre1 and the ,coronation of the ,virgin1 ,lo ,spagna's greatest work 7dated #aeaa71 and preserved at ,todi4 ,he points out that several of the faces in these pictures are identical with faces at ,caen1 notably the face of the ,virgin1 which in every way1 even in position1 is the counterpart of the one in the ,nativity in ,paris4 ,he finds the face of ,st4 ,joseph in more than one of ,spagna's pictures1 and especially he refers to a figure in the ,caen picture1 the fourth to the right1 a woman wearing a hood1 which never once appears in any work of ,perugino's1 but which does appear1 line for line1 not only in the ,todi ,coronation1 but in another of ,spagna's pictures4 ,other points of close resemblance are to be found in the drawing of the ears1 which are totally different to those of ,perugino's figures2 in the hands1 which are broad and heavy in the ,caen picture and in ,lo ,spagna's usual work1 but fine and delicate in ,perugino's2 and especially in the colouring1 certain special tints such as a chartreuse-green and rose-salmon appearing in the ,caen and ,todi pictures1 and never once to be found in ,perugino's accepted work4 ,one very instructive set of arguments ,mr4 ,berenson draws from a close examination of ,raphael's ,sposalizio at ,milan4 ,its shape is upright4 ,perugino always represented the scene in a long1 narrow panel1 the position of the ,virgin and ,st4 ,joseph1 and of the branch carried by ,st4 ,joseph1 are entirely antithetical to the ,umbrian fashion1 while1 curiously enough1 ,lorenzo ,costa1 who was probably a fellow-pupil of ,raphael's1 under the influence of ,timoteo ,vite1 painted in about #aejd or #aeje a ,sposalizio1 upright as is this one1 at ,caen1 and agreeing with it in many other ways4 ,a masterly piece of reasoning shows that ,raphael's work is of the ,ferrarese school and not of the ,umbrian1 and that instead of its being a souvenir of the ,caen picture1 and based upon it and greatly improved1 it is1 in fact1 an original work upon which ,lo ,spagna based his picture which is now at ,caen4 ,when to these arguments are added the want of style and dignity in the ,bramantesque temple at ,caen1 the absence of the colonnade that ,perugino favoured1 and which he drew from ,piero della ,francesca1 the want of intermediate grouping1 the stubborn heaviness of the draperies1 so different from ,perugino's light1 easy folds1 the hard1 empty density of the foliage1 the change in the distant scenery1 and the absence of horizon and cloud1 and finally the entirely different drawing of the feet from the manner in which ,perugino drew them1 the case is practically proved1 and to ,lo ,spagna must the ,caen picture be attributed4 ,if further evidence were needed1 it is ready to hand in the fact that not one ,perugian letter1 document1 or writer attributes the ,sposalizio to ,perugino1 although all speak of it with great terms of reverence1 while ,vasari alone gives it to ,vannucci1 and1 as is well known1 his attributions must often be taken cum grano salis4 ,having in all this agreed most gladly with ,mr4 ,berenson1 ,i must now part company with him in reference to another picture attributed to this same year4 ,few pictures have exercised critics more than has the ,apollo and ,marsyas in the ,louvre4 ,this charming little work was purchased by ,mr4 ,morris ,moore as a ,mantegna4 ,when sold to the ,louvre in #ahhc for #bjj1jjj francs1 it was agreed that it should be placed in the ,salon ,carr1 under the title of ,raphael de ,morris ,moore4 ,it is still called a ,raphael in the ,louvre catalogue1 although a note is added which only commits the authorities to the statement that it is unquestionably the work of an ,umbrian artist4 ,morelli put it first to ,timoteo ,vite1 but confesses that he did not examine it carefully4 ,in a later work he withdrew this ascription1 and says that it belongs most probably to a master whose style is in close affinity with that of ,perugino4 ,mr4 ,berenson includes it in his list of ,perugino's works1 but ,i am much more inclined to leave the attribution where ,morelli left it4 ,the two figures are quite nude4 ,this is almost a unique circumstance with ,perugino1 the only other nude figures in his pictures being some distant ones in his ,love and ,chastity4 ,here is1 therefore1 a most exceptional circumstance2 and also the absence of any drapery deprives the critic of one of the most definite marks1 the dark hollows1 by which ,perugino's work is identified4 ,furthermore1 there are birds in the sky1 and ,i know of no sky of ,perugino's in which they appear4 ,the feet of the two figures are very ,peruginesque1 the open and upward curling great toe is clearly defined2 but the hands have not the awkward tong shape of his earlier work1 nor the very thin1 boneless appearance of his mature work4 ,the landscape and the trees are like those of ,perugino2 but the very prominent lyre has none of his characteristics1 and in technique and handling is painted quite differently from ,perugino's method4 ,the picture seems much more likely to be the work of ,pinturicchio1 and1 in any case1 ,i cannot personally attribute it to ,perugino4 ,illustration3 ,hanfstaengl photo ,munich ,gallery ,,the ,,virgin ,,appearing ,,to ,,st4 ,,bernard ,i agree1 however1 with ,mr4 ,claud ,phillips in attributing the ,st4 ,bernard at ,munich to this period of ,perugino's life4 ,it is1 of course1 impossible to fix its date exactly1 but from #adif to #aejj one may safely put it1 and1 as regards its serene beauty1 hardly too much can be said4 ,the picture was originally in the church of ,san ,spirito in ,florence1 and there is now a copy of it in that place4 ,king ,ludwig ,i4 bought it in #ahbi from the ,capponi family1 who held the rights over the ,nasi chapel1 where it hung1 and although it has been cleaned and restored1 it remains a beautiful and quite genuine work4 ,it is well to compare the hands and the ears in this picture1 with their delicate1 sensitive beauty1 with the heavy features in the ,caen picture1 to which reference was lately made1 and the comparison will be wholly satisfactory1 and in every way in favour of ,mr4 ,berenson's argument4 ,an interesting study for this ,vision of ,st4 ,bernard is at the ,uffizi1 and comparison may well be made with a picture by ,lippo ,lippi in the ,badia1 illustrating the same scene4 ,to this same period we attribute the ,virgin in ,glory at ,bologna1 the ,family of ,st4 ,anne at ,marseilles1 and the masterpiece in ,florence1 the ,crucifixion of ,sta4 ,maria ,maddalena dei ,pazzi4 ,in the ,bologna picture we see the lovely figure of ,st4 ,michael1 to which allusion has already been made when reference was made to the ,certosa altar-piece1 now in the ,national ,gallery4 ,the great archangel is even fuller of beauty in this picture1 his hands especially being of exquisite form and grace4 ,there are three other adoring saints1 ,st4 ,catherine of ,alexandria1 ,st4 ,john the ,divine1 and ,st4 ,apollonia4 ,above in the sky is the glowing mandorla of cherubs1 a favourite device of ,pietro's1 glowing with rainbow radiance1 and enveloping in its misty colour the cherub heads which belong to it4 ,the conception is very lovely1 the colouring subdued and sunny1 and1 while the picture recalls the ,borgo and ,lyons pictures1 it yet foreshadows the great ,vallombrosan ,assumption which the master was to produce a few years later on4 ,the ,marseilles picture is remarkable in many ways4 ,it represents a scene that was very seldom selected by the old masters1 and which no one treated so beautifully as did ,perugino 7see ,frontispiece74 ,there are1 perhaps1 not more than half-a-dozen examples amongst all the old masters' pictures which represent the ,family of ,st4 ,anne1 and yet the subject is one that is particularly worthy of careful and thoughtful treatment4 ,perugino has adopted a very fine arrangement4 ,the ,virgin is enthroned in the centre1 and has the divine ,child on her knee4 ,behind her stands ,st4 ,anne in a very motherly attitude1 resting her two hands on her daughter's shoulders4 ,on the right of the throne stands ,st4 ,mary ,salome1 holding in her arms ,st4 ,john the ,divine1 and by her side is ,st4 ,joachim1 the husband of ,st4 ,anne4 ,at their feet stands the child ,st4 ,james4 ,on the opposite side1 to the left of the throne1 stands ,st4 ,mary1 the wife of ,cleophas1 holding in her arms ,st4 ,james the ,less4 ,by her side stands ,st4 ,joseph1 and near by another child1 ,st4 ,joseph ,justus4 ,two more children1 ,st4 ,simon and ,st4 ,thaddeus1 are seated on the steps of the throne1 and above them is the inscription1 ,,petrvs ,,de ,,chastro ,,plebis ,,pinxit4 ,illustration3 ,alinari ,photo ,bologna ,gallery ,,the ,,virgin ,,in ,,glory1 #adif ,the whole scene is under a wonderful and lofty archway1 and beyond is an exquisite landscape of hills and rolling plain4 ,the children are exquisite in grace and beauty1 and two of them were copied by ,raphael1 and his picture still hangs in the sacristy of ,st4 ,pietro in ,cassinense at ,perugia4 ,the artist has inscribed the name of each saint on the halo of light that surrounds each head1 and the composition of the group is almost perfect1 so well arranged and so well balanced4 ,the colouring is subdued but radiant with sunlight1 and few pictures are as typical of the master's hand4 ,all his peculiarities of painting1 his unusual draperies1 his exaggerated feet1 his long slender hands with lumpy knuckles1 and his restful1 quiet1 self-contained figures can be studied in it4 ,originally it was painted for the monastery of ,st4 ,anna1 and later on was transferred to ,st4 ,maria de ,fossi in ,perugia1 and was brought to ,marseilles with the ,perugian spoil which was mentioned in a preceding chapter4 ,there is an early drawing for the whole picture at ,alnwick4 ,the wonderful fresco at ,sta4 ,maria ,maddalena dei ,pazzi was never seen by ,crowe and ,cavalcaselle or would have been recognised by them as one of the artist's grandest conceptions4 ,in ,crowe's time1 the permission of the ,archbishop of ,florence was needed ere the picture could be inspected1 and this permission ,crowe could not obtain4 ,the chapter-house in which it is situate is now secularised1 and the fresco can be seen4 ,vasari speaks of the monastery under its old name of the ,cestello1 and records that a picture of ,st4 ,bernard was also painted for the same house1 but this has been lost4 ,the great fresco in question was ordered in #adic1 for #ee ducats1 by ,pietro ,pucci and his wife ,giovanna1 and was finished in this eventful year ,april #bjth1 #adif4 ,the scene is represented under three arches4 ,in the central one is the ,crucifix1 its arms stretching from wall to wall of the arch1 its foot on the ground1 and its upper extremity nearly touching the crown of the arch4 ,at its foot kneels the ,magdalen1 gazing tenderly up at the crucified ,christ1 above the cross are the eclipsed sun and moon4 ,on the left are the two figures of the ,virgin and ,st4 ,bernard1 and on the right are two more figures1 ,st4 ,john the ,divine and ,st4 ,benedict4 ,there are only these six figures in the entire picture1 which covers the whole wall of the chapter-house1 but beyond them the arches seem to reveal a great ,umbrian landscape1 which stretches farther than eye can reach4 ,it is practically the same view as can be seen from the city of ,perugia1 from the hill of ,montefalco or from the monastery of ,assisi1 and is apparently limitless4 ,there are the long sweeping outlines of the ,umbrian ,hills1 the distant towns with their churches and castles1 the pleasant waters winding in and out of the hills and gleaming in the evening light1 and the delicate larch and olive trees crowning the hills and standing out so clearly and daintily against the sky1 while above and filling nearly half of the archway space is the blue and purple sky1 flecked with white gossamer clouds and reaching far up in its hollow dome beyond the range of sight4 ,illustration3 ,alinari photo ,sta4 ,maria ,maddalena dei ,pazzi1 ,florence ,,the ,,crucifixion ,as the spectator steps into the quaint chapter-house1 this whole scene appears to open into view4 ,the central crucifix with its solemn burden1 and the five quiet figures standing so still and placid1 full of that intense sorrow and tender pity which absorb the whole being1 and which are so evidently the dominant passions that the mind of the spectator unites with them1 and all who gaze on this sublime scene do so with reverend pity for the central figure1 and intense sympathy for the spectators in the drama4 ,there are two studies in existence for this work1 one for the ,christ on the ,cross1 on the back of a drawing of ,pericles 7#beb1 #djj7 and the other for the standing figure of the ,virgin 7#bea1 #dag74 ,both are in the ,uffizi ,gallery4 ,in the central compartment of the fresco will be recognised the prototype of the ,crucifixion by ,raphael now belonging to ,mr4 ,ludwig ,mond4 ,there is1 however1 far more pure beauty1 definite purpose1 and tender reverence in the work by ,perugino than in that by the youthful ,raphael1 although the merit of the latter work is very great1 and surprisingly so when the age of the artist is taken into consideration4 ,there is a breadth and power and an originality about ,raphael's figure that is wonderful1 but from the point of view of reverence and devotion1 ,perugino's marvellous and touching creation is superior to it4 ,the ,certosa altar-piece1 now in the ,national ,gallery1 is usually considered to be one of the greatest pictures ,perugino ever executed4 ,one-sixth part of it only is still in situ1 the central panel of the upper tier4 ,this represents the ,eternal ,father within a mandorla of cherubs4 ,the remaining five panels are copies1 the two upper ones1 after ,borgognone1 to replace originals in ,france1 the three lower ones to replace the originals in ,london4 ,there are one or two points that merit special attention in this picture4 ,it is desirable to mention that what has been called the monotony of ,perugino can be clearly seen at this time4 ,the figure of ,st4 ,michael has already appeared in the ,albani altar-piece1 and will appear again in the ,bologna ,assumption1 and other pictures4 ,the elaborately decorated shield and the quaint head-dress of the great archangel appear in the figures of the ,cambio decoration1 in the ,sposalizio1 and in the ,sistine ,chapel fresco4 ,the angels which appear in the central panel will be marked again and again in later works4 ,perugino in his lifetime was severely criticised for this failing4 ,lanzi expressly records the grumbling of many of ,perugino's patrons at his want of variety in treatment1 the fact that his altar-pieces more or less closely resembled one another1 and the artist's reply that he robbed no one4 ,his figures were admired in one picture1 why should they not be in another8 and if a figure was pronounced lovely and suitable at one time and for one place1 why should it be condemned when used for a similar position in another place4 ,this complaint1 made in the fifteenth century1 has continued down to the present time1 and has certain justification4 ,there is a want of originality about ,perugino's conceptions beyond a certain point2 but this very monotony is a most useful aid in recognising and scheduling his pictures1 while individually his figures are so graceful1 and his groups so well composed1 that those who love ,umbrian art never tire of gazing upon his fascinating pictures4 ,illustration3 ,hanfstaengl photo ,national ,gallery1 ,london ,,the ,,certosa ,,three-,,fold ,,altar-,,piece ,this great altar-piece was completed in #adii4 ,in the early part of that year the ,duke of ,milan1 ,il ,moro1 wrote to the monks at ,pavia complaining of the delay in the completion of the altar-piece he had commissioned1 speaking of the large sum he had disbursed1 and of his love for the ,certosa and desire to see it completed1 and begging the ,carthusians to hurry on ,perugino to complete his work4 ,they did so1 and by the end of #adii the picture was in its place4 ,in the following year1 #adig1 ,perugino was in ,fano1 and there again in #adih4 ,in each of these years he was probably also in ,perugia1 and in one of them1 perhaps #adig1 he was at ,sinigaglia and at ,cantiano1 two small places close to ,fano4 ,of his visits to ,fano we have two results3 a ,madonna and ,child with ,saints1 dated #adig1 and an ,annunciation1 dated #adih2 while at ,sinigaglia there is a ,madonna and ,child with ,saints closely resembling the ,fano one1 and at ,cantiano a ,holy ,family of similar characteristics4 ,in the intervals which enabled the artist to revisit ,perugia we have evidence of his work in a ,madonna and ,child1 dated #adig1 now in the ,gallery of ,perugia1 and in another picture attributed to the same period and now hanging in the same gallery4 ,even these visits do not complete his wanderings1 for on the #bfth of ,june #adih he was certainly in ,florence4 ,it is only an assumption on my part that the ,sinigaglia and ,cantiano pictures followed the ,fano ones4 ,they may have just preceded them1 and should perhaps belong to that already crowded year #adif1 but ,i am strongly of opinion that such is not the case4 ,again1 they should perhaps be given to a later period altogether1 say to #aejj or #aeja2 but we have no evidence whatever connecting ,perugino with this remote part of the sea-coast save in #adig and #adih1 and as in style and colouring1 even in composition and design1 the ,sinigaglia and ,cantiano pictures so closely resemble those at ,fano1 and the places were not easy of access save from ,fano1 and we do not hear of the artist being in this district on any other occasion1 the attribution to that period is given4 ,illustration3 ,alinari photo ,perugia ,gallery ,,the ,,madonna ,,and ,,child ,,with ,,penitents1 #adig ,both of these pictures have signs of hurried execution1 and do not appear to be in all their details the work of the master1 and my contention is that they were planned when the ,fano ones were in progress and executed partly by pupils under the control of the artist who was himself working close at hand4 ,the #adig altar-piece at ,fano is really a fine picture1 and the five predella pictures are remarkably good1 perhaps the finest of this style of miniature-like painting that ,perugino ever executed4 ,in the predella scene can be noted ,perugino's method of representing the ,sposalizio1 and the arcade and temple doorway1 the arrangement and grouping of the figures1 and the open air effect of the whole1 and entire absence of crowding will all be noted as characteristics which the ,caen picture does not possess4 ,the lunette of this fine altar-piece is the same scene as the artist used in the scattered altar-piece for ,st4 ,agostino1 and should be compared with the lunette from this altar-piece which now hangs in ,st4 ,pietro in ,cassinense at ,perugia4 ,in the latter the ,virgin and the ,magdalen are each holding one of the hands of the dead ,christ4 ,in the ,fano picture these hands hang down loosely and rest on the tomb4 ,in other respects the two pictures are almost identical4 ,illustration3 ,alinari ,photo ,perugia ,gallery ,,the ,,intercession ,,of ,,st4 ,,francis ,,on ,,behalf ,,of ,,perugia ,the other ,fano picture is a very charming ,annunciation4 ,the arched colonnade again appears4 ,the ,eternal ,father1 within a circular mandorla1 is above1 and below1 flying towards the ,madonna1 is the white dove of the ,holy ,spirit4 ,in the distance is ,fano itself1 and in the far distance the sea4 ,we now come to the two ,perugia pictures4 ,the one which is known to have been painted in #adig for the altar of the noble confraternity of ,san ,pietro ,martire1 represents the ,madonna seated upon a throne or tomb1 crowned1 and holding the ,christ on her knee4 ,above in the air are two angels kneeling in adoration1 while on the ground around and partially behind the ,queen of ,heaven1 are two groups of white-robed penitents4 ,there is a study for this picture in the ,uffizi4 ,it ought to be quite easy to discover the exact date of the other picture4 ,it was painted for the noble confraternity della ,giustizia1 who deposited it in the gallery1 and it evidently alludes to the union of the original confraternity of ,san ,andrea della ,giustizia1 with a smaller but similar body dedicated to ,san ,bernardino and connected with the church of ,san ,francesco4 ,san ,bernandino of ,siena is one of the two saints who are kneeling in the foreground1 and is distinguished by the tablet bearing the ,i4,h4,s4 surrounded by rays of light which floats in the air close to him4 ,he lived at the convent of ,san ,francesco al ,prato1 and close to the convent now stands the oratory dedicated in #adfa to his memory1 the front of which is decorated with ,agostino ,ducci's wonderful marble and terra-cotta faade4 ,the confraternity for whom the picture was painted1 specially honoured the memory of ,san ,bernardino1 and therefore had a peculiar devotion toward his patron saint1 ,st4 ,francis of ,assisi4 ,st4 ,francis1 in the picture in question1 kneels opposite to ,san ,bernardino4 ,in the background is a large group of kneeling people headed by the ,priori in their furred gowns1 and near at hand are women and penitents1 all intent upon the same petition4 ,still more remote is a representation of the city1 differing in many respects from the view of ,perugia given in the ,st4 ,agostino altar-piece painted in #aeba1 and resembling much more closely the town of ,san ,gemignano as it now appears4 ,one would have naturally expected that this picture would have been named by ,mariotti1 or that documents in ,orsini or in the ,perugian archives would have mentioned it4 ,my chief reason for giving it to #adih is that in that year there was an outbreak of plague in the city which the records inform us suddenly ceased in response to great supplication1 and it is possible that this picture was painted for the confraternity in commemoration of this answer to prayer4 ,there are perhaps only two other instances in which ,st4 ,francis is represented1 but the reason already stated may well account for his presence in this picture4 ,illustration3 ,alinari photo ,accademia1 ,florence ,,the ,,crucifixion ,the ,crucifixion1 now in the ,accademia1 may1 ,i think1 be ascribed to this period4 ,it is an altar picture1 and was painted for the ,convent of ,st4 ,jerome in ,florence1 and there is definite evidence that in #adih ,perugino did visit ,florence and painted a picture in the city4 ,there is much in this work which recalls the ,pazzi ,crucifixion4 ,the ,christ is from the same model1 but is a larger figure in every way and not quite so carefully drawn as in the ,pazzi one4 ,its increased size and more hurried execution gives it a coarser and harsher effect4 ,the ,pazzi ,crucifixion has but one figure at the foot of the cross4 ,the ,accademia necessarily has two1 as ,st4 ,jerome1 with his lion and hat1 had to be introduced4 ,the ,blessed ,virgin is the same figure as in the ,pazzi fresco1 and in the same posture even to the twisting of the fingers in the clasped hands1 but her feet are bare in the ,pazzi fresco and in the ,st4 ,jerome picture are adorned with elaborate sandals4 ,the scene at the back of the cross in the ,pazzi fresco is evidently not ,florence1 and was probably either a typical ,umbrian town or one connected in some way with the donor's early life2 but in the ,st4 ,jerome picture the city that is depicted is clearly ,florence1 and certain towers and spires can be recognised in the scene4 ,the composition is more crowded than in the ,pazzi fresco1 and this element and the heavier treatment of the crucified ,figure somewhat detract from its beauty2 but it is probable that the explanation of the whole circumstance is that the ,st4 ,jerome ,crucifixion was intended to be placed high up above an altar and at the end of a long and somewhat dark church1 whereas the ,pazzi ,crucifixion was on a level with the eye1 rising up from the ground1 and in a small and well-lighted chapter-house4 ,,chapter ,,vii ,,the ,,cambio ,it has already been shown that the statement of ,crowe and ,cavalcaselle that ,pietro resided entirely in ,florence at this time is incorrect1 but it is quite open to believe that he had desired to do so4 ,he invested some of his earnings in the purchase of land in the ,borgo ,pinti in #adih1 and in the deed is referred to as habitator in populo ,s4 ,petri ,majoris4 ,in ,january #aith1 #adig1 he was called in to assist ,benozzo ,gozzoli1 ,cosimo ,roselli1 and ,filippino ,lippi to value the frescoes of ,alesso ,baldovinetti in the church of ,sta4 ,trinit in ,florence1 and in ,june #adih he was present at a meeting called to discuss the repairs of the lantern of ,sta4 ,maria del ,fiore4 ,the church had been struck by lightning1 and the question of the repair of the injured lantern was submitted to a meeting of architects1 sculptors1 and painters1 and at this meeting ,filippino ,lippi1 ,lorenzo di ,credi1 and ,perugino all tendered their advice4 ,at about this time came an invitation from the ,priori of ,perugia for him to undertake the entire decoration of their ,cambio or ,bourse2 and this invitation seems to have finally disposed of the ,orvieto contract4 ,he wrote to the ,orvietans stating that he could not come as he was otherwise engaged2 and there is no trace of his ever visiting their city during his life4 ,the flattering request of his adopted townsmen was well pleasing to ,perugino2 the terms offered him were satisfactory2 and early in #adii he left ,florence and commenced in ,perugia what ,i consider to be the most important work of his life4 ,the scenes in the decoration of what is still called in ,perugia the ,noble ,cambio1 are not the most beautiful that ,pietro painted1 nor are they the finest of his works in the way of drawing1 composition1 or colouring4 ,they1 however1 form part of a complete scheme of decoration1 carried out1 it is true1 under certain definite restrictions laid down by the ,priori1 but1 subject to these restrictions1 designed throughout by the master1 and mainly executed by his own hand4 ,it has already been said that to understand ,perugino it is absolutely necessary to visit ,umbria4 ,the dictum can be made even more definite4 ,it is needful to see not only ,umbria but ,perugia1 and not only ,perugia but the ,cambio1 in order to have an adequate idea of the artist's power4 ,the quaint little room must be visited again and again if the student is to really understand its beauty4 ,when at first one steps from the brilliant sunshine of the street into this dark chamber1 it is not easy to realise the rich decoration which covers its walls4 ,gradually1 however1 as the eye becomes accustomed to the more subdued light1 it reveals itself1 but part only of the room can be studied at a time4 ,the room is very much as ,pietro left it1 and in its way is one of the most beautiful in all ,italy4 ,the lower part of the walls is wainscotted with dark wood inlaid in tarsiature4 ,near the entrance is the throne for the judge1 and below it the desks and seats for the money-changers1 all exquisitely carved1 and then all around the room1 above the wainscotting1 is ,perugino's fresco decoration1 and above it the vaulted ceiling painted from his designs by his pupils4 ,there is unity about the whole which is perfect4 ,perugino is at his best1 straining his utmost to give honour to the town of his adoption1 stimulated by the very nature of his commission1 exercising all the fertility of his talent in design1 and labouring with intense sympathy and determination1 convinced that in ,perugia he can execute a work that will perpetuate his name for ever and ever4 ,the decoration is curiously illustrative of that strange mingling of spirits which the ,renaissance produced4 ,the popular mind at this period was deeply affected by the study of the classics1 and sacred and profane literature were being considered side by side4 ,the predominant spirit was certainly ,christian and not pagan1 but in a building intended for secular work the classic spirit had a fuller development than in a church1 and1 as ,perugino frankly stated in the contract for the decoration that his aim was to recommend the merchants and magistrates therein assembled never to forsake the path of duty1 but to remain faithful to the dictates of wisdom1 of natural reason1 and of religion1 so it was quite admissible for him to appeal to great classic heroes for the lessons he desired to teach1 and to emphasise and spiritualise all by the teaching of pure and humble ,christianity4 ,illustration3 ,alinari photo ,the ,cambio1 ,perugia ,,fortitude ,,and ,,temperance ,,with ,,the ,,warriors ,it appears from ,mariotti and ,marchesi that the subjects were submitted to ,pietro on the part of the ,priori by ,francesco ,maturanzio1 ,professor of ,rhetoric at ,perugia1 and secretary to the ,priori4 ,in a ,,ms4 of poetical works by ,maturanzio1 still preserved at ,perugia1 the inscriptions on the tablets of the decoration appear1 and ,maturanzio himself1 according to ,marchesi1 derived some of his inspiration from a ,,ms4 ,cicero1 in which are miniatures of the ,virtues and of the classic heroes who specially exemplify them4 ,near the door ,pietro has painted ,cato1 then on the left wall1 in two bays1 are groups of philosophers and warriors in groups of three1 each group consisting of a ,greek between two ,romans1 and underneath each figure is his name4 ,above are representations of the ,virtues1 and opposite to these two bays is one in which are depicted the ,prophets and ,sibyls1 while at the end of the room appear the ,nativity and the ,transfiguration4 ,these figures are arranged in one long line1 each figure standing separately apart from the others1 lonely and abstracted4 ,the warriors are singularly unlike what a more pagan artist would have depicted4 ,they are dainty1 dreamy1 gentle knights1 almost feminine in their grace of limb and countenance1 and in their elegance of costume and pose4 ,in their head-dresses the fancy of the artist has run wild4 ,nothing is too extraordinary for ,perugino to devise1 and1 fond as he always was of eccentric helmets and mitres1 he has given full play to his imagination in these ,cambio groups1 and decked his heroes in the most extraordinary and extravagant helmets that even his fancy could invent4 ,the armour and the costume of the figures also show how exuberant was the artist's fancy1 and in the shape and decoration of the shields especially he gave it full play4 ,despite all these drawbacks1 there is a certain stately grace about the figures1 the drawing is accurate1 the proportions good1 and the attitudes natural1 although just a little forced4 ,the most important work of all is in the large bay opposite to the warriors and philosophers4 ,this is styled the ,triumph of ,religion1 and represents the ,prophets and the ,sibyls standing together in converse1 and above them is the ,eternal ,father1 who is attended by two angels1 and who is raising ,his hand in blessing4 ,there is more power1 breadth1 and movement in this group than in the others1 and there is closer connection between the various figures4 ,they are more certainly interested one in the other1 and in conversation one with the other2 while as regards their draperies there is a broad1 full sweeping treatment that is very marked1 and deserves careful attention4 ,one more point may well be noted1 that1 fond as ,perugino was of inscriptions and names on his pictures1 of ,latin verses1 and of ,latin signatures1 in none of them is there such a profusion of inscriptions as in the ,cambio1 and every letter is most carefully drawn with the pencil1 and is admirable in its proportions and clearness4 ,one scene is practically unique4 ,on but one other occasion1 as far as ,i am aware1 did ,perugino paint the ,transfiguration1 and then he carried out but little of the picture himself4 ,vasari incorrectly styles it the ,resurrection4 ,this latter scene ,pietro represented many times1 and even ,crowe and ,cavalcaselle1 careful as they usually were1 have confused the ,transfiguration with the ,resurrection when they refer to the ,fano altar-piece4 ,the three disciples in the ,cambio fresco are grouped very much in the way in which ,pietro grouped the sleeping disciples in the ,accademia picture4 ,the attitude of the ,christ closely resembles that of the ,christ in the ,vatican ,resurrection2 but1 this resemblance accepted1 the connection between the two representations is at an end4 ,illustration3 ,alinari photo ,the ,cambio1 ,perugia ,,portrait ,,of ,,perugino1 #aejj ,there are no angels in this picture1 which1 for ,perugino1 is most unusual2 but ,moses and ,elias1 fine1 well-drawn1 powerful figures1 take the place of the usual singing angels who float in the sky4 ,the half-startled look of the disciples is very cleverly presented1 and the glow of the ethereal light upon their faces1 partially warded off by ,st4 ,john with his upraised hand1 is beautifully depicted4 ,the transfigured ,christ is an imposing figure1 full of dignity and peace1 and demanding reverence from those around4 ,there is a sense of space1 of distance1 and of mystery in this fine fresco1 which ,perugino seldom1 if ever1 exceeded4 ,when1 at the very close of his life1 ,perugino painted for ,sta4 ,maria ,nuova his other fresco of the ,transfiguration1 he used the same cartoon as he adopted for the ,cambio1 reversing the three figures on the ground4 ,the result is1 however1 far different1 and but little of the fresco is really the work of ,perugino4 ,in place of a mandorla of rays of burning light1 there is the usual one of cherubs1 cut across by an awkward cloud1 and almost all the figures have lost their dignity and power4 ,his fellow-citizens paid him the compliment of desiring that his portrait should be identified with his important work1 and probably ,maturanzio composed the complimentary verses which are written beneath it1 and which ,perugino himself could certainly not have selected4 ,the inscription runs3 ,perdita si fuerat pingendi his retulit artem2 ,si nunquam inventa est hactenus ipse dedit1 which ,rev4 ,h4 ,r4 ,ware has thus rendered3 ,if we had lost the painter's art1 'tis here restored in better part2 ,if it had always been unknown1 he's given it as his very own4 ,the portrait of the artist may well be compared with the one in the ,uffizi1 which was so long believed to be his1 but which has now been removed from its old position and hung in the ,tribuna as the portrait of ,francesco delle ,opere1 according to the inscription on its back4 ,with the knowledge that the one in the ,cambio is genuine1 it is surprising that the ,uffizi portrait should for so long have been called ,perugino's1 and a whole story spun to account for the words ,timete ,deum which occur in the man's hand4 ,in not one feature do the two portraits1 however1 resemble one another1 and the one of ,perugino in the ,cambio reveals him as a man of strong1 healthy appearance1 of unusual determination and great power4 ,the features reveal strong sense of ideality1 good knowledge of form and of colour1 and some dry1 lurking humour of a cynical and malicious type4 ,to a certain extent the face is sensual1 but not lascivious or voluptuous2 but its main characteristic is its determination1 the ability to conquer difficulties1 to labour hard and long1 and to produce a vast amount of work in a short time4 ,it is also the face of a thoughtful man1 not so much of a loveable one1 as of one who was masterful and resolute4 ,opposite to the portrait of the artist1 close by the fresco of ,prophets and ,sibyls1 is a label with the words1 ,anno ,salvt ,m4,d41 giving the definite information in what year the work was completed4 ,it was1 ,i take it1 at this period of ,perugino's life that the great ,raphael first became his pupil4 ,vasari's statement as to ,giovanni ,santi taking the lad to ,pietro is unconfirmed1 and must be received with caution1 especially as we know that ,santi died in #adid4 ,as has already been shown1 ,perugino was wandering1 in the years previous to #aejj1 far and wide1 and was seldom at ,perugia for long together2 and1 as ,morelli was the first to point out1 it would have been impossible for him to give the regular and continuous instruction to the young lad ,raphael at that time4 ,in #aejd ,raphael painted his ,sposalizio1 in #aeje the fresco at ,s4 ,severo in ,perugia1 and probably it was several years previous to this that he painted the ,dudley ,crucifixion4 ,professor ,rossi of ,perugia has announced that documents exist in that city proving that ,raphael actually did not leave ,urbino till the end of #adii4 ,the information is quite credible1 and is what might be expected2 but it lacks confirmation1 and when at ,perugia ,i was quite unable to verify its statement4 ,the question is still an open one4 ,morelli gives ,raphael's earlier training to ,timoteo ,vite1 but1 to my mind1 produces no distinct proof of the influence of ,timoteo upon the young ,raphael4 ,it is perfectly certain that the lad was a pupil to ,perugino1 and it is1 of course1 possible--although hardly conceivable--that his tuition was taking place during the busy wandering years which preceded #aejj4 ,my own notion is that the tuition began in #adii or #aejj1 and that ,raphael1 together with the other pupils1 took his part in the ,cambio decoration1 probably in the work of the ceiling4 ,there is1 of course1 a local tradition that in two of the faces in the fresco of ,prophets and ,sibyls are immortalised the features of ,raphael and ,pinturicchio4 ,nothing is more likely4 ,both pupils were of unusual and remarkable appearance1 and the master may quite as well have used them as his models while working with them in the room4 ,there can be no definite proof of what part ,raphael took in the scheme of decoration1 but it is pleasant to conceive him as working side by side with the master whose art influenced him so strongly1 and between this time and that of #aeje1 when the ,san ,severo fresco was executed1 ,raphael may well have been assisting ,perugino in all his work1 and learning from him the art in which in later days he was to reign so triumphantly as king4 ,for the ,cambio decoration ,perugino appears to have received #cej large gold ducats1 but the final payment of the money is not made till #aejg1 when the juror of the ,cambio1 ,alberto de ,mansueti1 records with pride the fact that he had finally settled the ,cambio payments and obtained ,perugino's receipt in full1 dated #aeth ,january #aejg4 ,illustration3 ,alinari photo ,accademia1 ,florence ,,the ,,assumption ,,of ,,the ,,virgin1 #aejj ,,chapter ,,viii ,,florence1 ,,perugia1 ,,and ,,citta ,,della ,,pieve ,the date #aejj is attached to the great ,vallombrosan altar-piece1 and it must1 therefore1 have been executed immediately after the completion of the ,cambio4 ,whether it was painted in ,vallombrosa itself or not cannot be stated with accuracy2 but the general impression given by the documents relating to the picture is that it was executed within the precincts of the religious house4 ,vasari states clearly that the picture was done at ,vallombrosa1 but his statements of this sort have always to be accepted with caution4 ,it is1 however1 in this case more than probable that he is correct4 ,the picture1 now in the ,accademia1 is one of the finest that ,perugino ever produced4 ,it presents1 of course1 many of ,perugino's favourite figures and arrangements4 ,the mandorla recalls the altar-pieces of ,borgo and of ,lyons4 ,the ,eternal ,father above is similar to the scene in the ,prophets and ,sibyls fresco in the ,cambio4 ,the angels with musical instruments will be found again in the ,,ss4 ,annunziata picture1 and the archangels attending upon the ,eternal ,father have already been seen several times in earlier works4 ,the general scheme of the picture is the one which ,pietro made somewhat hackneyed1 but there are certain special features that must not be overlooked4 ,the ,virgin is seated in the skies within a glowing radiance of pure white light1 and this of itself is an unusual feature4 ,never has ,perugino painted the ,madonna so finely4 ,there is a celestial beauty upon her face1 and her hands and robe are depicted with the utmost skill and care4 ,the angels are somewhat loosely drawn1 insipid in countenance1 and lacking in proportion1 especially in their attenuated legs1 and in the large size of their hands2 but the artist's main attention has been given to three points in the picture--the figure of the ,virgin1 the four figures on the ground1 and the landscape in the rear4 ,crowe and ,cavalcaselle speak of the four attendant saints as magnificent as isolated creations1 and the words are none too strong4 ,the four figures are superb2 they are well-balanced and stand firmly on their feet2 their draperies are in easy folds1 and are painted with unusual care1 especially in their delicate gradations of colour2 the pose is in each instance suitable and sufficient1 and there is tender1 reverent beauty in the faces1 and the utmost dexterity and feeling in the painting of the hands4 ,still greater work1 however1 ,perugino executed at ,vallombrosa4 ,he painted the portraits of the ,abbot ,baldassare1 and of ,don ,biagio ,milanesi1 and triumphantly proved his right to be termed a great portrait-painter4 ,if all other works of ,perugino had perished and we possessed these two heads alone1 the genius of the artist would be revealed by them as of the highest order4 ,illustration3 ,alinari photo ,accademia1 ,florence ,,portrait ,,of ,,the ,,abbot ,,baldassare ,,of ,,vallombrosa ,they are painted with the lightest of touch and with extraordinarily little colour4 ,the tone is that of old yellow parchment1 and each picture contains only the upturned head and a few inches of the brown monastic robe2 but the effect is perfect4 ,the marvellous feature1 however1 of each portrait is its absolute truth and its perfection of modelling4 ,there is no accessory2 there is no cap1 or hood1 or costume2 there is only a plain brown background3 but the effect is that of living1 breathing life4 ,the very slightest touches reveal the bones of the face and the corresponding hollows of the tightly-drawn skin4 ,the bare1 shaven head1 with its narrow tonsure1 allowed no opportunity for careless drawing4 ,there was no hair with its rich shimmering colour to hide inaccuracies of line or to cover up faults in execution2 but the master needed none of these excuses4 ,the task was a stern one1 uncompromising in its severity2 but it is nobly executed1 and two delineations of character are presented4 ,already allusion has been made to the portraits of ,francesco delle ,opere and of the artist himself1 and if to them be added these two1 and the faces of the standing figures in the ,vallombrosan altar-piece1 a careful student can hardly fail to acknowledge that the artist was1 above all1 a portrait-painter in the truest sense of the term4 ,illustration3 ,alinari photo ,accademia1 ,florence ,,portrait ,,of ,,don ,,biagio ,,milanesi ,,of ,,vallombrosa ,there is a very puzzling picture which was probably painted at about this time1 and which was executed for ,san ,francesco in ,perugia and hangs now in the ,vatican ,gallery4 ,vasari ascribes it to ,perugino4 ,orsini suggests that ,raphael had a hand in it4 ,crowe gives it entirely to ,raphael as a very early work1 and ,morelli ascribes it entirely to the hand of ,lo ,spagna4 ,in the midst of so many conflicting theories it may be allowable for me to agree with ,vasari4 ,it is not very likely that in all his work ,perugino would preserve the same level of beauty4 ,the master had1 as was most natural1 his successes and his failures4 ,at times his commissions were so numerous that some of them were carelessly executed2 at another time a subject was given him which did not altogether appeal to his mind2 at another he worked con amore1 and put his whole soul into his labour4 ,we see fine results in the ,cambio1 and in the ,vallombrosan pictures1 and ,i take it these are followed by this ,resurrection1 which is weak and unsatisfactory1 and by others which are even at a lower level4 ,later on we shall see important work at ,rome1 in the ,louvre1 and at ,citt1 followed by poor1 inadequate work at ,spello4 ,then comes a recrudescence1 of which the great altar-piece at ,st4 ,agostino is the result1 and this is followed by final work which is weak and monotonous1 but which still retains the perfume of the master's nobler days4 ,the figure of the ,saviour is inaccurate and badly drawn1 the face is quite unsatisfactory1 the mandorla clumsy and rigid1 the angels poor and lacking in expression1 and their draperies feeble4 ,the colouring of the picture1 the landscape1 the faces and hands1 the wonderful detail1 the composition1 the balance1 and1 above all1 the technique1 speak to me strongly of the master1 to whom ,i ascribe the picture unhesitatingly4 ,i can see no hand of ,raphael in it1 and while ,i see no special reason for our crediting the story that gives the sleeping soldier on the right the face of ,raphael1 yet even that statement but renders it less likely that ,raphael had a hand in the picture itself1 while ,i believe that a close comparison of the ,cambio portrait with that of the flying soldier on the left will dispose of the theory that in his face we have delineated the countenance of the master himself4 ,illustration3 ,alinari photo ,vatican1 ,rome ,,the ,,resurrection ,we must now retrace our steps and look at the artist at ,perugia4 ,mariotti records that in #aeja ,perugino was one of the ,priori of the ,city1 and1 being salaried officers1 the ,priori were obliged1 according to ,marchesi1 to reside in the ,palazzo ,communale1 and give daily attendance for magisterial business4 ,this involved a good deal of civic duty1 and doubtless consumed a great deal of time1 and probably during #aeja ,perugino did little painting4 ,he was concerned also in domestic matters1 as ,orsini states that in two deeds1 dated ,december #aath1 #aeja1 and ,february #bdth1 #aejb1 he divided up certain property that had belonged to his uncle1 ,giovanni1 and which devolved to himself and his two nephews1 ,agnolo and ,giacomo di ,giovanni4 ,however1 if he was at the moment unable to paint1 he was prepared to make contracts for future work1 and ,mariotti records several of his interesting engagements4 ,one dated ,september #ajth1 #aejb1 is for some saints and angels around a large crucifix carved in wood1 belonging to the convent of ,san ,francesco al ,monte1 and for a ,coronation of the ,virgin to form the reverse side of this altar-piece4 ,for that he was to have #abj florins4 ,in the same year he agreed to supply to ,baccio d' ,agnolo designs for the intarsia work in the stalls of ,st4 ,agostino1 which ,baccio was to make in one year for #aabj florins1 and for the due performance of his task ,perugino became surety4 ,he was also to paint a double altar-piece for ,st4 ,agostino1 and was to design a frame for it which ,tomaso was to carry out4 ,by another contract he agreed to paint a ,sposalizio for the ,duomo4 ,this latter part of the contract ,i do not believe he ever carried out1 and the ,st4 ,agostino altar-piece was not finished for nearly twenty years1 as there is a record of its completion in a letter dated ,september #aeba1 written to the ,podesta of ,trevi1 advising him that the ,prior of ,st4 ,agostino had appointed a valuer for the picture1 and begging him to apprise ,perugino1 who was then at ,trevi1 of the fact4 ,other commissions recorded by ,mariotti were the decorating of the doors of the palace1 and the painting up of the arms of ,pope ,julius ,,ii41 who three years after was to visit ,perugia in state1 and also the designing of a silver ship or nef1 to be used as a credence table4 ,of all these various works he certainly executed at this time the double altar-piece for the ,minorites at ,san ,francesco al ,monte1 which has been removed to the ,pinacoteca4 ,probably little more than the design for one side of this altar-piece was the work of ,pietro1 the execution being done by his pupils4 ,the picture is in very bad condition1 and in places seriously damaged1 but there are certain features about it that distinguish it from ,perugino's own work4 ,the long chain of flowers and pearls carried by the angels is not ,peruginesque4 ,the master would have used a ribbon4 ,the cloud which cuts across the mandorla in two places1 the awkward1 sentimental-looking faces of the disciples and women1 the ill-drawn feet1 and weak draperies1 all reveal the hands of a pupil1 yet the idea of the picture is distinctly ,perugino's1 and here and there are traces of firmer1 stronger work1 which may well be due to the master himself4 ,the reverse side of the picture may1 however1 be safely ascribed to ,perugino4 ,the ,virgin is the same as in the ,pazzi ,crucifixion1 while the figures of ,st4 ,mary ,magdalen1 ,st4 ,francis1 and ,st4 ,john1 are to be found in other altar-pieces by ,pietro in the same gallery4 ,in its original condition the picture must have been a really fine one1 and although terribly damaged1 enough remains to show how tender and sympathetic must the whole composition have appeared4 ,there is a rough grandeur about the quatrocento carved wood crucifix which is laid on the canvas2 and the four figures and two angels grouped about it1 so placid1 and calm1 and so full of simple sorrow1 must have formed a very impressive work4 ,the landscape is delicate and sunny1 and there is every reason to consider this picture entirely the work of the master1 and to regret very much that by reason of exposure1 damp1 and neglect it has so seriously suffered4 ,illustration3 ,alinari photo ,perugia ,gallery ,,the ,,crucifixion 7,painted round a wooden crucifix7 ,in #aejc1 ,perugino left ,perugia1 so ,mariotti records1 completing in the ,october of that year the arms of ,julius ,,ii4 on the gates of the palace and on the five entrances to the city4 ,he settled down in ,florence in the ,pinti quarter1 and early in the year1 on ,january #beth1 #aejd1 was present at the meeting called to choose a place for ,michel ,angelo's gigantic statue of ,david4 ,this meeting resulted in some bitter controversy4 ,there were eighteen artists present1 amongst whom were ,andrea della ,robbia1 ,lorenzo di ,credi1 ,sandro ,botticelli1 ,perugino1 ,leonardo da ,vinci1 ,filippino ,lippi1 ,david ,ghirlandajo4 ,various positions were suggested for the statue1 and a place under the ,loggia met with the greatest approval4 ,lippi and the goldsmith ,salvestro di ,lavacchio having suggested that ,michel ,angelo himself would probably have given grave consideration to a site1 ,piero di ,cosimo proposed that he should be given his choice4 ,he chose the place occupied by the ,judith1 which was removed1 and the ,david taken to the ,palazzo ,vecchio4 ,with this selection and decision ,perugino did not agree1 nor did those who voted with him for the position in the ,loggia1 and a party came into existence opposed to ,michel ,angelo and disliking his style4 ,many of these objectors were in the habit of meeting in the botega of ,perugino's old friend1 ,baccio1 the worker in intarsia1 and on one of these occasions1 when some remarks antagonistic to ,michel ,angelo were passed round1 the sculptor1 roused to exasperation1 turned to ,perugino and pronounced his paintings to be absurd and antiquated4 ,in the light of the new classic influence the statement was doubtless true1 but it grievously annoyed ,perugino1 and he was foolish enough to appeal to the ,council of ,eight1 but obtained no redress and only exposed himself to ridicule and sarcastic remarks4 ,illustration3 ,citt della ,pieve ,perugia ,citt della ,pieve #bjth ,february #aejd #cjth ,march #aeab #ast ,march #aejd ,,three ,,letters ,,from ,,perugino ,within a few days after these occurrences ,perugino left ,florence again1 and went to ,perugia4 ,here a letter reached him from the ,priori of his birthplace1 ,citt della ,pieve1 begging him to come and paint a fresco for them4 ,on ,february #bjth1 #aejd1 he replied1 stating that a fresco such as they required would cost two hundred florins1 but that1 in consideration of the commission being from his native town1 he would reduce his charge to one hundred florins1 twenty-five to be paid at once1 and twenty-five every year for three years1 and that he was prepared to start at the work as soon as he heard from the ,priori4 ,the price1 even so reduced1 was more than the ,guild could afford1 and further correspondence ensued4 ,eventually1 ,perugino wrote again1 on ,march #ast1 #aejd1 agreeing to abate another twenty-five florins and execute the work for seventy-five1 and this the town of ,citt accepted4 ,the two letters to which reference is made were discovered by ,signor ,guiseppe ,bolleti of ,citt1 in #ahce4 ,he was excavating a terrace of earth that made the wall damp on which is the famous fresco1 and found in this earth a number of paint pots1 and a tin tube of about #d inches long containing these two letters1 and a third one4 ,two are still preserved between sheets of glass at ,citt1 and the third is in the gallery at ,perugia1 and my friend1 ,signor ,andrea ,ceccheti of ,citt della ,pieve1 has1 by permission of the authorities of ,citt and of ,perugia1 photographed the three letters1 so that ,i am able to present them in this book4 ,two are reproduced for the first time1 the third was in ,mezzanotte's scarce volume4 ,the fresco covers a wall space of about #bb feet square4 ,it is dated #aejd4 ,there is in the centre the usual late ,perugino erection1 under which the scene takes place1 and away in the distance is the customary ,umbrian landscape4 ,the whole picture is suffused with a delicious1 sunny light1 and is very pleasing to behold4 ,the fresco is a cherished possession of the city of ,citt1 and its inhabitants are always glad for the great curtains to be drawn back that cover it1 in order that they may feast their eyes upon the picture4 ,i cannot1 however1 refrain from mentioning how touched ,i was by the exquisite and genuine courtesy of the people of this city1 so characteristic as it was of the ,italian country-folk4 ,the little crowd that followed me into the oratory seemed to acknowledge possession on my part in the picture for the time being1 and begged my permission1 with many apologies1 that they might look at the fresco which ,i had paid to have uncovered4 ,they eagerly took me through their town1 and pointed out every treasure that they possessed1 giving up gladly to me a considerable portion of their day1 and only too anxious that ,i should join with them in admiring the work of their great artist4 ,to understand the hill towns of ,umbria1 and to see them in all their peaceful1 sunny slumber1 a visit must be paid to ,citt della ,pieve4 ,perugino's works find a more fitting resting-place in his old birthplace than in any place that ,i know4 ,the town is solemnly quiet and strangely beautiful4 ,it is like a petrified city1 suddenly stopped in its growth1 left high and dry by the moving waters of civilisation4 ,it is untouched and unspoiled1 and the visitor to-day finds the town very much as it was when ,perugino left it4 ,it is a city of peace1 and the peace glows on the faces of the people4 ,they are the kindest and most courteous of people2 many of them look as though they had stepped from the master's pictures3 they stand in quiet1 meditative postures1 and in church kneel in solemn ecstacies of prayer4 ,they are purely a pastoral people1 working hard in the day1 coming quietly home at night1 and full of tender devotion in their religion1 of ardent faith1 and of deep domestic love in their family circles4 ,the very influence of ,perugino's pictures seems still to dwell in this little ,umbrian town4 ,illustration3 ,private photo ,citt della ,pieve ,,the ,,adoration ,,of ,,the ,,magi1 #aejd ,another little town is ,panicale1 and here1 in the following year1 ,perugino painted a ,san ,sebastian4 ,lo ,spagna1 his pupil1 is said to have lived in this town1 and therefore1 ,crowe suggests1 had a hand in the work2 but the fresco is signed by ,perugino1 dated on the columns ,a4,d4 ,,mdv41 and is thoroughly typical of ,perugino's work in every way4 ,there is no need to look for ,lo ,spagna's hand in the fresco1 or to expect it2 but it is1 of course1 quite possible that he assisted ,perugino in painting it4 ,this work is not a true fresco1 but a secco--that is1 it was painted on the dry wall4 ,the church of ,san ,agostino1 in the same town1 contains a fresco of the ,virgin and ,child1 and here the spectator will be safe in attributing the greater part of the work to ,lo ,spagna4 ,it was in this year that ,isabella d',este ,gonzaga1 ,duchess of ,mantua1 commissioned a picture for her boudoir in the ,ducal ,palace4 ,she gave very definite instructions as to its subject1 writing to the artist in the following words3 ,my poetical idea1 which ,i desire you should paint1 is a battle of ,chastity against ,love--that is1 ,pallas and ,diana fighting against ,venus and ,love4 ,pallas must have almost conquered ,love2 after breaking to pieces the gold arrow and silver quiver that she has cast down before her feet1 she holds him with one hand by the bandage that the blind one wears over his eyes1 and she raises her other hand to strike him4 ,between ,diana and ,venus victory must seem to be doubtful2 ,venus shall be injured in some part of her dress only2 as to ,diana1 her clothes shall be set on fire by the torch of ,venus1 but the bodies of the two goddesses shall suffer no wound4 ,in ,june #aeje1 ,perugino wrote to the ,duchess from ,florence1 having come there from ,panicale1 explaining that he had executed her commission in tempera1 as he had deemed that to be the best medium in which to depict the scene4 ,he received eighty ducats for the picture1 and it remained in the ,palace at ,mantua ,la ,gloriosa until the time of the plunder in #afcj1 when it was removed to the castle of ,richelieu1 where it remained down to the time of the ,revolution1 and it now hangs in the ,louvre4 ,the master was evidently in this picture cribb'd and confined by the terms of his commission4 ,his genius was not allowed its own proper development1 and he was bound down to certain scenes1 which his patron had indicated so precisely4 ,the consequence is1 that there is no heart in the picture4 ,it is pleasing in a superficial way2 the landscape and the trees are delightful1 although the latter are lacking in proportion2 but the composition is far too crowded1 weak in drawing1 and careless in execution4 ,there is a real sense of movement in it1 and its colouring is pleasant2 but the closer the picture is scrutinised the less it will be liked2 and faults in drawing abound on all hands4 ,most noticeable of all1 perhaps1 is the carelessness shown in the sizes of the figures4 ,they are of all heights1 some gigantic1 and out of all proportion1 others far too small and grotesque in shape1 and others again1 in the middle distance1 far too gigantic for their position4 ,there is a skilful bit of movement in the figure of ,mercury in the sky1 and there is some shrewd originality in the various fables represented in the background2 but the picture is far from satisfactory1 and not worthy of the master4 ,illustration3 ,brogi photo ,accademia1 ,florence ,,the ,,deposition 7,filippino ,lippi and ,perugino7 ,a fortnight after he had written to the ,duchess he met ,lorenzo di ,credi at the ,duomo in ,florence1 as the two artists had been called in to decide as to the respective merits of two heads in mosaic intended for the chapel of ,san ,zenobius4 ,twice during the master's life was he called upon to complete another man's work1 once at ,s4 ,severo toward the end of his life1 as will be seen later on1 and in the year now under consideration for the church of ,santissima ,annunziata4 ,an important ,descent from the ,cross had been commissioned by one ,jacopo ,federighi1 a ,knight of ,malta1 for the brethren of ,,ss4 ,annunziata de ,servi1 and the instruction given to ,filippino ,lippi4 ,in #aejc he commenced the work1 but in #aeje he died1 leaving it half finished1 and the monks called in ,perugino to complete it1 giving him also a commission to paint an ,assumption of the same size for the reverse of the altar-piece4 ,the first commission he executed well1 the second so carelessly that ,vasari states that the monks gave the place of honour to the picture begun by ,filippino ,lippi4 ,of this picture1 now in the ,accademia1 ,lippi did the upper part1 ,perugino the lower1 and it is right to add that he so well blended his work with the work of ,lippi that the picture is harmonious and delightful4 ,the swooning of ,the ,virgin on the left is not well drawn or pleasingly represented1 but the faces are good4 ,the kneeling ,magdalen is almost dramatic1 while the action of ,joseph who is supporting the dead ,body as it is removed from the ,cross is excellent4 ,faces1 feet1 and hands are all good in this picture1 those of the two men especially1 and in the completion ,perugino evidently did his utmost1 and succeeded4 ,the ,assumption is1 however1 far different4 ,vasari expressly records the story that when the picture was first uncovered1 all the new artists censured it greatly1 principally because ,pietro had again adopted the same figures that had been previously painted in other of his works1 for which his friends reproached him not a little1 declaring that he had taken no pains4 ,pietro's reply was3 ,i have painted in this work the figures that you formerly commended1 and which then pleased you greatly2 if they now displease you and you no longer extol them1 what can ,i do8 ,our artist was1 however1 only begging the question4 ,his habit of repetition must by that time have been well known and understood4 ,we have already seen how the same figure appears again and again1 in somewhat different pose in his pictures1 and the fault is a common one1 especially in the ,umbrian school2 but at least the pictures are different in other respects1 in arrangement1 in grouping1 in composition4 ,here1 however1 the case is altered4 ,the resemblance between this ,assumption and the ,ascension at ,lyons1 the ,ascension at ,borgo and the ,coronation at ,perugia1 is so close as to show that the artist had hardly troubled to make any change4 ,the groups of angel musicians around the mandorla in the ,assumption and two ,ascensions are practically identical4 ,the flying angels and cherubs below are also alike1 and the changes made in the group of apostles on the ground are but slight4 ,the ,virgin who stands beneath the ,christ in the ,ascension is replaced in the ,assumption by ,st4 ,thomas1 who stands in the identical pose4 ,the empty tomb is1 of course1 introduced2 the mandorla is composed of rays instead of cherubs1 and the emblems of ,st4 ,peter and ,st4 ,paul are omitted2 but in general effect the pictures are the same1 and the group in the ,coronation at ,perugia1 attributed in the catalogue to ,perugino1 closely resembles the group in the other three pictures4 ,when to all this is added the fact that the ,assumption is painted in a slovenly way1 the landscape hardly more than suggested1 the clouds streaky and wooden1 and the draperies formal and stiff1 it will be seen that the complaint made by both monks and artists was a well-founded one4 ,the picture is certainly charming in general effect and colouring1 especially in its present high position over a side altar2 but it will not bear inspection1 and is no credit to the artist4 ,he was1 however1 becoming careless and indifferent to his work1 and1 growing old1 was more sensitive to the remarks of the younger and more popular men4 ,the satirical verses that this latest picture evoked1 and the complaints of his patrons and friends1 were a cause of constant irritation to him2 and although1 as ,morelli records1 he had taken a house1 and purchased in this very church1 the ,,ss4 ,annunziata1 a burial-place for himself and his descendants1 he turned his back upon ,florence1 and retired in great indignation to ,perugia4 ,his name appears no longer on the rolls of the painters' guild in ,florence1 but in #aejf is again recorded on the similar rolls of ,perugia4 ,a curious feature about this incident is that in the ,uffizi appear several drawings and studies which1 it is said1 were prepared for this very picture4 ,if it were so1 it would imply that ,perugino took great pains in the preparation of the picture1 and made elaborate studies for it4 ,at the first glance a drawing of five apostles1 which is the most important of these studies1 might readily bear the name attributed to it1 but on very close scrutiny1 it will be found that it does not exactly or even closely resemble any group in the ,annunziata picture1 nor in the ,ascensions at ,lyons or ,borgo ,san ,sepolcro1 nor the ,coronation of ,our ,lady at ,perugia4 ,it much more closely resembles1 and is in parts identical with ,perugino's later work at ,rome1 in the ,camera dell' ,incendio1 and it is for this work that ,i believe the studies were prepared1 which the ,uffizi catalogues to the ,annunziata picture4 ,,chapter ,,ix ,,age1 ,,infirmity1 ,,dignity1 ,,and ,,death ,arrived in ,perugia1 ,pietro's first work1 as we are told by ,mariotti and ,orsini1 was to collect certain sums of money due to him for pictures he had painted4 ,from the town authorities for the ,cambio he drew #cej ducats4 ,from ,citt della ,pieve he claimed twenty-five florins1 but accepted1 on ,march #bith1 #aejg1 a house from the municipality in settlement of his claim4 ,to the town of ,panicale he wrote for payment of the balance due to him for the ,san ,sebastian1 but in his letter made a generous offer to the authorities4 ,two years before1 says ,mariotti1 he had lent fourteen painted banners to ,panicale for a ,corpus ,christi procession1 and he now wrote that the town might1 if it desired so to do1 keep the banners as a gift from him1 but that if that was done he considered he ought to be paid the balance of the eleven florins that was still due to him4 ,the ,priori accepted his kindly offer1 and on ,september #ast1 #aejg1 sent him the eleven florins1 for which he gave them a receipt1 and they accepted his gift of the banners4 ,an interesting commission reached him in ,perugia in #aejg4 ,the executors of one1 ,giovanni ,schiavone1 a master carpenter1 commissioned an altar-piece for ,sta4 ,maria ,nuova de ,servi1 and this commission ,perugino executed with great care4 ,the picture1 which now hangs in the ,national ,gallery1 is a remarkable one in many ways4 ,the painter was over sixty years old2 he had just finished a very poor and slovenly work4 ,he was1 a little later1 to execute some works even more strange in their stiffness1 formality1 and want of accurate drawing1 but in this picture much of his old fire is to be seen4 ,the colouring is notable1 as the picture is full of that living golden haze or glow which marks his finest works1 and is so typical of them4 ,it has caught and imprisoned the sunshine1 and is forever brightening the room in which it hangs4 ,the composition1 too1 is original2 the two angels in the air do not appear in other pictures4 ,as far as ,i know never did ,perugino1 save in this picture1 represent the ,madonna being crowned by angels1 nor did his angels bear palms4 ,in the figure of ,st4 ,francis he does not follow his usual type or pose1 and the divine ,child possesses far more vigour of life1 and is far better drawn and proportioned than is generally the case4 ,is it possible that the master's old studies and cartoons were still in ,florence or en route for ,perugia1 and that in their absence he was compelled to design a work of unusual character1 and on original lines8 ,the ,schiavone picture completed1 ,perugino left for ,foligno1 where a ,baptism of ,christ had been commissioned for the church of ,,ss4 ,annunziata4 ,it was commissioned by one ,giovanni ,batista1 whose name appears upon it1 and who was probably ,giambattista ,caporali of ,perugia1 but the church is now disused and neglected1 and the fresco is in very damaged condition4 ,illustration3 ,hanfstaengl photo ,national ,gallery1 ,london ,,the ,,schiavone ,,altar-,,piece1 #aejg ,while at ,foligno1 ,perugino received orders to come to ,rome4 ,pope ,julius ,,ii4 desired him to decorate some ceilings in the ,vatican1 but it is not very clear what the instructions really were4 ,one ceiling we know he decorated1 that in the ,camera dell' ,incendio1 because when ,raphael completed the decoration of the series of rooms he spared this ceiling out of respect to his old master4 ,the ,holy ,father1 prior to ,raphael's arrival in ,rome in #aejh1 had been employing the chief well-known artists of the day in his schemes2 ,piero della ,francesca1 ,bramantino1 ,sodoma1 ,luca ,signorelli1 and others had received commissions4 ,raphael1 who1 then only in his twenty-fifth year1 was heard of through ,bramante1 was summoned to ,rome to assist the others1 but his work so delighted the ,pope that the other artists were dismissed1 and ,raphael was ordered to destroy their frescoes and to replace them with his own4 ,one1 however1 of ,perugino's ceilings ,raphael spared as just recorded4 ,this ceiling decoration consists of three tondi within borders and decoration of flowing arabesque design1 and both composition and figures are marked by the master's early methods1 and do not reveal the power of his more mature work4 ,their composition is more crowded than was ,perugino's wont1 but the exquisite beauty of the figures is unmistakable1 and it was a graceful act on the part of ,raphael to spare this fine ceiling as a memorial of his master's work in the ,vatican stanze4 ,two at least of the ,uffizi drawings were prepared1 ,i believe1 for this ceiling4 ,what else ,perugino did in ,rome on this his second visit1 or how long he stayed1 is not known4 ,we are1 however1 told that he lodged in the ,palazzo ,san ,clemento1 that he met ,luca ,signorelli and ,pinturicchio1 and that they dined together at ,bramante's house1 and the scene is described by ,giambattista ,caporali in his comments on ,vitruvius4 ,perugino at this time introduced his pupil ,caporali to the artists in ,rome4 ,crowe thinks that from ,rome ,perugino went to ,assisi1 where1 at the church of ,santa ,maria degli ,angeli1 on the rear wall of the portiuncula1 facing east1 he painted a fine ,crucifixion4 ,few events in his life show the very high reputation enjoyed by the master more clearly than is shown by this commission4 ,to be called in to decorate the very wall of the sacred little house that in the sixth century had sheltered ,st4 ,benedict and in the thirteenth century ,st4 ,francis1 and which even at that period had become one of the great shrines of ,christendom1 was honour indeed4 ,the ,crucifixion somewhat closely resembled the one in the ,accademia painted for the monastery of ,st4 ,jerome1 but hardly anything of the artist's work now remains4 ,the upper part of the fresco was destroyed in #agjj during the demolition of the old choir to make way for the present building1 and the lower part which remains was entirely restored by ,castellani in #ahcj4 ,from ,assisi ,perugino went to ,siena and painted a picture for the ,vieri family for the church of ,san ,francesco which was completed ,september #eth1 #aeaj1,n and which was burnt in #afee4 ,one fragment only remains of this picture1 a face of very considerable beauty1 which belongs now to ,miss ,hertz1 and is in her home in ,rome4 ,illustration3 ,alinari photo ,st4 ,augustine's1 ,siena ,,the ,,crucifixion1 #aeaj ,in ,siena1 also1 ,perugino painted a ,crucifixion for the ,chigi altar in ,san ,agostino1 for which he was paid #bjj ducats4 ,this is still in existence1 but is a stiff and formal piece1 especially if compared with his earlier renderings of the same dread scene4 ,two features distinguish it from other crucifixions4 ,the pelican in its piety with its three young in their nest surmounts the ,cross1 a piece of symbolism used nowhere else by the artist1 and the floating angels carry with them double twisted ribbons instead of a single one4 ,orsini1 at this stage1 says that ,perugino went to ,florence1 but he was soon back in ,perugia 7#aeab71 where he purchased two farms and a house4 ,mariotti records the transaction4 ,the total sum was #afjj florins1 but ,perugino could not pay the entire sum at once1 and paid down a deposit and gave over a house in ,porta ,santa ,anna which he had received in payment for a picture1 and promised to pay other sums at fixed times till he had cleared off the amount4 ,in this same year we find the wandering artist at the little hill town of ,bettona1 so difficult of access1 and situate near to ,assisi1 and the pictures which remain in proof of his visit are extraordinary and remarkable ones4 ,the chief one is a votive picture commissioned by one ,boto da ,maraglia who had been taken prisoner by the ,french but released4 ,the picture represents a gigantic figure of ,st4 ,anthony1 calm and almost expressionless1 and then a curious dwarfish figure of ,boto1 kneeling at his feet1 in full armour1 gazing up into the face of his patron saint to whom he renders his thanks4 ,the other one is a ,madonna1 who is also of abnormal size1 gathering under her ample cloak kneeling figures of ,san ,manno and ,san ,girolamo1 together with much smaller figures of the man and his wife who commissioned the picture4 ,these pictures are in very bad condition1 but distinctly interesting1 as they differ so much from ,perugino's ordinary work4 ,still journeying around ,perugia1 we find our artist visiting in #aeab and in #aeac his native town of ,citt della ,pieve4,o ,how long he stayed there is not clear1 nor whether he went again and again to the town or remained there for a year or two4 ,there are two pictures at ,citt dated #aeac1 another done in #aead1 and a fourth in #aeag1 and a fifth without date4 ,the ,virgin and ,child with four saints1 ,st4 ,protasius1 ,st4 ,peter1 ,st4 ,paul1 and ,st4 ,gervasius1 painted for the cathedral of ,st4 ,gervasius1 is marked by that formal1 and1 although sweet1 yet sickly sentimentality that distinguished much of ,perugino's later work4 ,it is terribly formal and stiff1 and only detached parts of it1 such as the faces of ,our ,lady1 the ,child1 and ,st4 ,peter1 are really beautiful4 ,it was ordered by the ,prior1 and is signed and dated4 ,the other one in the ,duomo1 bearing the same date1 is of the ,virgin and ,child with four saints1 and then in a chapel is one of the ,baptism1 which clearly belongs to the same period and is as formal and superficial as the other two4 ,in the church of ,st4 ,peter1 over the altar1 is the picture which was painted in the following year1 and is in far better condition than are the other three1 and distinguished by a grace that is absent from the others4 ,the face of ,st4 ,anthony is benevolent and expressive1 but little more can be said in favour of this picture4 ,there is1 however1 some strength and some tenderness in what remains of the ruined fresco in the church of ,st4 ,servi4 ,nearly all the fresco is gone4 ,part has been cut away to make a door1 part has faded1 part has crumbled away1 part has been picked off the wall1 but what remains is wonderfully beautiful4 ,it is but a fragment1 a ruined1 faded bit1 but it differs entirely from every other ,crucifixion that ,perugino ever painted and is full of graceful figures4 ,the chief part that is left is the group of the holy women assisting the ,virgin as she sinks to the earth in a swoon1 and it is worth all the journey to ,citt to see this group4 ,there is life and vigour here1 this is real anguish of spirit and bitter grief depicted in the faces1 and we do not in the least wonder that not only ,m4 ,broussolle1 but ,mrs4 ,vaughan and ,miss ,duff ,gordon1 who are amongst the few who have penetrated to this remote town and absorbed its spirit and its beauty1 speak in words of reverence of the pathos of this scene4 ,in all his life ,perugino never painted anything more tender and sweet than he did at ,st4 ,servi in his old home1 and the fragment that remains should be guarded with infinite care1 for1 damaged as it is1 it is most precious4 ,one work only remains that can be definitely attributed to the next year1 #aeah1 and then for two years we know nothing of ,perugino1 although we are able to surmise as to the work that engaged his time4 ,the #aeah picture was painted in ,perugia for the great church of ,san ,francesco al ,prato4 ,it represents ,san ,sebastian bound to a column and attacked by archers1 and is signed and dated4 ,during the next two years1 it may well be imagined that ,perugino was hard at work at the great altar-piece for ,st4 ,agostino1 which had been ordered before #aeab4 ,one of the most puzzling questions which arises in a book about ,perugino is how this ancona is to be reconstructed4 ,it is scattered far and wide over ,europe1 and only important parts of it are now in ,perugia4 ,one altar-piece1 which is stated to have come from ,san ,agostino1 must have1 ,i think1 belonged to another altar and had nothing to do with that double ancona4 ,it represents the ,madonna with ,st4 ,nicolas1 ,st4 ,bernard1 ,st4 ,jerome1 and ,st4 ,sebastian1 and had the space below left for the tabernacle1 the mark of which can still be seen4 ,illustration3 ,private photo ,grenoble ,gallery ,,st4 ,,sebastian ,,and ,,st4 ,,apollonia 7,from the ,s4 ,agostino 7,perugia7 altar-piece7 ,perhaps to this same period belongs the fantastic ,st4 ,john ,baptist1 with ,st4 ,anthony of ,padua1 ,st4 ,sebastian1 ,st4 ,jerome1 and ,st4 ,francis1 painted for ,san ,francesco al ,prato4 ,the ,st4 ,sebastian here has degenerated into a girlish fop1 with elaborate head-dress and boots1 and although the faces of the other three saints are pleasing and thoughtful1 yet the picture is terribly degenerate1 and the landscape in the rear hardly exists at all4 ,the same faults are to be found in the typical late pictures to be found at ,spello1 in the church of ,sta4 ,maria ,maggiore4 ,they are both signed and dated1 and belong to #aeba1 and can only be admired for their colour and for the knowledge that even they reveal of the possibilities of space4 ,illustration3 ,anderson photo ,san ,severo1 ,perugia ,,the ,,holy ,,trinity ,,and ,,various ,,saints 7,raphael and ,perugino71 #aeje and #aeba ,the tale of the #aeba pictures is not yet1 however1 nearly complete1 but in the works now coming under consideration an improvement will be perceptible4 ,the six figures of ,st4 ,scholastica1 ,st4 ,jerome1 ,st4 ,john1 ,st4 ,gregory1 ,st4 ,boniface1 and ,st4 ,martha1 which ,perugino added in the church of ,san ,severo1 below the fresco painted by his great pupil in #aeje1 are dignified and impressive4 ,they are far removed from the power of early work2 there is a cumbersomeness about their draperies1 and a sameness in pose and style1 but the face of ,st4 ,boniface is lovely1 and those of ,st4 ,jerome and ,st4 ,john solemn and grand1 while all the figures are well-proportioned1 and stand well on their feet4 ,it was a melancholy duty to complete the unfinished and early work of the great pupil who had so far surpassed his master1 but evidently the old master did it as well as he could1 lingered lovingly over its details1 and proudly recorded his name upon his work4 ,the whole fresco is of notable interest1 as the combination of the works of master and pupil1 with the inscriptions recording the names of the artists and of the patrons who employed them1 is unique4 ,sixteen years had passed since the upper fresco was painted4 ,raphael had mounted on from glory to glory1 leaving behind him all his contemporaries1 and had been reckoned as the king of them now2 and now1 in the year after his death1 his old master is called up to complete the work1 and he gives to the commission the best abilities of a fading old age4 ,perhaps his neighbours commiserated too much with him1 or taunted him with the decay of his powers4 ,whatever may have been the cause1 it is quite clear that1 rising superior to the quaintness1 stiffness1 and formality of ,spello1 ,perugino suddenly wakened up into some old vigour1 and much of the old spirit is to be seen in his last works4 ,in the church of ,san ,francesco at ,montefalco is his ,presepio1 which it is absurd to give to ,tiberio d' ,assisi1 ,lo ,spagna1 or ,manni4 ,works by all these men hang close by in the deserted church1 which now forms a wonderful picture gallery1 and the comparison can easily be made4 ,there is a record of a visit from ,perugino to the town en route for ,trevi in this very year1 and with him came two at least of these pupils1 but no pupil ever painted this ,presepio1 although it is most probable that the lunette above it is by ,tiberio d' ,assisi4 ,the lower picture1 however1 glows with golden sunshine1 and the landscape is full of beauty1 and represents1 as was so often the case1 the view to be seen from the very walls of this wonderful old city4 ,some of the faces are formal1 the draperies are coarse and stiff1 and show signs of hurried work1 but the sense of distance proclaims the author of the fresco1 and the faces of ,st4 ,joseph and of the ,virgin and the dainty decoration of the columns are with the landscape really good pieces of work1 and a wonderful improvement upon the pictures at ,spello1 ,bettona1 or in the ,duomo at ,citt della ,pieve4 ,illustration3 ,alinari photo ,sta4 ,maria1 ,trevi ,,the ,,adoration ,,of ,,the ,,magi1 #aeba ,outside ,montefalco is ,san ,fortunato1 where ,tiberio d' ,assisi painted the cloisters1 and here probably ,perugino stopped1 and one figure in the ceiling is certainly his work1 perhaps done to show ,tiberio a suggestion as to the decoration1 or put in at the pupil's own request4 ,then he journeyed on to ,trevi1 another delightful hill town1 full of charm and beauty1 and there1 an old man of seventy-five1 in the church of ,sta4 ,maria della ,lacrime1 outside the town1 he painted his ,adoration of the ,magi4 ,it is the old1 old design4 ,there is the wooden erection1 the enthroned ,madonna and ,child1 the kneeling ,magi1 the crowd of attendants4 ,in the distance are the servants with horses and camels1 and away beyond are the blue hills1 the river1 and the sky4 ,certainly it is degenerate work2 but which of the men of his time could do such work8 ,no one else could so present the continuous space of nature1 the spaciousness and vastness of the distance1 or bathe his pictures in the dreamy sunlight of summer4 ,i lingered long before this fresco1 loth to leave it1 its tranquillity is so marked1 its airiness is so impressive4 ,it was while completing this picture that the message as to the ,san ,agostino ancona reached ,pietro4 ,back he came to ,perugia in #aebb1 painted the ,transfiguration for ,sta4 ,maria ,nuova1 and its three predella panels now in the ,perugia ,gallery1 and the frescoes in the ,nunnery of ,s4 ,agnese 7where he had relations71 which ,i have not been able to see1 as the ,nunnery is now strictly cloistered4 ,three more frescoes only remain for mention4 ,a harsh and hurried one in the cathedral of ,perugia1 in which the ,magdalen's face is the redeeming feature1 a faded but lovely ,nativity in the ,alfani ,rooms 7,room #ac7 in the ,perugia ,gallery1 which is full of exquisite feeling and tender1 reverent grace1 and finally1 the last and unfinished work which now hangs in the ,national ,gallery4 ,this is a huge fresco transferred to canvas1 and measures #ai ft4 #f in4 long4 ,it was executed at ,fontignano in #aebc1 and is said to have been the last work of the artist4 ,the hand had not lost its cunning1 and there is much of the early sweetness in this huge fresco4 ,there is the charm of its faded blues and purples1 the haze of its shimmering sunshine1 and the tender reverence of the kneeling figures4 ,there are just the same accessories as were adopted by ,perugino in earlier ,adorations1 very much the same grouping1 and almost identical figures1 and in these respects the two last pictures that the artist painted are almost copies1 one of the other1 differing only in proportions4 ,the ,perugia fresco is small1 the ,london one very large2 but both are really lovely compositions1 full of mysterious charm1 and it is pleasant to know that the artist's last works were not the queer1 quaint ones of ,spello and ,bettona1 but the wonderful1 scenes of the ,adoration1 painted with much of his old vigour and with all his earlier charm4 ,mariotti tells us that ,perugino died at the ,ospedale of ,fontignano1 and ,orsini suggests that it was of plague4 ,there were various traditions as to his burial2 even in ,mariotti's time1 ,vasari states1 he was honourably buried at ,citt della ,pieve1 but there is absolutely nothing to support this statement4 ,the artist was1 according to local account hurriedly buried in a field1 as at that time all town funerals were forbidden on account of the violence of the epidemic4 ,in the following year1 his sons1 desirous of affording him an honourable burial1 according to the rites of ,holy ,church1 tried to make arrangement for the removal of the body4 ,on ,december #cjth1 #aebd1 they entered into a contract with the monks of ,san ,agostino1 who were still in their father's debt #ej scudi1 that they should remove his body from ,fontignano and bury him in their church1 and the sons agreed to pay for the ,mass4 ,mariotti says that there was in his time no proof that that ever was done1 but the very fact of the contract proves that nothing could be said to the discredit of ,perugino's life or character1 and refutes idle rumour as to his atheism4 ,a spot was pointed to ,mariotti half-a-mile from ,fontignano as the place of ,perugino's burial1 but he records that1 although nothing was found when this spot was examined1 yet he could never find any proof that the devout wishes of the three sons1 ,giovanni ,batista1 ,francesco1 and ,michel ,angelo1 were ever fulfilled4 ,it is most probable that owing to the plague and to the war1 which at the time were raging in ,perugia1 the removal of ,perugino's body was delayed1 and so eventually quite forgotten4 ,no man1 therefore1 knows where the great artist was buried1 and the burial-place he bought at ,,ss4 ,annunziata in ,florence1 was unoccupied4 ,mariotti states that his only descendant was a grandson1 one ,john ,battista ,vannucci1 whose name appeared as a scholar in the ,university of ,citt della ,pieve4 ,it is1 therefore1 quite possible that the plague carried off not only the artist1 but shortly afterwards his three sons also4 ,pietro's wife was one ,chiare ,fancelli1 a very beautiful girl1 whom he married1 #ast ,september #adic1 in the ,canonica in ,perugia4 ,she was the daughter of ,luca1 an architect and surveyor in the service of the ,marquis of ,mantua4 ,tradition states that she was the model for the angel with ,tobias in the ,national ,gallery4 ,she brought him a dowry of #ejj gold ducats1 and had in all seven children2 and ,vasari states that ,pietro was exceeding fond of her1 and so proud of her beauty that he loved to give her beautiful jewels and costly dresses1 and to adorn her with his own hands4 ,after his death she wrote in #aebd to the ,marchioness of ,mantua offering her a picture by her husband 7not now known7 of ,mars and ,venus discovered together by ,vulcan1 which was for sale4 ,this information ,braghirolli discovered4 ,she was still living in #aedj4 ,of ,perugino's scholars who so closely followed their master1 it will suffice just to mention ,lo ,spagna1 ,eusebio di ,san ,giorgio1 ,giovanni ,batta ,caporali1 ,tiberio d',assisi1 ,giannicola ,manni1 ,rocco ,zoppo1 ,baccio ,ubertini1 but the glory of ,raphael has overshadowed them all4 ,it may be well finally to review briefly the characteristics of the artist1 and of his work4 ,perugino appears to have been a man of great determination1 ,lupatelli says of iron will4 ,he had known poverty in his early days1 and had faced it4 ,he was determined to push his way and make a living1 and1 if possible1 a great name2 and he succeeded in his purpose4 ,brunamonti speaks several times of his desire to go ahead1 and it is quite clear that he was ambitious and energetic1 and hence his success4 ,there is no proof whatever that he was irreligious1 or1 as ,vasari implies1 atheistic1 but his face betokens a mind that would not ordinarily be satisfied without argument and examination1 and it was perhaps his controversial habits that obtained for him the character that ,vasari has recorded4 ,his employment by the ,church1 not only by the ,chief ,pontiff but by numerous dignitaries and by many religious orders1 and the arrangement just mentioned and entered into by his sons as to his burial1 sufficiently refute ,vasari's statements2 but beyond this1 it is inconceivable that such pictures as the ,pazzi ,crucifixion1 the ,san ,severo ,deposition1 the ,vallambrosan ,assumption1 to name but three typical ones1 could be painted by an irreligious man4 ,i am disposed to consider his portraits as his finest works1 and to me the portraits of the two monks of ,vallombrosa reveal him as a great master1 very skilful1 and possessed of wonderful power4 ,his more popular compositions are many of them of striking beauty1 especially in the delineation of faces1 in the landscape1 and in the colouring1 and1 above all1 in that wondrous genius for representing open limitless space to which attention was given in ,chapter ,i4 ,perugino is never dramatic1 he is always lyric1 and the poetical charm of the ,umbrian school is at its very zenith in his hands4 ,he is not passionate1 as is ,botticelli1 nor strong1 moving1 and forceful as is ,signorelli4 ,the delights of movement1 the extremes of rage or desire1 did not appeal to him4 ,he was not as diversified as was ,lippi2 he never reached the stolid impressiveness of ,ghirlandajo1 nor the ecstatic devotion of ,fra ,angelico4 ,he was not so purely illustrative as was ,pinturicchio1 but very far exceeded him both in genius and in power4 ,the emotions of pathos were not beyond his reach1 the stateliness of dignity he could represent if he desired1 but his charm is in the calm quiet of his pictures1 in their tender reverence and exquisite sweetness1 in their poetry rather than in their power4 ,his creations are dreamy and contemplative1 full of faith1 hope1 and expectation1 and they embody and express the reality of a spiritual world of serene peace and satisfaction which1 in its contrast to the world around us1 speaks of the revelation of a faith that is true4 ,his execution is masterly1 his colouring mystic and glorious1 his compositions are complete and united1 his sense of decoration is excellent4 ,he was himself sincere in his work1 and his pictures therefore embody this sincerity1 and their teaching is to lift the soul from sordid thoughts1 and to raise it to ,heaven itself4 ,,footnotes3 ,n ,in this same year #aeaj1 ,perugino painted a ,virgin and ,child between ,st4 ,peter and ,st4 ,paul1 for ,agostino ,spinola of ,savona1 ,bishop of ,perugia4 ,o ,a letter dated #cjth ,march #aeab1 and written from ,citt della ,pieve1 already mentioned1 is in existence1 and proves not only his presence in the town in that year but that the ,st4 ,agostino altar-piece was at that time in hand1 although not finished till #aeba4 ,,chapter ,x ,,saint ,,sebastian ,there is a tradition in ,umbria that upon two occasions ,perugino painted miniatures on vellum1 and that these works formed pages in two missals or ,books of ,hours4 ,several times the story was repeated to me1 in ,florence1 in ,perugia1 and in other places1 and it appears that at one time manuscript evidence of the fact existed in ,rome1 and may still exist4 ,of one of these pages ,i can give no information1 as the most diligent inquiry has failed to identify it2 but the other one1 the earlier of the two1 according to the ,roman story1 is now in ,england4 ,its history is decidedly a romantic one4 ,the volume to which it belongs was once in the possession of ,cardinal ,giovanni ,girolamo ,albani1 and from him was called the ,albani manuscript4 ,he died in #aeia1 and the manuscript1 which tradition says at one time came into the hands of ,clement ,,xi41 passed on down to the possession of another ,cardinal ,albani1 ,giovanni ,francesco1 at whose death in #ahji it was sold4 ,a small dealer in curiosities obtained it1 and ,mr4 ,denistoune1 the great collector1 saw it in his shop near the ,ghetto in ,rome1 and bought it for #bb scudi1 about #e sterling4 ,mr4 ,denistoune brought the book to ,england1 and offered it1 so the family story goes1 to the ,british ,museum for #bej1 but failed to persuade the trustees to purchase it2 and so ten years afterwards when he returned to ,rome he took the manuscript with him4 ,gregory ,,xvi4 had by this time died1 and the carelessness which existed in his time as to the purchase of art treasures in ,rome had become a thing of the past4 ,the new ,pontiff1 ,pius ,,ix41 was much more particular1 and he was ably seconded by ,count ,rossi in his endeavour to retain in the ,eternal ,city its chief artistic treasures4 ,count ,rossi heard of the ,albani book1 and ,mr4 ,denistoune1 alarmed for the safety of his treasure1 wrapped it up in paper1 addressed it to his bankers in ,london1 and1 explaining that it was his bank pass-book1 gave it over to a lady friend who was leaving for ,england1 to convey to ,london4 ,within three or four days of the lady's departure1 the agents of the ,vatican called on ,mr4 ,denistoune to demand the surrender of the treasure which had1 they declared1 been stolen from the ,library in the ,vatican of ,clement ,,xi4 ,mr4 ,denistoune declared he had not got the book they wanted and gave them permission to search his house4 ,so accurate had been their information that they went at once to the very place in the bookcase whence the volume had been so lately removed1 and1 not finding it there1 they searched the house from top to bottom4 ,a charge of theft was then formulated against ,mr4 ,denistoune1 and he was taken off to the ,castle of ,st4 ,angelo1 and there confined4 ,mr4 ,denistoune1 however1 at once appealed to the ,english consular authorities1 who quickly gave the police to understand that they had exceeded their powers1 and1 after two days' imprisonment1 ,mr4 ,denistoune was liberated1 and at once left for ,england4 ,the late ,earl of ,ashburnham then heard of the book1 and tried hard to get its owner to sell it to him4 ,at last1 in an unguarded moment1 ,mr4 ,denistoune cheerily said that years before he had offered it to the ,british museum for #bej1 and he should not be content with less than three times that price now4 ,lord ,ashburnham jumped at the figures1 produced a bundle of notes1 and in a few moments obtained the coveted treasure for #gej4 ,until a year or two ago1 the little volume rested at ,ashburnham ,place1 but it was privately sold quite recently1 together with several other fine manuscripts1 to ,mr4 ,henry ,yates ,thompson4 ,it is now in his famous and most wonderful collection1 and it is to his kindness that ,i owe the privilege of handling and describing the book4 ,the story has been pieced together from several narratives told me in ,italy4 ,there are four splendid illuminated pages in the volume1 each by a different hand1 and each page the work of some great artist at his very best4 ,there are also borders and other illuminations1 which are probably the work of yet a fifth miniaturist4 ,the ,perugino page is signed3 ,,petrvs ,,prvsinvs ,,pinxit1 and represents ,saint ,sebastian fastened to an upright pillar of wood1 and being shot at by two archers4 ,these archers are gaily dressed3 one1 wearing a cap1 has long red stockings1 brown shoes1 and a blue vest and a brown drapery around his waist2 the other1 who is bareheaded1 has blue stockings1 yellow boots1 a red vest1 and green drapery around his waist4 ,above1 in the air1 are two angels1 one of whom is turning towards the martyred saint4 ,one angel has a drapery of puce1 with green sleeves1 and has yellow wings2 the other wears orange1 with red sleeves1 and has green wings4 ,the drapery around ,saint ,sebastian is puce colour4 ,in the distance is a lovely typical ,perugino landscape1 extensive1 and full of light and air2 there are hills and rocks1 trees and water1 exquisitely painted1 and revealing1 in their wonderful effect of never-ending distance1 the best work of the artist4 ,the silhouetted effect of the trees is particularly characteristic4 ,above is the lofty dome of blue sky1 bearing upon it the strange1 frilled1 fleecy clouds in which the artist so delighted1 and illuminated by the glow of light that he was so easily able to produce4 ,the work ,i attribute to the #aejj-aebc period1 as the puce colour1 the colouring of the angels' wings1 and the shape of the clouds1 all are characteristics of that period1 as well as the subject itself and its treatment4 ,it is important to refer briefly to the way in which ,perugino painted ,sebastian4 ,there are3 #a4 the ,cerqueto fresco of #adgh2 #b4 the ,fiesole picture1 now in the ,uffizi1 of #adic2 #c4 the ,wantage figure1 of about #adih2 #d4 the ,borghese picture1 of about #aejj2 #e4 the ,panicale fresco1 of #aeje2 #f4 the ,perugia fresco1 of #aeah2 #g4 the manuscript in question2 and the drawing of an archer at ,christ ,church1 ,oxford4 7,i leave out of this consideration the effeminate ,st4 ,sebastian1 in the ,perugia gallery1 ,sala ,,xi41 ,no4 #af47 ,illustration3 ,alinari photo ,perugia ,gallery ,,the ,,martyrdom ,,of ,,st4 ,,sebastian1 #aeah ,the ,cerqueto one1 and all the others save ,no4 #b1 represent ,st4 ,sebastian tied to a column of wood2 but the ,cerqueto fresco is far more robust in its delineation1 more ,signorellesque in its muscular power than any of the others4 ,the bend of the neck and the upward gaze of the face are distinctive of all seven4 ,the ,uffizi picture alone 7#b71 in which ,st4 ,sebastian is one of the two attendant saints1 standing one on either side of the enthroned ,madonna1 represents the figure with his hands1 as usual1 bound behind him1 but he is not bound to a column4 ,in ,nos4 #b1 #c1 and #d the saint stands on the ground2 in the others1 #a1 #e1 #f1 and #g1 the wooden post is elevated above the ground4 ,the position of the feet differs in every case1 but in each instance the face is upturned1 the hands bound behind the back1 the body nude1 save for a loin-cloth1 and the flesh pierced by arrows4 ,in ,no4 #g there is but one mark of an arrow to be noted4 ,the page in question most closely resembles the ,perugia picture1 ,no4 #f4 ,this came from the church of ,san ,francesco al ,patro1 and was painted in the year of a great visitation of plague1 and the selection of the plague saint is thus accounted for4 ,in this picture there are the two archers only 7whereas at ,panicale there are four71 and there are the two angels1 which in the ,panicale fresco certainly appear1 but are in attendance upon the ,eternal ,figure1 whose representation appears in the lunette above4 ,one angel in the ,perugia picture 7#f7 bears a crown4 ,it is impossible to say what the other one carries1 as the fresco is so damaged2 but the colouring of these angels very closely resembles the gay colouring in the manuscript4 ,the column was a very persistent type1 as in structure the one painted in #adgh appears over and over again later on4 ,the column in this manuscript very closely resembles the central limb of ,perugino's crosses in his crucifixion scenes2 and in this detail ,lord ,wantage's picture resembles most closely the manuscript2 but the landscape1 which is but slight and loose in this picture1 is very fine in the manuscript and almost identical with the ,citt della ,pieve landscape1 and with the ,bettona one1 and closely resembles the repainted ,borghese picture 7#d71 which has also the frilled clouds that are so distinctive in the manuscript4 ,mr4 ,thompson's manuscript is in perfect order1 and is a most beautiful work4 ,i have no hesitation in accepting it as a genuine work of ,perugino1 and the very folds of the drapery1 when compared with the same arrangement in other pictures1 will be found to ratify the attribution4 ,comparison with the ,perugia fresco 7#f71 will give the probable date of the manuscript1 and will afford a striking example of the readiness with which ,perugino used over and over again the same theme1 treated in the same manner1 varying each representation in some slight1 characteristic way1 and yet preserving the same general effect which had pleased him so much in days gone by4 ,,catalogue ,,of ,,the ,,works ,,of ,,perugino ,,austria-,,hungary4 ,,vienna1 ,,picture ,,gallery4 ,the ,baptism of ,christ4 ,panel4 #jbi #jbb #aa in4 #h in4 #bd4 ,st4 ,john ,baptist is pouring water from a shell upon the head of ,our ,lord1 who stands with ,his feet in the river ,jordan4 ,near by are two kneeling figures4 ,this closely resembles the same scene in the cathedral at ,citt della ,pieve1 and is probably a copy4 ,from the collection of the ,archduke ,sigismond at ,innsbruck4 ,st4 ,jerome4 ,panel4 #jcj #jbc #a ft4 #i in4 #be4 ,the saint is kneeling before a crucifix4 ,in his right hand he holds a stone1 by his side is the lion1 and on the ground a cardinal's hat4 ,from the same collection4 ,madonna and ,child4 #ahf #add #f ft4 #b in4 #d ft4 #i in4 ,on paper4 #bg4 ,the ,madonna is on a throne holding the divine ,child on her knees4 ,on the right stand ,st4 ,jerome and ,st4 ,peter1 and on the left ,st4 ,john the ,baptist and ,st4 ,paul4 ,on the throne is inscribed3 ,,presbiter ,,johannes ,,christoferi ,,deterreno ,,fieri ,,fecit ,,mcccclxxxxiii4 ,purchased in #agif4 ,madonna and ,child4 #jhe #jfb #b ft4 #aj in4 #b ft4 #cb4 ,the divine ,child1 who is on the ,virgin's knees1 is in the act of imparting a benediction4 ,behind the ,madonna are two female saints4 ,the picture is signed3 ,,petrvs ,,pervsinvs ,,pinxit4 ,,lichtenstein ,,gallery4 ,nativity4 ,a ,tondo of the ,virgin kneeling before the divine ,child1 who is seated upon a sack and supported by an angel4 ,signed3 ,,petrvs ,,pervsinvs ,p4 ,this closely resembles the picture in the ,pitti4 ,,belgium4 ,,brussels1 ,,royal ,,picture ,,gallery4 ,madonna1 ,christ and ,st4 ,john4 ,oval1 #jfi #jfj #b ft4 #c in4 #b ft4 #dgg4 ,the ,virgin is seated upon a stone bench and holds on her knees the infant ,christ1 who is turning toward ,st4 ,john4 ,this picture was at one time in the collection of the ,princes of ,conti in ,florence4 ,it was sold in #ahej to ,m4 ,p4 ,vellati of ,rome1 and from him purchased with two pictures by ,crivelli for the ,gallery in #ahfb4 ,,british ,,isles4 ,,london1 ,,national ,,gallery4 ,virgin and ,child and ,st4 ,john4 ,panel4 #b ft4 #b in4 #a ft4 #e in4 #aha4 ,the divine ,child stands erect on a stone balustrade supported by the hands of the ,madonna1 who is by ,his side1 and playing with a lock of her hair4 ,st4 ,john stands on the ground and has clasped hands and gazes in adoration at the ,christ4 ,this picture1 which is painted in tempera1 was obtained by the late ,mr4 ,beckford in ,perugia1 and purchased of him for the ,gallery in #ahda4 ,on the hem of the mantle of the ,virgin is inscribed3 ,,petrvs ,,pervginvs4 ,the ,virgin adoring the ,divine ,child4 ,panel2 centre #ba #db4 ,side panels1 each #aaj #db4 #bhh4 ,the left panel is inscribed below3 ,,petrvs ,,pervsinvs ,,pinxit4 ,these three panels were originally in the ,certosa di ,pavia4 ,these three panels were purchased from the ,certosa by one of the ,melzi family in #aghf1 and bought of ,duke ,melzi of ,milan for the ,gallery in #ahef4 ,the ,virgin and ,child and two ,saints4 ,panel4 #fj x #daa4 #ajge4 ,this picture was ordered of ,perugino by the testamentary executors of ,giovanni ,schiavone1 a master carpenter of ,perugia1 in #aejg1 and was executed within that year1 when it was placed over the altar of their chapel in ,s4 ,maria ,nuova 7de' ,servi7 in an elaborate carved but ungilt framework1 said to be designed by ,pietro himself4 ,after the demise of the executors and their heirs the chapel reverted to the ,frati ,serviti1 owners of the church1 who subsequently sold the chapel with its contents to the ,cecconi family1 at whose extinction it was inherited by the family della ,penna4 ,in #ahbb ,baron ,fabrizio della ,penna removed the picture to his palace in ,perugia1 leaving the frame in situ1 in which at the same time was inserted a copy on canvas executed by a young ,perugian painter1 ,giuseppe ,carattoli4 ,the picture was purchased for the ,national ,gallery from the ,baron della ,penna in #ahgi4 ,the ,baptism of ,our ,lord4 ,panel1 #aj #aaa4 #adca4 ,st4 ,john the ,baptist in the centre of the picture is pouring water from a cup on the head of the ,saviour1 who stands with ,his feet in the river4 ,two angels kneel to the right and two to the left1 and behind them again stand four of the disciples1 two on either side4 ,see ,chapter ,i4 as to this picture1 which ,i cannot accept as a work of ,perugino4 ,it is painted in oil upon an unprepared panel4 ,bought in ,rome in #ahid for #djj4 ,the ,adoration of the ,shepherds4 ,fresco transferred to canvas4 #hb x #aie4 #adda4 ,in the centre the infant ,christ lies1 supported by a cushion on a purple drapery on the open ground4 ,behind is a shed surrounded by a fence1 within which cattle are lying4 ,on the right and left kneel the ,holy ,virgin and ,st4 ,joseph1 and behind them the shepherds approach with offerings4 ,an angel is on either side in the sky4 ,this fresco was removed from the church at ,fontignano in #ahdc1 and is said to be the last work of the painter4 ,it was purchased by the ,south ,kensington ,museum in #ahfb from ,mr4 ,w4 ,b4 ,spence of ,florence1 and is now lent to the ,national ,gallery4 ,,british ,,museum4 ,study for the figures of ,tobias and the ,angel4 ,brown and green4 ,study for the ,head of a bearded ,saint or ,prophet4 ,black and white on brown4 ,study for a ,virgin and ,child4 ,study for an angel playing on a ,violin4 ,study of a ,female ,saint kneeling with clasped hands 7and draperies74 ,her head-dress is twisted1 and there is embroidery on her robe4 ,brown heightened with white4 ,study for an ,adoration of the ,magi4 ,study for a ,piet4 ,there are two other drawings labelled ,perugino which ,i cannot accept1 and one in the ,malcolm collection which is of ,perugino's school4 ,,christ ,,church1 ,,oxford4 ,a large finished pen drawing representing the ,deposition of ,our ,lord1 in the ,pitti ,gallery #afd4 ,a ,study of an ,archer4 ,a bistre pen drawing for the ,st4 ,sebastian at ,panicale4 ,a ,study for the ,archangel and ,tobias1 in the picture ,no4 #bhh in the ,national ,gallery4 ,,windsor ,,castle ,,collection4 ,study for a figure of the ,sleeping ,disciple1 in the ,mount of ,olives picture in the ,accademia1 ,florence4 ,a pen drawing in bistre4 ,study for the figures of two ,sleeping ,disciples for the same picture4 ,a pen drawing in bistre4 ,study of a ,female ,head4 ,bistre heightened with white4 ,study for the ,armour of the figure of ,st4 ,michael1 in the picture ,no4 #bhh in the ,national ,gallery4 ,study of a ,female ,head4 ,attributed to ,perugino4 ,study for the ,fresco in the ,sistine ,chapel in the ,vatican of the ,delivery to ,st4 ,peter of the keys4 ,f4 ,a4 ,,white1 ,esq41 ,,queen',s ,,gate1 ,s4,w4 ,the ,resurrection4 ,panel4 #aj #ag4 ,old ,masters1 #ahib4 ,no4 #aed4 ,christ standing upon the open tomb bearing a banner in his left hand4 ,around1 four soldiers1 three sleeping and the fourth moving away in an attitude of surprise4 ,from the ,dudley ,collection4 ,,captain ,g4 ,l4 ,,holford1 ,c4,i4,e41 ,,dorchester ,,house4 ,virgin and ,child4 ,panel4 #ai #ac4 ,the ,virgin is seated1 having the divine ,child1 who is nude1 erect upon her knees4 ,,lord ,,wantage1 ,v4,c4 ,st4 ,sebastian and ,st4 ,jerome4 ,two ,panels each4 #ag #g4 ,old ,masters1 #ahhf4 ,no4 #aig4 ,st4 ,sebastian is bound to a tree1 and ,st4 ,jerome stands erect with a stone in his hand1 and behind him is a lion4 ,from an altar-piece4 ,l4 ,,hardy1 ,esq41 ,m4,p4 ,saint in ,prayer4 ,panel4 #ca #aa4 ,figure of a saint to the left with clasped hands4 ,,lord ,,aldenham1 ,,st ,,dunstan',s1 ,,regent',s ,,park1 ,n4,w4 ,virgin and ,child4 ,panel4 #ac #aa4 ,old ,masters1 #ahhf4 ,no4 #agf4 ,the ,virgin is seated1 and has the divine ,child on her knees1 and she is holding ,his left hand4 ,,lord ,,battersea1 ,,surrey ,,house1 ,,marble ,,arch1 ,w4 ,head of a ,saint4 ,panel4 #ac #aj4 ,bust facing1 black dress with gold edging4 ,,the ,,earl ,,of ,,dudley',s ,,collection4 ,there were exhibited at the ,old ,masters ,exhibition in #ahib1 five panels1 each #aj #ah1 ,nos4 #adf1 #adg1 #adh1 #aed1 #aee1 representing ,the ,nativity1 ,the ,baptism1 ,christ and the ,woman of ,samaria1 ,the ,resurrection1 and the ,noli me ,tangere4 ,originally in the ,barker collection1 ,no4 #aed now belongs to ,mr4 ,f4 ,a4 ,white 7q4v472 the others have not been traced4 ,,william ,,drury-,,lowe1 ,esq41 ,,locko ,,park1 ,,derby4 ,virgin and ,child with ,saints4 ,canvas4 #dg #de4 ,old ,masters1 #ahic4 ,no4 #afd4 ,the ,virgin is seated1 with the divine ,child1 who is nude1 erect on her knees4 ,his right hand is raised1 and in his left is a globe4 ,on the left is ,st4 ,jerome reading a book1 and behind him ,st4 ,nicolas of ,tolenteno4 ,on the right1 ,st4 ,catherine and a bishop in adoration4 ,this is now ascribed by ,dr4 ,richter to ,lo ,spagna1 one of ,perugino's pupils4 ,the identical picture1 executed in fresco1 is to be found at ,spoleto1 and is there considered to be ,lo ,spagna's masterpiece4 ,the above easel replica came from the ,palazzo ,darino at ,milan1 and was bought in #aheb from ,sig4 ,giovanni ,locarnos4 ,,pictures ,,at ,,one ,,time ,,in ,,england4 ,c4 and ,c4 describe a ,resurrection1 in their time belonging to ,lord ,taunton1 and originally in ,venice4 ,signed3 ,,sepvlcrvm ,,christi ,,petrvs ,,pervsinvs ,,pinxit4 ,they also refer to a ,virgin and ,child between ,st4 ,jerome and ,st4 ,peter1 once at ,manchester1 originally at ,lucca1 and latterly in the ,northwich collection4 ,,france4 ,,bordeaux1 ,,picture ,,gallery4 ,virgin and ,child enthroned with ,s4 ,jerome and four ,angels1 from ,st4 ,agostino1 ,perugia4 ,this has never been photographed4 ,,caen1 ,,museum1 ,,hotel ,,de ,,ville4 ,st4 ,jerome4 ,on ,panel4 #jij #jgd #c ft4 #b ft4 #e in4 #d4 ,this is probably one of the figures of saints that surrounded the great altar-piece at ,st4 ,agostino1 in ,perugia2 others at ,nantes1 ,toulouse1 ,lyons1 and ,grenoble4 ,signed3 ,,petrvs ,,pervsinvs ,,pinxit4 ,the saint is kneeling before a ,cross1 a lion is close by1 and on a tree in the centre of the picture is a large red hat4 ,,chantilly4 ,study for the ,head of an ,old ,man with a beard and wearing a turban4 ,,grenoble1 ,,museum4 ,,ss4 ,sebastian and ,apollonia1 from the great altar-piece painted for ,st4 ,agostino1 at ,perugia4 ,see ,caen1 ,lyons1 ,nantes1 and ,toulouse for other panels4 ,,lille1 ,,picture ,,gallery4 ,the ,chevalier ,wicar collection of ,old ,master drawings contains3 ,drawing for the ,adoration of the ,magi1 from the picture in the ,museum of ,rouen4 #jbjg #jbhc4 #edf4 ,in silver paint on prepared paper4 ,,lyons1 ,,picture ,,gallery1 ,,hotel ,,de ,,ville4 ,the ,ascension4 ,it formed part of a large altar-piece painted in #adie for ,s4 ,pietro in ,perugia4 ,the lunette belonging to it is in ,st4 ,gervais1 ,paris1 the predella at ,rouen2 and of the pilaster panels three are at the ,vatican and five remain at ,s4 ,pietro4 ,the ,eternal ,father is above within a circular glory of rays issuing from a cloud4 ,our ,lord rises toward ,him pointing upward with both hands4 ,there are angels playing on instruments on either side of ,christ1 and below on the ground are the ,madonna1 ,st4 ,peter1 ,st4 ,paul1 and the rest of the ,apostles4 ,given to the town by the ,french ,government and confirmed by ,pius ,,vii4 in #ahaf4 ,,ss4 ,herculanus and ,james4 ,probably from ,st4 ,agostino1 ,perugia4 ,see ,caen1 ,nantes1 and ,grenoble for others4 ,,marseilles1 ,,picture ,,gallery4 ,the ,family of ,st4 ,anne1 or the ,infant ,saviour with ,his five ,cousins4 ,the ,madonna is enthroned1 with the divine ,child on her knees1 and ,st4 ,anne stands behind her and places her hands on the shoulders of ,our ,lady4 ,st4 ,simon and ,st4 ,thaddeus are on the steps of the throne playing one with the other4 ,to the right ,st4 ,mary ,cleophas holds ,st4 ,james the ,less in her arms1 and ,st4 ,joseph has ,st4 ,joseph ,justus standing beside him and holding a stick4 ,to the left is ,st4 ,mary ,salome with ,st4 ,john in her arms4 ,st4 ,joachim is behind her1 and ,st4 ,james is standing near by4 ,each of the saints1 including ,st4 ,anne but excluding the ,madonna and ,child1 bears its name in the halo around the head4 ,st4 ,joseph ,justus is nude1 as is also ,our ,lord1 the other five children have slight draperies about them4 ,the throne is inscribed3 ,,petrvs ,,de ,,chastro ,,plebis ,,pinxit4 ,an original drawing for this picture belongs to the ,duke of ,northumberland1 and is at ,alnwick ,castle4 ,,nantes1 ,,picture ,,gallery4 ,isaiah and ,jeremiah4 ,circular pictures4 #abg diam4 #d ft4 #c in4 #bjb and #bjc4 ,each picture has an inscription on it4 ,on ,isaiah are the words ,,elevata ,e ,,magnifi,,ce,,tia ,,tva ,,svp ,,celos ,,ds2 and on ,jeremiah ,c,,oe,,lvm ,,sedes ,,mea1 ,,terra ,,av,,te ,,scabell,v ,,ped,v ,,meorvm4 ,probably from ,st4 ,agostino1 ,perugia4 ,see ,caen1 ,lyons1 ,toulouse1 and ,grenoble for others4 ,adoration of ,christ4 #af #aah #e ft4 #d in4 #c ft4 #aa in4 #hg4 ,the ,madonna and ,st4 ,john with two angels are kneeling and adoring the divine ,child1 who is on a pillow on the ground and has his hand raised in benediction4 ,the signature is much damaged1 and only reads3 ,,petrvs ,,pervsis,n ,,pinxit4 ,from the gallery of the ,count de ,brissac1 and given to the ,gallery of ,nantes by the ,state in #ahjc4 ,,paris1 ,,the ,,louvre4 ,virgin and ,child4 ,panel1 circular4 #aea diam4 #e ft4 #aefd4 ,the ,madonna is seated on a throne and has the divine ,child on her knees4 ,st4 ,rosa is on her left1 ,st4 ,catherine on her right4 ,behind are two angels1 with clasped hands in adoration4 ,the dress of the ,virgin is cut square at the neck and fastened with a beautiful brooch4 ,the usual ,umbrian landscape is in the background with clearly defined trees4 ,once in the ,collection ,lapeyrire and then passed to the ,king of ,holland1 from whom in #ahej it was bought for #ec1cjb francs4 ,the ,holy ,family4 #jhj #jff #b ft4 #h #b ft4 #b in4 #aefe4 ,the ,virgin is seated1 and holds the divine ,child1 who is in the act of benediction1 in her arms4 ,on one side of ,the ,virgin is ,st4 ,joseph1 and on the other ,st4 ,catherine of ,alexandria4 ,the faces of the ,virgin and ,st4 ,catherine closely resemble one another4 ,st4 ,catherine's name is inscribed on her dress1 and the picture is signed3 ,,petrvs ,,pervsinvs ,,pinxit4 ,collection of ,louis ,,xviii4 ,purchased of ,m4 ,scitivaux4 ,a replica is at ,vienna1 but in that picture ,st4 ,agnes is depicted in lieu of ,st4 ,joseph4 ,see ,frankfort4 ,st4 ,paul4 ,circular4 #ajb diam4 #c ft4 #d in4 #aeff4 ,the saint is standing1 his right hand holding the hilt of his sword1 and his left hand resting on his side4 ,behind is a stone balustrade4 ,st4 ,sebastian4 #aeff;,a4 ,this picture was obtained in #ahif from the ,sciarra ,colonna ,gallery4 ,it is inscribed3 ,,sagit,,te ,,tv,e ,,infix,e ,,svnt ,,michi4 ,a ,combat between ,love and ,chastity4 #aef #aib #e ft4 #b in4 #f ft4 #d in4 #aefg4 ,this picture was executed for ,isabella d',este1 ,duchess of ,mantua1 and at a later time belonged to ,cardinal ,richelieu4 ,apollo and ,marsyas4 #jci #jbi #a ft4 #c in4 #aa in4 #aeji4 ,this picture is known under the designation of the ,raphael of ,morris ,moore1 from the name of the collector who was the first to definitely attribute its origin to ,raphael4 ,morelli attributes it to ,perugino4 ,see ,chapter ,,vi4 ,it was purchased by the ,louvre in #ahhc4 ,,rouen1 ,,new ,,museum4 ,three ,small ,pictures1 forming the predella of a large altar-piece formerly at ,san ,pietro in ,perugia1 and painted for the church in #adie4 ,they represent the ,adoration of the ,magi1 ,the ,baptism1 and ,the ,resurrection4 7#dgb1 #c1 #d47 ,the centre piece of the altar-piece is at ,lyons1 five of the side panels of saints are still at ,s4 ,pietro1 ,perugia1 in situ1 and the three remaining side panels in the ,vatican4 ,the lunette is at ,st4 ,gervais in ,paris4 ,given by the ,state to ,rouen in #ahjc4 ,,tarbes 7,,pyren,,es71 ,,picture ,,gallery4 ,saint ,lawrence4 ,life size4 ,panel4 ,virgin and ,child4 ,small panel4 ,,toulouse1 ,,picture ,,gallery4 ,st4 ,john the ,evangelist and ,st4 ,augustine4 ,probably from ,st4 ,agostino1 ,perugia4 ,see ,caen1 ,lyons1 ,nantes1 and ,grenoble for others4 ,,germany4 ,,altenberg1 ,,lindenau ,,collection4 ,c4 and ,c4 describe a picture of ,st4 ,helen1 and one of ,st4 ,anthony of ,padua1 probably sides of the altar-piece at ,,ss4 ,annunziata de ,servi in ,florence4 ,,dresden1 ,,royal ,,picture ,,gallery4 ,st4 ,crispin4 #jcf #jbe #a ft4 #b in4 #aj in4 #bb4 ,a fragment on panel4 ,,frankfort1 ,,staedel ,,gallery4 ,virgin and ,child with ,st4 ,john4 #jfh #jeb #b ft4 #c in4 #a ft4 #h in4 #af4 ,this picture very closely resembles ,the ,madonna and ,child at the ,borghese ,gallery1 ,rome1 also the one at ,munich1 and also the one in the ,louvre1 but neither are replicas one of the other1 and each differs in important details4 ,the groups at ,frankfort1 ,rome1 and ,munich are evidently1 however1 painted for the face of the ,madonna from the same model4 ,all four ,i consider to be genuine but late works4 ,bought in #ahcb in ,munich4 ,,leipzig1 ,,museum4 ,the ,archangel ,st4 ,michael4 ,the angel is standing upon the dragon whom he has just killed with a great sword4 ,the landscape at the back appears to be the work of the master1 but the rest of the picture is school work4 ,,meiningen1 ,,ducal ,,palace4 ,m4 ,berenson states that there are in this collection a ,st4 ,john ,baptist1 and a ,st4 ,john ,evangelist1 by ,perugino2 but ,i have not seen them4 ,,munich1 ,,old ,,pinacothek4 ,vision of ,st4 ,bernard4 ,panel4 #agc #afe #e ft #i in4 #e ft4 #f in4 #ajcd4 ,formerly in the ,nasi ,chapel of the ,church of ,st4 ,spirito1 in ,florence4 ,acquired for ,king ,ludwig ,i4 in #ahbi or #ahcj from the ,house of ,capponi in ,florence4 ,there is a study for it in the ,uffizi #beb1 #aaae4 ,lippo ,lippi1 ,filippino1 and ,fra ,bartolomeo all took the idea from this picture4 ,the ,virgin adoring the ,child4 ,panel4 #aie #aef #f ft4 #f in4 #e ft4 #b in4 #ajce4 ,the ,virgin is standing with clasped hands4 ,the ,child is on the ground before her4 ,on the left is ,st4 ,john the ,divine1 on the right ,st4 ,nicholas4 ,this picture was taken from ,venice to ,london1 thence it came into the possession of ,mr4 ,henry of ,paris1 where1 in #ahae1 it was bought by ,von ,dillis for #ah1jjj francs4 ,morelli says this is late and superficial in conception1 drawing1 and execution4 ,madonna and ,child4 ,panel4 #jhc #jfd #b ft4 #i in4 #b ft4 #a in4 #ajcf4 ,the ,virgin is seated1 and the divine ,child1 who is nude1 is upon her knees4 ,acquired in ,florence in #ahca by ,king ,ludwig ,i41 and by the ,state from the ,king in #ahej4 ,see ,frankfort4 ,morelli says this is feeble and overcleaned4 ,the ,baptism of ,christ4 #jcj #jcj #a ft4 #a ft4 #ajcg4 ,the ,saviour stands in the shallow water with ,st4 ,john1 who holds his cross in his left hand and in his right the baptismal shell4 ,two angels stand near by4 ,the ,resurrection4 #jcj #jdj #a ft4 #a ft4 #d in4 #ajch4 ,the ,saviour stands by the tomb1 near which two watchers are asleep2 a third is running away4 ,two predella pictures from the estate of ,inghirami in ,volterra1 and sold to the ,crown ,prince in #ahah4 ,morelli unites with ,c4 and ,c4 in ascribing them to ,perugino4 ,,strassburg4 ,there was at one time in the ,picture ,gallery1 a portion of the great altar-piece of #aeba painted for the church of ,st4 ,agostino1 in ,perugia1 but it was destroyed in the conflagration of ,august #beth1 #ahgj4 ,it represented the ,madonna1 but was at one time labelled as ,st4 ,apollonia4 ,it was opposite to the archangel in the original altar-piece1 and was a tondo4 ,,stuttgart1 ,,royal ,,museum4 ,the ,nativity4 #hg #hg4 #bcf4 ,signed3 ,,petrvs ,,perrvsinvs4 ,,italy4 ,,church ,,of ,,st4 ,,mary ,,of ,,the ,,angels1 ,,assisi 7near74 ,a fragment of a ,crucifixion resembling ,no4 #eg in the ,accademia4 ,the upper part was destroyed in #agjj during the demolition of the old choir1 the lower part was restored by ,castellani in #ahcj4 ,it is on the ,portiuncula on the outside of the east wall4 ,,ascoli4 ,eastlake states that in a private collection at ,ascoli is a ,virgin and ,child surrounded by saints1 brought from ,mentone1 near ,citt di ,castello1 the upper part of which is in gold with reliefs of angels4 ,if this is so it is quite different to anything else of ,perugino's work4 ,,bettona1 ,,church ,,of ,,the ,,minorites4 ,a votive portrait1 commissioned by a ,perugian captain called ,boto da ,maraglia1 who was taken prisoner by the ,french1 but eventually released4 #fc #df #b ft4 #a in4 #a ft4 #f in4 ,it is in distemper on canvas1 and ,boto1 in full armour1 is kneeling and looking up to ,st4 ,anthony1 who holds in one hand a book1 and in the other the fire4 ,the inscription is as follows3 ,,boto ,,de ,,maraglia ,,de ,,peroga ,,qvando ,,fo ,,pregione ,,de ,,franciose ,,che ,,fo ,,adi ,,xi ,,de ,,febraio ,,mdxii ,,petrvs ,,pinxit ,,de ,,castro ,,plebis4 ,in the same church is a ,madonna between ,st4 ,manno and ,st4 ,jerome1 with male and female patrons under her cloak1 and with angels above4 #fc #df #b ft4 #a in4 #a ft4 #f in4 ,,bologna1 ,,pinacoteca4 ,the ,assumption4 ,circa1 #adif4 ,signed3 ,,petrvs ,,pervginvs ,,pinxit4 ,,bologna1 ,,church ,,of ,,st4 ,,martino ,,maggiore4 ,the ,virgin in ,glory4 ,the ,virgin is in the sky1 standing1 a child-angel is on either side1 and around are cherub heads1 while on either side are two kneeling angels4 ,below are the apostles grouped around the empty tomb4 ,there are two trees1 one on either side of the picture1 clearly defined against the sky4 ,,borgo ,,san ,,sepolcro1 ,,the ,,cathedral4 ,the ,ascension of ,christ4 ,this picture1 according to ,vasari1 was painted in ,florence1 and commissioned by the ,abbot ,simone de' ,graziani1 and conveyed to the cathedral at heavy cost on the backs of porters4 ,there is a similar picture at ,lyons very closely resembling this one4 ,see page #da4 ,there is a ,study for three apostles in this picture in the ,uffizi #bea1 #djf4 ,,cantiano1 ,,church ,,of ,,sta4 ,,maria ,,della ,,collegiata4 ,the ,holy ,family4 ,,cerqueto4 ,figure of ,san ,sebastian4 ,the inscription recorded by ,orsini 7,vita di ,p4,p4 p4 #bjd7 is as follows3 ,s popul de ,cerqueto a fatta fare questa capella ,a4,d4 ,maria ,madalena per ,c4,h4 da peste gi usci liberare ,cavandoli da le ,hoscie ,d tal pena cusigli piaccia cuq ,,hv operare che mi e semp ne abbia ad scampare e tutti qlli ,c4,h4 in lei ,,an devotion ,,ad laude di ,dio quisto sermone ,petrus ,perusinus pinxit ,,mcccclxxviii4 ,,citt ,,della ,,pieve1 ,,santa ,,maria ,,de ,,bianca4 ,fresco4 ,about #ah #ah4 ,the ,madonna is seated on a throne under the usual open-roofed canopy1 and bears the ,infant ,christ on her knees4 ,behind her are the cattle1 and at her side ,st4 ,joseph with his staff4 ,two of the kings are kneeling and presenting their gifts4 ,the third is bringing his in4 ,around are their companions and attendants1 and in the background their retinue of horsemen4 ,there is an angel flying toward the canopy1 and below it is the star4 ,the picture is inscribed3 ,a4,d4 ,,mdiiij4 ,,citt ,,della ,,pieve1 ,,church ,,of ,,st4 ,,peter4 ,st4 ,anthony4 ,fresco4 ,st4 ,anthony seated on a throne1 one hand resting on a staff1 the other raised in benediction4 ,he is between ,st4 ,paul the ,hermit and ,st4 ,marcellus 7or ,macarius71 who stand beside him4 ,high up above is the ,eternal ,father within a mandorla of cherubs4 ,,citt ,,della ,,pieve1 ,,the ,,cathedral4 ,behind the ,high ,altar--,virgin in ,glory4 ,the ,madonna is adored by ,st4 ,protasius1 ,st4 ,peter1 ,st4 ,paul1 and ,st4 ,gervasius1 and the two ,umbrian saints carry flags in their hands which bear the arms of ,citt della ,pieve4 ,the picture was ordered in #aeac ,marchisino ,cristophori ,mansii1 prior of ,st4 ,gervasio4 ,it is inscribed3 ,,petrvs ,,cristoferi ,,vanvtii ,,de ,,castro ,,plebis ,,pinxit ,,mdxiii4 ,first chapel on left--,baptism of ,christ by ,st4 ,john4 ,st4 ,john is pouring the water from a shell over ,our ,lord's head4 ,two angels stand by1 and above is the ,dove of the ,holy ,spirit4 ,right of ,high ,altar--,virgin and ,child seated on a throne1 with ,st4 ,john ,baptist1 ,st4 ,john ,divine1 ,st4 ,domenic1 and ,st4 ,francis4 7,dated #aeac47 ,two angels are above4 ,,citt ,,della ,,pieve1 ,,st4 ,,maria ,,de ,,servi4 ,a fragment of a ,descent from the ,cross1 in which the ,madonna is supported by two ,maries4 ,it is dated #aeag4 ,the inscription is much mutilated1 and seems to read something as follows3 44444 esta hopera fero depengere la campagnia della ,s 4444 ,cossi dicta in li anno dmi ,,mdxvii ,petr ,p ,p4 ,,corciano4 ,the ,assumption of the ,virgin4 ,st4 ,thomas is below between two groups of the other disciples receiving the girdle of ,our ,lady4 ,in the ,sacristy of the ,church are the two predella panels representing the ,adoration of the ,magi and ,the ,annunciation4 ,,cremona1 ,,church ,,of ,,st4 ,,agostino4 ,the ,virgin with ,st4 ,james and ,st4 ,augustine4 ,the ,virgin is on a throne1 and holds the divine ,child in her arms4 ,on the left is ,st4 ,james1 on the right ,st4 ,augustine4 ,on the throne is inscribed3 ,,petrvs ,,pervsinvs ,,pinxit ,,mcccclxxxxiiii4 ,,deruta ,frescoes are attributed to ,pietro by ,orsini at this place1 but ,i was unable to find out where they are1 and think that they must have disappeared4 ,,fano1 ,,church ,,of ,,sta4 ,,maria ,,nuova4 ,the ,annunciation4 7#bnd chapel47 ,the angel1 holding the lily1 is kneeling before ,our ,lady1 who turns to leave him and with uplifted hands expresses bewilderment at his message4 ,above1 the ,eternal ,father1 seated within a circle of cherubs1 looks down in love upon the ,madonna4 ,the ,holy ,ghost as a dove is flying toward the ,virgin4 ,the inscription is much mutilated and reads as follows3 ,s4,a4,t4 4444 ,,cale 4444 ,,tti ,,qve ,,patrvi ,,olim ,,pon 4444 ,,enerii ,,hac ,,tabvla ,,er 44 ,,gi ,,in 4444 ,,ohc 4444 ,,tvra ,a 4444 ,,vii ,,mcccc 4444 ,,iii ,,petrvs ,,de ,c 4444 ,,tro ,,pl4 44444 ,the ,virgin and ,child4 7#crd chapel47 ,our ,lady is seated on a throne in the midst under a vaulted portico1 and holds the divine ,child in her arms4 ,around are six saints1 ,st4 ,john1 ,st4 ,francis1 ,st4 ,peter1 ,st4 ,paul1 ,st4 ,mary ,magdalen1 and a bishop4 ,the lunette represents ,the ,resurrection1 the predella ,the ,birth of the ,virgin1 ,the ,presentation1 ,the ,marriage1 ,the ,annunciation1 and ,the ,assumption4 ,a mutilated inscription on the throne reads3 dvrantis phanen ad intemerate ,virginis lavde tercentvm avreis alq ,d hvjvs templi ,bono centv svperaditis hanc solerti cvra fieri demandavit ,matteo de ,martinotiis fidei commissario procvranti mcccc #ig petrvs pervsinvs pinxit4 ,,foligno1 ,,church ,,of ,,la ,,nunziatella4 ,the ,baptism of ,christ4 ,circa #aejg4 ,our ,lord is being baptised by ,st4 ,john4 ,four angels stand around watching1 and in the air are two other angels and seven cherubs4 ,the ,holy ,ghost is descending in the form of a dove4 ,high above in the curve of the archway is the ,eternal ,father holding the globe in one hand and with the other upraised in benediction4 ,on either side are kneeling angels1 and around are cherubs4 ,the inscription between the picture and its lunette is hardly visible1 but appears to be ,,deo ,,et ,,beato ,,joanni ,,battistae ,,sacrvm ,,pietate ,,joannis ,,baptiste4 ,the date which originally followed the inscription cannot be read4 ,,florence1 ,,the ,,pitti ,,palace4 ,mary ,magdalen4 ,panel1 #jdg #jce #a ft4 #f in4 #a ft4 #b in4 #db4 ,on the ornament of the dress is inscribed3 ,santa ,maria ,maddalena4 ,portrait of a ,woman1 sometimes called ,the ,nun4 ,panel4 #adj4 ,bought by ,ferdinand ,,iii4 from ,marquis ,niccoloni4 ,it has been attributed to ,leonarda da ,vinci and to ,piero di ,cosimo4 ,morelli says that this picture is the work of ,perugino4 ,the ,entombment4 #afd4 ,the picture is signed3 ,,petrvs ,,pervsinvs ,,pinxit ,,ad ,,mcccclxxxxv4 ,there are three studies for this in the ,uffizi1 #bee1 #daa1 #dab1 #dac1 and a large study for the complete picture at ,christ ,church1 ,oxford4 ,the ,adoration of the ,infant ,christ4 ,panel1 #jhf #jhf #b ft4 #aj in4 #b ft4 #aj in4 #bai4 ,in the centre of the picture is ,our ,lady on her knees with clasped hands in the act of adoring the divine ,child1 who is nude and seated upon a sack and supported by an angel4 ,on the other of the ,virgin is the child ,st4 ,john1 kneeling on one knee and also in adoration of the ,christ4 ,,florence1 ,,the ,,uffizi ,,palace4 ,portrait1 believed to represent ,francesco delle ,opere1 a ,florentine artist1 a brother of the celebrated ,giovanni ,corniole4 ,he died in ,venice #adif4 #bhg4 ,the portrait is of a man with bushy hair4 ,he has bright eyes1 and is clean shaven4 ,he wears a cap on his head and is clothed in a loose soutane4 ,in his hand is a roll bearing these words ,,timete ,,devm4 ,the background is an ,umbrian landscape4 ,the picture is inscribed on the back3 #adid ,d',luglio ,pietro ,perugino ,pinse ,franco del ,ope 7delle ,opere74 ,madonna and ,child with two ,saints4 #aabb4 ,the ,virgin is seated on a throne beneath a vaulted archway4 ,she has the divine ,child on her knees4 ,at her left stands ,st4 ,sebastian2 on the right ,st4 ,john ,baptist4 ,the inscription on the base of the throne reads3 ,,petrvs ,,pervsinvs ,,pinxit ,,an ,,mcccclxxxxiij4 ,the picture was painted for the ,church of ,san ,domenico at ,fiesole4 ,there are also three studies in the ,uffizi for the ,piet in the ,pitti4 ,,florence1 ,,the ,,academy4 ,portrait of ,don ,biagio ,milanesi1 ,general of the ,vallombrosan ,order4 #adii-aejj4 #ag4 ,portrait of ,don ,baldassare1 ,monk of ,vallombrosa4 #adii-aejj4 #ag bis4 ,christ on the ,mount of ,olives4 #adib-i4 #ec4 ,painted for the ,convent of the ,gesuati1 in ,florence4 ,the ,assumption4 #ee4 ,at the extreme top is the ,eternal ,father in a circle with adoring angels4 ,below1 in a mandorla1 is ,our ,lady surrounded by a group of cherubs1 who1 in their arrangement1 follow the lines of the mandorla4 ,on either side are standing angels playing on musical instruments1 and below are flying angels and cherub faces4 ,on the ground as spectators of the mystery are four ,vallombrosan saints3 ,cardinal ,san ,bernardo degli ,uberti1 ,san ,giovanni ,gualberto the founder1 ,st4 ,benedict1 and the ,archangel ,michael4 ,the picture is signed3 ,,petrvs ,,pervsinvs ,,pinxit ,,ad ,,mccccc4 ,this picture was painted for ,vallombrosa4 ,the ,crucifixion4 #gh4 ,on one side of the cross stands ,the ,virgin1 on the other ,st4 ,jerome with his lion4 ,from the ,monastery of ,st4 ,jerome in ,florence4 ,the ,entombment4 #ef4 ,this picture was also painted 7in about #adic71 for the ,convent of the ,gesuati4 ,the ,descent from the ,cross4 #eg4 ,the lower part of the picture is ,perugino's work1 and the background4 ,nicodemus and ,joseph of ,arimatha are on the left4 ,the ,madonna1 fainting1 but supported by the holy women1 is on the right1 and in the centre at the foot of the cross kneels ,mary ,magdalen4 ,the three nails are in the foreground placed on the clothes of one of the men4 ,this picture was begun in #aejc by ,filippino ,lippi for the brethren of ,,ss4 ,annunziata de ,servi1 at the expense of ,jacopo ,federighi1 a ,knight of ,malta4 ,upon ,filippino's death in ,april #aejd it was completed by ,perugino4 ,drawings4 ,case #bee4 ,nos #daa1 #dab1 #dac4 ,study for the ,deposition from the ,cross in the ,pitti ,gallery4 ,silver paint in bistre touched up with white1 on grey paper4 #bed4 #djg4 ,five figures turning to the right4 #dji4 ,st ,francis4 ,study for figure in picture in ,,ss4 ,annunziata4 ,pen and ink4 #dah4 ,st4 ,jerome kneeling4 #bec4 #acjg4 ,virgin and ,child4 #aadg4 ,figure of a young man4 #djb4 ,venus and ,cupid4 ,etching in bistre touched up in white for the ,cambio4 #acag4 ,figure of a monk4 #beb4 #acbj4 ,an angel and a lily4 #djj4 ,pericles4 ,pen and ink4 ,for the ,cambio4 #adce4 ,figure of a monk4 #daf4 ,head of #aaae4 ,vision of ,st4 ,bernard4 ,study for the picture at ,munich1 #ajbd4 #djh4 ,st4 ,catherine2 and on the reverse of it1 ,four ,loves4 ,pen and ink4 #cfc4 ,madonna and ,child4 ,study for the picture at ,perugia4 ,sala ,,xi4 #f4 #dja4 ,moses4 ,for the ,cambio4 #eaa4 ,two figures4 ,case #bea4 #dae4 ,socrates4 ,for the ,cambio4 #dje4 ,group of five ,apostles4 ,study for the ,assumption at ,,ss4 ,annunziata4 #dag4 ,the ,madonna4 ,study for the figure in ,sta4 ,maria dei ,pazzi4 #djc4 ,three ,apostles4 ,study for the ,assumption at ,borgo ,san ,sepolcro4 ,etched in bistre1 heightened with white on tinted paper4 ,on the back of #beb1 #djj1 is a ,christ on the ,cross1 in silver paint on blue paper4 ,study for the ,sta4 ,maria de ,pazzi picture4 #bef4 #cji4 ,the ,cumean ,sibyl4 ,for the ,cambio4 ,,florence1 ,,chapter-,,house ,,of ,,santa ,,maria ,,maddalena ,,dei ,,pazzi4 ,the ,crucifixion4 ,this is a very large fresco in three compartments4 ,circa #adif4 ,in the centre is ,our ,lord upon the ,cross1 with ,mary ,magdalen kneeling4 ,in the right division1 ,st4 ,john and ,st4 ,benedict4 ,in the left1 the ,virgin and ,st4 ,bernard4 ,each division is framed by an archway of pillars4 ,there are studies in the ,uffizi for the ,madonna1 #bea1 #dag2 and for the ,christ on the ,cross1 #beb1 #djj4 ,,florence1 ,,church ,,of ,,ss4 ,,annunziata4 ,in the fifth chapel on the left is a ,virgin and ,child enthroned between ,st4 ,john ,baptist and ,st4 ,francis1 much of which was probably painted by the pupils of ,perugino4 ,there is a study for the ,st4 ,francis in the ,uffizi1 #bed1 #dji4 ,in the seventh ,chapel is an ,assumption of the ,virgin4 ,the ,madonna is in a luminous mandorla of rays and surrounded by angels and cherubs1 while below on the ground the apostles and holy women1 who are gazing up into heaven4 ,there is a study for five of the apostles in the ,uffizi1 #beg1 #dje4 ,,florence1 ,,church ,,of ,,la ,,calza4 ,the ,crucifixion4 ,the ,magdalen is at the foot of the cross1 and around are ,st4 ,jerome1 ,st4 ,francis1 ,st4 ,john ,baptist1 and ,st4 ,giovanni ,columbini of ,siena4 ,,florence1 ,,via ,,faenza4 ,i am only prepared to accept the general idea of the ,cena di ,foligno as belonging to ,perugino4 ,he may have done the landscape1 but ,i doubt it2 and the figures around the table ,i do not think are his at all4 ,mr4 ,berenson1 however1 accepts part of this work as ,perugino's1 and dates it very early about #adij4 ,,florence1 ,,st4 ,,spirito ,,west ,,window4 ,ascension4 ,mr4 ,berenson states that this is from a design by ,perugino4 ,,macerata4 ,madonna and ,child with two ,saints4 ,only a small part of this is by the master1 the remainder is by pupils4 ,,milan1 ,,poldi ,,pezzoli ,,museum4 ,madonna and ,child4 ,panel4 #jbi #jbc #aa in4 #i in4 ,the ,virgin is seated1 and has the divine ,child on her knees4 ,on either side of her is an angel1 one having clasped hands and the other with its hands folded across its breast4 ,,montefalco1 ,,church ,,of ,,st4 ,,francis 7,,new ,,pinacoteca74 ,the ,nativity4 ,perugino's favourite structure with a pointed roof resting on four columns occupies the centre of the picture2 under it is the divine ,child lying upon the ground4 ,the ,madonna and ,st4 ,joseph are kneeling on either side1 and behind them are the shepherds and some cattle4 ,above1 in the curve of the arch1 is depicted the ,eternal ,father seated on the clouds within a mandorla of cherubs heads and on either side are kneeling adoring angels4 ,,naples1 ,,national ,,museum4 ,madonna and ,child4 #aa4 ,our ,lady is seated1 and has the divine ,child1 who is nude1 on her knee4 ,the scene is in a rocky valley4 ,on the left is a man on a white horse and three youthful companions1 on the right a group of five persons1 two of whom hold golden cups in their hands4 ,,naples1 ,,duomo4 ,the ,assumption4 ,said to be dated #adfj4 ,this picture was commissioned1 so ,vasari says1 by ,cardinal ,oliviero ,caraffa1 who is represented kneeling to the left4 ,the ,madonna is in a mandorla2 two angels above are crowning her1 and other angels playing on instruments are around4 ,below are the apostles and ,st4 ,paul1 and to the left1 the ,cardinal with ,st4 ,januarius4 ,i have not seen this picture4 ,,panicale1 ,,lago ,,trasimeno1 ,,church ,,of ,,st4 ,,sebastian4 ,martyrdom of ,st4 ,sebastian4 ,fresco4 ,the saint is bound to a column which stands on a marble throne in the centre of the pavement of an arched ,temple4 ,four archers are engaged in shooting arrows at the ,saint4 ,the ,eternal ,father appears high above1 seated within a circle of cherubs and having on either side a kneeling angel4 ,on the pedestal is ,p 4444 ,,de ,,castro 4444 and on the four pillars the date ,a4,d4 ,,mdv4 ,there is a study for one of the archers at ,christ ,church1 ,oxford4 ,,panicale1 ,,lago ,,trasimeno1 ,,church ,,of ,,st4 ,,augustine4 ,virgin and ,child4 ,the ,madonna is in the sky within a mandorla of cherubs1 and has four angels around her playing on instruments4 ,below are two saints4 ,much of this picture is by ,lo ,spagna4 ,,pavia1 ,,certosa4 ,a picture of six divisions of which the central one in the upper tier is alone by ,perugino4 ,it represents the ,eternal ,father seated1 holding the globe in one hand and giving the benediction with the other4 ,cherub heads are all around the seated figure4 ,the three panels in the lower tier are now in the ,national ,gallery1 ,london1 and copies take their places in the ,certosa at ,pavia4 ,on either side of the ,perugino panel have now been inserted panels by ,borgognone4 ,the picture is in the second chapel on the left1 that of ,st4 ,michael the ,archangel4 ,,perugia1 ,,pinacoteca ,,vannucci4 ,the ,coronation of the ,virgin4 ,sala ,,viii4 #bd4 ,this is a double picture1 one side being in this room and the reverse in ,sala ,x4 ,no4 #be4 ,from the church of ,s4 ,francesco al ,monte4 ,st4 ,jerome and ,st4 ,mary ,magdalen4 ,sala ,x4 #a4 ,by the side of ,st4 ,jerome is his lion1 and in the ,magdalen's hand is the cup of ointment4 ,from the church of ,st4 ,agostino4 ,st4 ,sebastian bound to a column and shot at by two ,archers2 above are two angels4 ,dated ,a4,d4 ,,mdxviii4 ,sala ,x4 #b4 ,from the church of ,s4 ,francesco al ,prato4 ,piet4 ,sala ,x4 #aj4 ,our ,lord crowned1 standing and extending ,his hands4 ,this was originally in an altar-piece1 the frame of which is in ,sala ,,xiii4 ,no4 #af1 and the place is still empty which the ,piet filled4 ,in the lower part of the frame a picture by ,eusebio has been placed4 ,the ,baptism of ,christ4 ,sala ,x4 #aa4 ,st4 ,john stands by the side of ,our ,lord and is pouring the water upon ,his head4 ,the ,holy ,spirit as a dove within a circle of golden rays is in the heavens above attended by cherubs and two adoring angels4 ,two female saints are on the ground beneath4 ,from the great altar-piece in ,st4 ,agostino4 ,the ,eternal ,father seated and surrounded by ,cherubs4 #f4 ,the lunette for above altar-piece4 ,the ,preaching of ,st4 ,john ,baptist4 #g4 ,the ,marriage of ,cana in ,galilee4 #ab4 ,these are the predella pieces for above altar-piece and its opposite face4 ,the ,adoration of the ,magi4 #ba4 ,the ,offering of ,christ in the ,temple4 #af4 ,the ,prophet ,david4 #ae4 ,the ,prophet ,daniel4 #ai4 ,these were part of the same altar-piece4 ,the remaining two are at ,nantes4 ,the ,birth of ,christ4 #bj4 ,this is the reverse side of the ,st4 ,agostino altar-piece1 ,the ,baptism of ,christ ,no4 #aa being the other side4 ,san ,lorenzo4 #h4 ,st4 ,louis the ,bishop4 #i4 ,san ,costanzo4 #ac4 ,a ,martyr4 #ad4 ,st4 ,jerome4 #ag4 ,st4 ,lucy4 #ah4 ,san ,nicola da ,tolentino4 #bb4 ,st4 ,monica4 #bc4 ,these eight saints surrounded the same altar-piece at ,st4 ,agostino1 and are believed to have been at the corners on either side4 ,madonna with the divine ,child and ,saint4 #bd4 ,the ,archangel ,gabriel4 #bf4 ,these are also believed to have formed part of the same altar-piece4 ,a ,crucifixion4 #be4 ,this was the opposite side of the picture in ,sala ,x4 ,no4 #b4 ,the figure of the ,crucified ,lord is finely carved in wood and laid upon the canvas4 ,from the church of ,s4 ,francesco al ,monte4 ,st4 ,james4 #d4 ,st4 ,jerome4 #e4 ,deposited by the ,sodality of ,st4 ,martin4 ,the ,transfiguration4 ,sala ,,xi4 #b4 ,our ,lord is above in the heavens1 standing with hands extended1 and within a mandorla of cherub heads4 ,moses and ,elias kneel in the clouds1 one on either side of the ,christ4 ,below are the three disciples gazing upwards and shielding their eyes with their hands from the blinding splendour of the sight4 ,the three predella pictures to this altar-piece 7which was originally in ,santa ,maria ,nuova7 represent ,the ,annunciation1 ,the ,birth of ,christ1 and ,the ,baptism of ,christ4 ,the ,virgin and ,child4 #f4 ,there is a study for it in the ,uffizi1 #beb1 #cfc4 ,painted in #adig4 ,deposited by the ,nobile ,confraternita di ,san ,pietro ,martire4 ,the ,virgin of ,consolation4 #ad4 ,the ,madonna is seated in the heavens1 bearing the divine ,child1 who is nude1 erect on her knees4 ,on either side are adoring angels1 and around are cherubs4 ,beneath1 on the ground1 kneel ,san ,francesco and ,san ,bernardino praying for the people who stand in a great crowd in the middle distance gazing up to the ,madonna4 ,in the extreme distance is a view of ,perugia4 ,deposited by the ,nobile ,confraternita della ,giustizia4 ,the ,virgin and ,child4 #ae4 ,the ,madonna is seated in the heavens and has three cherubs under her feet4 ,on either side are kneeling ,san ,niccolo and ,san ,bernardino da ,siena4 ,on the ground ,st4 ,jerome1 with his lion1 and ,st4 ,sebastian are also kneeling4 ,in the distance is a view of the city of ,perugia4 ,from the church of ,s4 ,agostino4 ,st4 ,john ,baptist and four other ,saints4 #af4 ,st4 ,john stands on a mound in the midst and holds his tall cross1 and with one hand points to heaven4 ,on his left is ,st4 ,anthony of ,padua and ,st4 ,sebastian1 the latter being partly in armour and wearing a fantastic head-dress and holding an arrow daintily in one hand4 ,on the right are ,st4 ,jerome and ,st4 ,francis4 ,st4 ,john the ,divine4 ,sala ,,xii4 #d4 ,st4 ,luke the ,evangelist4 #h4 ,these are attributed to ,perugino in the catalogue4 ,the ,birth of ,christ4 ,a lunette4 ,fresco4 ,sala ,,xiii4 #ea4 ,the divine ,child is on a cushion on the ground1 and near by are the ,madonna1 ,st4 ,joseph1 and three shepherds1 all kneeling in adoration4 ,the usual wooden square erection occupies the centre of the picture4 ,some cattle are seen near at hand4 ,from the east door of the church of ,s4 ,francesco al ,monte4 ,,perugia1 ,,duomo4 ,virgin and ,child and ,saints4 ,the ,madonna is seated under a canopy and holds the divine ,child1 who raises ,his hand in benediction1 in her arms4 ,on the left stands ,st4 ,sebastian holding an arrow1 on the right is a female saint kneeling1 and behind her stands ,st4 ,joseph with his staff4 ,,perugia1 ,,church ,,of ,s4 ,,severo4 ,raphael's first fresco of ,our ,lord and many ,saints1 to which ,perugino made additions in #aeba4 ,the inscriptions upon it are as follows3 ,,raphael ,,de ,,vrbino ,,dom ,,octaviano ,,stephano ,,volaterano ,,priore ,,sanctam ,,trinitatem ,,angelos ,,astantes ,,sanctosque ,,pinxit ,a4,d4 ,,mdv42 and below with the figures of ,,ss4 ,scholastica1 ,jerome1 ,john the ,divine1 ,gregory1 ,boniface1 and ,martha3 ,,petrvs ,,de ,,castro ,,plebis ,,pervsinvs ,,temp4 ,,domini ,,silvestri ,,stephani ,,volaterrani ,a ,,dexteris ,,et ,,sinistris ,,div4 ,,christophorae ,,sanctos ,,sanctasqve ,,pinxit ,a4,d4 ,,mdxxi4 ,in the upper part is the ,eternal ,father1 and below is ,our ,lord seated1 and above ,his head the white dove of the ,holy ,spirit4 ,on either side and around ,him are adoring angels1 and near by1 seated in two groups1 are1 on ,his right three saints1 ,,ss4 ,maurus1 ,placidus1 and ,benedict1 and on ,his left three more saints1 ,,ss4 ,romualdus1 ,benedict ,martyr1 and ,john ,martyr4 ,,perugia1 ,,church ,,of ,s4 ,,pietro4 ,piet4 ,the dead body of ,our ,lord has just been lifted from the tomb by ,st4 ,joseph of ,arimatha1 who is supporting it in sitting posture on the edge of the tomb4 ,on either side are ,st4 ,mary ,magdalen and ,our ,lady1 each holding one hand of ,christ4 ,this was originally part of the great altar-piece of ,st4 ,agostino4 ,for other parts see ,grenoble1 ,toulouse1 ,lyons1 ,nantes1 ,strasburg1 and the ,pinacoteca4 ,,perugia1 ,,nunnery ,,of ,s4 ,,agnese4 ,the ,eternal ,father with ,,ss4 ,sebastian and ,rocu4 ,crucifixion1 with two ,angels1 the ,virgin1 and ,st4 ,john ,baptist4 ,the ,virgin1 with two ,angels1 ,st4 ,anthony the ,abbot1 ,st4 ,anthony of ,padua1 ,st4 ,elizabeth of ,portugal1 ,st4 ,elizabeth of ,hungary4 ,said to have been signed3 ,,petrvs ,,pinsit #aebb4 ,these cannot be seen as the house is now strictly cloistered4 ,,perugia1 ,,collegio ,,del ,,cambio4 ,entirely decorated in fresco4 ,first and third picture4 ,twelve standing figures in groups of three1 each group consisting of a ,greek between two ,romans4 #a4 ,fabius ,maximus1 ,socrates1 ,numa ,pompilius4 #b4 ,furius ,camillus1 ,pittacus1 ,trajan4 #c4 ,lucius ,sicinius1 ,leonidas1 ,horatius ,cocles4 #d4 ,scipio1 ,pericles1 ,cincinnatus4 ,above the first six figures are seated representations of ,prudence and ,justice1 the virtues1 illustrated by the philosophers1 and on tablets carried by cherubs the following two inscriptions3 ,,quid ,,generi ,,hvmano ,,pr,,stas ,,dea ,,dic ,,age ,,pr,,sto ,,ne ,,facias ,,qvae ,,mox ,,facta ,,dolere ,,queas ,,scrutari ,,vervm ,,doceo ,,causasqve ,,latentes ,,et ,,per ,,me ,,poterit ,,nil ,,nisi ,,rite ,,geri4 ,,si ,,tribvs ,,his ,,cvnctos ,,similes ,,pia ,,nvmina ,,gignant ,,nil ,,toto ,,sceleris ,,nil ,,sit ,,in ,,orbe ,,mali ,,me ,,cvlta ,,avgentvr ,,popvli ,,belloqve ,,togaqve ,,et ,,sine ,,me ,,fverant ,,qvae ,,modo ,,magna ,,rvvnt4 ,the ,rev4 ,h4 ,r4 ,ware renders these verses in ,english as follows3 ,thy gifts to man1 ,oh6 ,goddess1 now relate4 ,to do1 what done1 shall bring no bitter fate2 ,i show where truth lies hid1 the causes tell1 ,which learned from me thou may'st do all things well4 or1 as an alternative1 the last line may read 7,whereby the seeker may do all things well47 ,if the good gods make all men like these three1 ,in the wide world no wickedness would be4 ,by me the nations grow in war and peace1 ,without my worship antient powers decrease4 ,another rendering by the ,rev4 ,t4 ,c4 ,robson is very close to the original but is not as melodious and easy as ,mr4 ,ware's4 ,speak1 ,goddess1 where thy gift to man appears4 ,my gift to prompt to deeds that cause no tears4 ,truth to unveil1 secrets to learn ,i teach1 ,no slave of mine heaven's justice would impeach4 ,had heaven made all men like these three ,evil and crime had ceased to be2 ,i guide both sword and pen to better ways1 ,force without me will fall on evil days4 ,above the second six figures are similar representations of ,fortitude and ,temperance1 the virtues specially illustrated by the warriors and similar inscriptions thus3 ,,cedere ,,cvnta ,,meis ,,pulsa ,,et ,,disiecta ,,lacertis ,,magna ,,satis ,,fverint ,,tres ,,docvmenta ,,viri ,,nil ,,ego ,,pro ,,patria ,,timeo ,,charisqve ,,propinqvis ,,qvaeqve ,,alios ,,terret ,,mors ,,mihi ,,grata ,,venit4 ,,dic ,,dea ,,qvae ,,tibi ,,vis ,,mores ,,rego ,,pectoris ,,aestvs ,,tempero ,,et ,,his ,,alios ,,cvm ,,volo ,,reddo ,,pares ,,me ,,seqvere ,,et ,,qva ,,te ,,svperes ,,ratione ,,docebo ,,qvid ,,tv ,,qvod ,,valeas ,,vincere ,,maivs ,,erit4 ,mr4 ,ware's translation of these verses is very happy3 ,three heroes proof infallible have given ,that by my arms all foes are backward driven1 ,i have no fear for country nor for friends ,the king of terror brings to me amends4 ,goddess1 reveal thy might4 ,i rule the life2 ,heroes ,i train by tempering passion's strife3 ,follow my rule1 thy fiery heart restrain1 ,what greater victory canst thou ere attain4 ,an alternative of these four lines would be1 ,oh6 ,goddess1 tell the secret of thy might4 ,i rule the heart1 its foaming tides ,i fight4 ,follow my rule1 the storms of passion bind2 ,so conquering self a greater self you'll find4 ,mr4 ,robson's rendering is as follows3 ,all things beneath my hand in scattered ruin lie4 ,witness these three whose might can none deny4 ,my land1 my loved ones1 ever ,i defend1 ,and ,death1 to others ,foe1 to me is friend4 ,speak1 ,goddess1 from thy throne4 ,manners my right4 ,to cool men's souls and balance passion's might4 ,with me as guide self-conquest thou shalt learn1 ,who then will dare that master will to spurn4 ,the name of each of the standing figures is clearly recorded at his feet4 ,between these two great groups on a pilaster is the portrait of ,perugino with this inscription3 ,,petrvs ,,pervsinvs ,,egregivs ,,pictor4 ,,perdita ,,si ,,fuerat ,,pingendi ,,his ,,retulit ,,artem2 ,,si ,,nusquam ,,inventa ,,est ,,hactenus ,,ipse ,,dedit4 ,on the end wall are representations of ,the ,transfiguration and ,nativity4 ,in the former ,our ,lord is in the clouds in a mandorla of rays1 and ,his hands are raised in benediction4 ,on either side kneel ,moses and ,elias1 and in the sky are the words3 ,,hic ,,est ,,filivs ,,mevs ,,dilectvs4 ,on the ground gazing up1 but shading their faces from the glory1 are the three disciples4 ,in the ,nativity the divine ,child is on the ground1 and around1 under a canopy raised on six columns1 are kneeling the ,madonna1 ,st4 ,joseph1 and the shepherds4 ,there are cattle nearby1 and above1 in the heavens1 three angels singing1 and above their heads the words3 ,,gloria ,,in ,,excelsis ,,deo4 ,on the right wall is a ,group of ,prophets and ,sibyls1 ,isaiah1 ,moses1 ,daniel1 ,david1 and ,jeremiah1 and opposite to them the ,persian1 ,cuman1 ,libyan1 ,tyburtine1 and ,delphic sibyls4 ,above them1 in the clouds1 surrounded by cherubs and adoring angels1 is a representation of ,the ,eternal ,father4 ,near the door is a fine standing figure of ,cato1 and in the ceiling are medallions of the deities representing the seven planets set amidst a profusion of diversified arabesques4 ,there are studies in the ,uffizi for several of the figures in the ,cambio3 ,socrates 7#bea1 #dae71 ,pericles 7#beb1 #djj71 ,moses 7#beb1 #dja71 ,the ,cumean ,sibyl 7#bef1 #cji71 ,venus and ,cupid 7#bec1 #djb71 ,the ,infant ,christ 7verso of1 #beb1 #dja74 ,,rome1 ,,vatican1 ,,cappella ,,sistina4 ,st4 ,peter receiving the ,keys4 ,there is a study in the ,uffizi1 #beb1 #daf1 for one of the heads in this fresco4 ,,rome1 ,,vatican1 ,,stanza ,,dell' ,,incendio4 ,the ,,ceiling painted by ,perugino was spared by ,raphael in #aejh when ,pope ,julius ,,ii4 ordered the destruction of all existing work in order that ,raphael might entirely complete the decoration4 ,the ceiling is in four circular compartments4 ,the first represents1 within a mandorla of cherubs1 and surrounded with angels the ,eternal ,father holding the globe and giving benediction4 ,the second1 the ,saviour in glory1 within a mandorla1 and surrounded with angels and cherubs4 ,the third1 the ,saviour surrounded by ,his apostles and ,st4 ,paul1 while above ,him is the ,eternal ,father with angels1 and at ,his feet the ,dove of the ,holy ,ghost4 ,the fourth depicts the ,eternal ,father between two saints and surrounded by angels and cherubs4 ,,rome1 ,,vatican1 ,,pinacoteca4 ,the ,resurrection4 ,panel4 #bbg #afg #g ft4 #f in4 #e ft4 #f in4 ,the ,madonna and ,child4 #jhi #afe #b ft4 #aa in4 #e ft4 #f in4 ,the ,virgin is seated on a magnificent canopied throne beneath a vaulted archway4 ,the divine ,child is nude1 and stands erect on her knees4 ,around are four saints patrons of ,perugia1 ,st4 ,herculanus1 ,st4 ,constantius1 ,st4 ,lawrence1 and ,st4 ,louis of ,toulouse1 all richly dressed4 ,the throne is inscribed3 ,,hoc ,,petrvs ,,de ,,chastro ,,plebis ,,pinxit ,this was originally in the chapel of the ,town ,hall at ,perugia1 for which it was painted1 and was carried to ,paris in #agig4 ,,ss4 ,placido1 ,flavia1 and ,benedict4 #jca #jbf each4 ,san ,placido bears the ,palm1 ,san ,benedetto the holy water1 asperge1 and a book1 and ,santa ,flavia is crowned and has her hands clasped4 ,she and ,san ,placido were brother and sister and early disciples of ,st4 ,benedict4 ,from the pilasters forming the sides of the ,ascension removed from the ,benedictine ,church of ,s4 ,pietro in ,perugia and now at ,lyons4 ,,rome1 ,,villa ,,borghese4 ,st4 ,sebastian4 #aji #jfi #c ft4 #g in4 #b ft4 #c in4 #chf4 ,the saint stands under an open archway1 bound to a central column4 ,he is pierced with five arrows1 and is looking upwards4 ,virgin and ,child4 #jde #jcg #a ft4 #f in4 #a ft4 #b in4 #dja4 ,the ,virgin is seated1 and holds the divine ,child1 who is nude1 erect on her knees4 ,see ,frankfort4 ,,rome1 ,,villa ,,albani4 ,altar-piece4 #cg4 ,this is in six compartments representing the ,adoration of the ,divine ,child1 and ,the ,crucifixion4 ,the ,nativity is below4 ,at the sides are an angel and an ,annunciation4 ,the picture is inscribed on the capitals1 ,,petrvs ,,de ,,pervsia ,,pinxit ,,mccviiii ,,primo4 ,,siena1 ,,church ,,of ,,st4 ,,agostino4 ,the ,crucifixion4 ,for this picture ,perugino was paid #bjj golden ducats4 ,,sinigaglia1 ,,monastery ,,church ,,of ,,sta4 ,,maria ,,della ,,grazie4 ,virgin and ,child with ,saints4 ,the ,virgin is on a throne1 bearing the divine ,child in her arms4 ,around stand ,st4 ,john ,baptist1 ,st4 ,louis of ,france1 ,st4 ,francis1 ,st4 ,peter1 ,st4 ,paul1 and ,st4 ,james 7or ,st4 ,john and ,st4 ,andrew74 ,almost a replica of the one at ,fano4 ,,spello1 ,,church ,,of ,,santa ,,maria ,,maggiore4 ,piet4 ,our ,lady is seated on a throne1 and holds the dead body of the ,christ in her arms and on her knees4 ,on one side of her kneels ,mary ,magdalen1 and on the right ,st4 ,john4 ,above their heads are cherub faces floating in the air4 ,from the canopy of the throne are suspended two tablets bearing these words3 ,,petrvs ,,de ,,chastro ,,pleb ,,pinsit ,,ad ,,mdxxi42 and on the foot of the throne is inscribed3 ,,michal ,,agelvs ,,andine4 ,virgin and ,child and ,saints4 ,the ,virgin is seated on a throne1 holding the divine ,child1 who stands erect and nude on her knees4 ,on her left stands ,st4 ,catherine1 with wheel and palm1 and on the right ,st4 ,blaise1 in episcopal habit1 with mitre and crozier1 holding the wool comb4 ,the throne is inscribed3 ,,ex ,,speis ,,joanne ,,bernar ,,delli ,,ad ,,mdxxi ,,die ,,xxv ,,aprilis4 ,,trevi1 ,,church ,,of ,,santa ,,maria ,,delle ,,lacrime4 ,the ,adoration of the ,magi4 ,the throne is inscribed3 ,,petrvs ,,in ,,castro ,,plebis ,,pinxit4 ,,tu ,,sola ,,in ,,terris ,,genetrix ,,et ,,virgo ,,fvisti ,,regina ,,in ,,celis ,,tv ,,qvoqve ,,sola ,,manes4 ,,verona1 ,,museo ,,civico4 ,the ,madonna adoring the ,christ4 #abj4 ,the ,virgin is standing in the centre of the picture with clasped hands and in front of a stone balustrade4 ,on either side are kneeling angels4 ,the one on the right holds the divine ,child1 whom the ,virgin is adoring1 the other rests her hands on the shoulders of ,st4 ,john ,baptist1 who is also adoring the ,christ4 ,in the background is the usual landscape which appears to be undoubtedly the work of ,perugino1 and probably also the figure of the ,virgin2 but the angels and children are school work4 ,the ,adoration of the ,magi4 #ie4 ,,chronological ,,list ,,of ,,pictures #adge ,certain frescoes in the great hall of the ,palazzo ,publico4 ,mentioned by ,milanesi4 #adgh ,certain frescoes in a chapel at ,cerqueto1 a castle in the diocese of ,perugia4 ,also mentioned by ,milanesi4 #adhj ,christ delivering the keys to ,st4 ,peter in the ,sistine ,chapel in the ,vatican at ,rome4 ,other frescoes now destroyed4 #adia ,altar-piece in the ,villa ,albani4 ,dated ,rome #adic ,virgin and ,child1 from ,fiesole4 ,dated ,uffizi1 ,no4 #aabb ,madonna and ,saints4 ,dated ,vienna ,piet painted for the ,gesuati ,accademia1 #eh #adid ,madonna and ,child4 ,dated ,sant' ,agostino1 ,cremona ,portrait of ,francesco ,uffizi1 #bhg #adie ,madonna and ,child ,pinacoteca1 ,vatican ,the ,entombment4 ,dated4 ,pitti1 #afd ,the ,ascension for ,san ,pietro1 ,perugia ,centre at ,lyons 7,a part is dated47 ,predella at ,rouen ,other parts at ,st4 ,pietro and the ,vatican #adif ,vision of ,s4 ,bernardo ,munich ,crucifixion1 begun in #adic1 finished ,sta4 ,maria ,maddalena #adif dei ,pazzi ,virgin and ,child at ,bologna ,family of ,sta4 ,anna ,marseilles #adig ,altar-piece4 ,dated ,fano ,virgin and ,child4 ,dated ,pinacoteca1 ,perugia1 ,sala xi4 #f #adih ,madonna with ,st4 ,bernard and ,st4 ,francis ,pinacoteca1 ,perugia1 xi4 #ad ,altar-piece4 ,dated ,fano #adii-aejj ,the frescoes in the ,cambio ,perugia ,two ,monks in the ,accademia #ag and #ag bis ,a ,duke of ,urbino ,vienna #aejj ,the ,assumption4 ,dated ,accademia1 #ee #aejb ,coronation of the ,virgin ,pinacoteca1 ,perugia1 ,sala viii4 #bd #aejd ,adoration of the ,magi4 ,dated ,citt della ,pieve #aeje ,st4 ,sebastian4 ,dated ,panicale ,descent from the ,cross1 begun by ,lippi ,accademia1 #eg #aejd or #e ,love and ,chastity ,the ,louvre1 #aefg ,virgin and ,child with two ,saints ,munich1 #ajce #aejg ,virgin and ,child with two ,saints ,national ,gallery1 #ajge ,ceiling in the ,camera dell' ,incendio ,vatican1 ,rome #aeaj ,picture for ,san ,francesco1 ,siena4 ,hertz ,coll41 ,rome ,fragment now remains ,crucifixion4 ,san ,agostino ,siena #aeab ,votive picture4 ,dated ,bettona #aeac ,virgin in ,glory4 ,dated ,citt della ,pieve #aeag ,descent from the ,cross4 ,a fragment4 ,citt della ,pieve ,dated #aeah ,martyrdom of ,st4 ,sebastian4 ,dated ,pinacoteca1 ,perugia1 ,sala x4 #b #aeba ,additions made to ,raphael's unfinished ,s4 ,severo1 ,perugia fresco4 ,dated ,piet4 ,dated ,spello ,virgin and ,child with ,saints4 ,dated ,spello ,the ,altar-,piece painted for ,st4 ,agostino of ,perugia1 of which part is in situ1 and other parts are at ,lyons1 ,toulouse1 ,grenoble1 and ,nantes ,adoration of the ,magi ,trevi #aebb ,virgin and ,saints4 ,dated ,st4 ,agnese1 ,perugia #aebc ,the ,adoration of the ,shepherds ,national ,gallery #adda ,,index ,adoration of the ,magi1 ,the 7,rouen71 #dc1 #acj2 7,citt della ,pieve71 #ij1 #ia1 #ace1 ill4 #ib2 7,trevi71 #aji1 #aed ,adoration of the ,shepherds1 ,the 7,nat4 ,gallery71 #aaj1 #abc ,albani1 ,cardinal ,giovanni ,girolamo1 #aae ,albani ,,ms41 ,the1 #aae ,albani altar-piece1 ,the1 #bi1 #aec1 ill4 #bh ,albizzi1 ,luca degli'1 picture painted by ,perugino for1 #aa ,annunciation1 ,the 7,villa ,albani71 #bi1 #aec2 7,fano71 #fi1 #ga1 #acg ,antonello da ,messina1 his influence on ,perugino1 #ci ,apollo and ,marsyas 7,louvre71 #fb1 #acj ,arcimboldo1 ,guido1 ,archbishop of ,milan1 #dj ,ashburnham1 ,lord1 and the ,albani ,,ms41 #aag ,ascension1 ,the 7,lyons71 #da1 #db1 #ee1 #if1 #abh2 7,borgo ,san ,sepolcro71 #da1 #db1 #dd1 #if1 #acd1 ill4 #db ,assumption1 ,the 7,accademia71 #fd1 #hc1 #hd1 #aci1 ill4 #hb2 7,,ss4 ,annunziata71 #hc1 #ie1 #if1 #ig1 #ada2 studies for1 #ih ,baccio d',agnolo1 #hg1 #ij ,baldassare1 ,abbot1 portrait of1 #hd1 #aac1 #aci1 ill4 #hd ,balsams1 action of on colours1 #cf1 #cg ,baptism of ,christ1 ,the 7,rouen71 #af1 #ag1 #dd1 #acj1 ill4 #ah2 7,vienna71 #ai1 #bj1 #aba2 7,foligno71 #ajj1 #acg2 7,citt della ,pieve71 #ajd1 #acf ,baptism of ,christ1 ,the1 in the ,sistine ,chapel1 probably by ,pinturicchio1 #af ,bellini1 ,giovanni1 his influence on ,perugino1 #ci ,berenson1 ,mr4 ,b4 on ,perugino1 #b1 #i2 on space composition1 #ac2 attributes1 the ,sposalizio to ,lo ,spagna1 #ei-fa ,bettona1 ,perugino's pictures at1 #ajc1 #ajd1 #acd ,bolleti1 ,signor ,guiseppe1 #ia ,bonfigli1 his influence on ,perugino1 #b1 #c ,boto da ,maraglia1 votive picture at ,bettona1 commissioned by1 #ajc ,cambio1 ,the1 at ,perugia1 ,perugino's decoration of1 #gd-hb1 #adi-aea ,canova1 #ed1 #ee ,ceccheti1 ,signor ,andrea1 #ia ,celandro1 ,santi di ,polonio del1 #ba1 #bb ,cennini1 ,cennino1 ,the ,trattato of1 #cd ,certosa altar-piece1 ,the1 #fg1 #abb1 ill4 #fh ,cesarei1 ,mayor of ,perugia1 #ea1 #ef ,christ giving the ,keys to ,st4 ,peter1 #ac1 #aea1 ill4 #ad ,christ in the ,garden 7,accademia71 #bd1 #bf1 #aci1 ill4 #bf ,citt della ,pieve1 ,perugino's birthplace1 #a2 fresco in ,sta4 ,maria de ,bianca1 #ij1 #ia1 #ace2 the town and people1 #ib2 other pictures by ,perugino at1 #ajd1 #aje1 #ace1 #acf ,coronation of the ,virgin1 ,the 7,perugia1 ,pinacoteca71 #hg1 #hh1 #if1 #ig1 #add ,costa1 ,lorenzo1 his ,sposalizio1 #fj1 #fa ,crucifixion1 ,the 7,la ,calza71 #i1 #bd1 #adb1 ill4 #bd2 7,villa ,albani71 #bi1 #aec2 7,s4 ,m4 ,maddalena dei ,pazzi71 #dj1 #fc1 #fe-fg1 #gc1 #ada1 ill4 #ff2 studies for1 #fg2 7,accademia71 #gb1 #gc1 #adj1 ill4 #gb2 7,perugia1 ,pinacoteca71 #hg1 #hi1 #adf1 ill4 #hh2 7,assisi71 #ajb1 #acc2 7,siena71 #ajc1 #aec1 ill4 #ajb ,crucifixion1 ,the1 by ,raphael1 #fg ,daru1 ,count1 #ej1 #ea1 #eb ,denistoune1 ,mr41 and the ,albani ,,ms41 #aae-aag ,denon1 ,baron1 #ea1 #ec ,descent from the ,cross 7fragment1 ,citt della ,pieve71 #aje1 #acf ,descent from the ,cross1 ,the1 by ,filippino ,lippi1 completed by ,perugino1 #ie1 #adj1 ill4 #id ,ducci1 ,agostino1 #gb ,entombment1 ,the 7,pitti71 #dj1 #dd1 #de1 #ach1 ill4 #dd2 studies for1 #de-df ,este1 ,isabella d'1 and ,perugino1 #ic ,fancelli1 ,chiare1 wife of ,perugino1 #adj ,federighi1 ,jacopo1 #ie ,fiesole altar-piece1 ,the1 #ca1 #aci1 ill4 #cj ,fiorenzo di ,lorenzo1 his influence on ,perugino1 #b1 #d1 #e ,francesco delle ,opere1 portrait of1 #dj1 #dd1 #hj1 #he1 #ach1 ill4 #dj ,galeotto1 ,pietro di ,maestro1 #bj-bb ,giovanni1 ,the1 ,perugino's uncle and nephews1 #hg ,herringham1 ,mrs41 #cd ,holy ,family1 ,the 7,cantiano71 #fi1 #ace ,horne1 ,mr4 ,herbert1 on ,perugino's technique1 #cc ,julius ,,ii41 ,pope1 #bg1 #hh1 #aja ,laurie1 ,dr4 ,a4 ,p41 his ,cantor ,lectures1 #cf ,leonardo da ,vinci1 #ab ,lippo1 ,filippino1 his ,descent from the ,cross1 completed by ,perugino1 #ie1 #adj ,lippi1 ,lippo1 his ,vision of ,st4 ,bernard1 #fc ,lorenzo di ,credi1 #ab1 #ie ,lo ,spagna1 ,the ,sposalizio1 attributed to1 #ei2 other works by1 #ic ,love and ,chastity1 #i1 #fb1 #ic1 #id1 #acj ,madonna and ,child 7,louvre71 #ai1 #abi2 7,verona71 #ai1 #aed2 7,vatican71 #bc1 #dj1 #aeb1 ill4 #bb2 7,uffizi71 #ca1 #aci2 7,vienna71 #ca1 #aba2 7,cremona71 #ci1 #acg2 7,nat4 ,gallery1 from the ,certosa altar-piece71 #fg1 #abb2 7,fano71 #fi-ga1 #acg2 7,sinigaglia71 #fi1 #aed2 7,perugia1 ,pinacoteca71 #fi1 #ga1 #adf1 ill4 #gj2 7,nat4 ,gallery1 the ,schiavone altar-piece71 #ii1 #ajj1 #abc1 ill4 #ajj2 7,bettona71 #ajd1 #acd2 7,citt della ,pieve71 #ajd1 #ace2 7,perugia1 ,duomo71 #aji1 #adg ,masaccio1 #ab ,maturanzio1 ,francesco1 #gg1 #hj ,michel ,angelo1 choice of a site for his ,david1 #hi2 connection between ,perugino and1 #ij ,milan1 ,il ,moro1 ,duke of1 anxious to secure ,perugino1 #ci1 #dj1 #fi ,milanesi1 ,don ,biagio1 portrait of1 #hd1 #aac1 #aci1 ill4 #hd ,moses and ,zipporah1 probably not by ,perugino1 #af ,nativity1 ,the 7,villa ,albani71 #bi1 #aec2 7,cambio71 #gg1 #aea2 7,montefalco71 #ajh1 #adb2 7,perugia1 ,pinacoteca71 #ajd1 #adg ,napoleon1 his seizure of ,italian pictures1 #dh2 admiration of ,perugino's paintings1 #ej ,niccol da ,foligno1 his influence on ,perugino1 #b1 #c1 #aa ,orvieto1 story of ,perugino's contract to decorate the cathedral at1 #bg-bi2 finally refused1 #gd ,panicale1 ,perugino's work at and connection with1 #ic1 #ii ,perugia1 story of ,perugino's dealings with the ,priori of1 #bj1 #bc2 altar-piece painted for ,san ,pietro1 #dj1 #da1 #ee1 #abh1 ill4 #eb2 the pillage of ,perugino's pictures from1 #dg-eg2 altar-piece painted for the magistrates' chapel1 #cc1 #dj1 #dg1 #di1 #aeb2 altar-piece painted for ,st4 ,agostino1 #ef1 #gj1 #hg1 #hh1 #ajf2 decoration of the ,cambio1 #gd-hb1 #adi-aea1 ill4 #gf1 #gh2 double altar-piece for ,san ,francesco al ,monte1 #hg2 the ,schiavone altar-piece1 #ii1 #ajj2 figures in ,san ,severo1 #ajg1 ill4 #ajf2 other pictures at1 #add-aea ,perugino1 his birth1 #a2 early influences1 #b-i2 journey to ,florence1 #i2 earliest works1 #aj1 #aa2 figure of ,san ,sebastian at ,cerqueto1 #aa2 ,christ giving the keys to ,st4 ,peter1 #ac1 #af1 #ah2 influence of ,umbrian scenery on his work1 #af2 his other frescoes in the ,sistine ,chapel destroyed1 #ah2 early pictures1 #ai-cb2 the ,vatican ,madonna1 #bc2 the ,la ,calza ,crucifixion1 #bd1 #bf2 commissioned to decorate ,orvieto ,cathedral1 #bg1 #gd2 work for ,cardinal ,guiliano della ,rovere1 #bg-bi2 the ,villa ,albani altar-piece1 #bi1 #cj2 his technique1 pigments1 etc41 #cc-ch2 the ,cremona altar-piece1 #ci2 the ,ascension altar-piece1 #dj-dd2 the ,entombment1 #dd-df2 story of the pillage of his pictures from ,perugia1 #dg-eg2 the ,sposalizio attributed to ,lo ,spagna1 #eh-fa2 the ,apollo and ,marsyas1 #fb2 the ,st4 ,bernard1 #fc2 the ,family of ,st4 ,anne1 #fc-fe2 the ,crucifixion at ,s4 ,m4 ,maddalena dei ,pazzi1 #fe-fg2 the ,certosa altar-piece1 #fg-fi2 pictures at ,fano1 etc41 #fi-ga2 two ,madonnas at ,perugia1 #ga1 #gb2 the ,st4 ,jerome ,crucifixion1 #gb1 #gc2 residence in ,florence1 #gd2 decoration of the ,cambio1 #gd-hb2 portrait of himself1 #hj1 #he1 ill4 #gh2 ,raphael his pupil1 #ha1 #hb2 the ,vallombrosa altar-piece1 #hc1 #hd2 two portraits1 #hd1 #he2 civic duties in ,perugia1 #hg2 the double altar-piece for ,san ,francesco al ,monte1 #hg-hi2 connection with ,michel ,angelo1 #ij2 the fresco at ,citt della ,pieve1 #ij1 #ia2 commission from ,isabella d',este1 #ic2 the ,assumption 7,,ss4 ,annunziata71 #ie2 repetition of figures in his pictures1 #fh1 #if2 retirement to ,perugia1 #ig2 the ,schiavone altar-piece1 #ii1 #ajj2 frescoes in the ,vatican1 #aja2 works at ,assisi1 #ajb2 ,siena1 #ajc2 ,bettona1 #ajc1 #ajd2 ,citt della ,pieve1 #ajd1 #aje2 ,spello1 #ajf2 completion of ,raphael's fresco in ,san ,severo1 ,perugia1 #ajg2 works at ,montefalco1 and ,trevi1 #ajh2 later pictures1 #aji1 #aaj2 death1 #aaj2 his burial-place unknown1 #aaa2 his wife1 #aab2 his scholars1 #aab2 characteristics1 #aab-aad ,piero della ,francesca1 his influence on ,perugino1 #c1 #f1 #bf1 #cj ,piet 7,accademia71 #i1 #bd1 #bf1 #adj1 ill4 #bf ,pinturicchio1 the ,baptism in the ,sistine ,chapel by1 #af1 #ah2 work in ,orvieto ,cathedral1 #bi2 the ,apollo and ,marsyas1 possibly by1 #fc ,phillips1 ,mr4 ,claud1 #fc ,portraits by ,perugino1 #dj1 #dd1 #hj1 #hd1 #he1 #aac ,prophets and ,sibyls 7,cambio71 #gg1 #hb1 #hc1 #aea ,raffaelino del ,garbo1 #be ,raphael1 his ,sposalizio1 #ei1 #fj1 #ha2 his ,crucifixion1 #fg2 ,perugino's pupil1 #ha1 #hb2 his decorations in the ,camera dell' ,incendio1 #ajj2 fresco in ,san ,severo1 ,perugia1 added to by ,perugino1 #ajg ,raphael of ,morris ,moore1 ,the1 #fb1 #acj ,repetition of figures in ,perugino's pictures1 #fh1 #if ,resurrection1 ,the 7,rouen71 #dc1 #acj2 7,vatican71 #gi1 #he1 #hf1 #aeb1 ill4 #hf ,roederer1 ,baron1 #ea1 #ec ,rossi1 ,prof4 ,adam1 #eh1 #ha ,rovere1 ,cardinal ,guiliano della1 ,perugino's work for1 #bg1 #bh1 #bi ,st4 ,agostino altar-piece1 ,the1 #ef1 #gj1 #hg1 #hh1 #ajf1 ill4 #ajf ,st4 ,anne1 ,family of1 #fc1 #fd1 #abh1 ill4 ,frontis4 ,st4 ,anthony 7,citt della ,pieve71 #ajd1 #ace2 7,bettona71 #ajc1 #acf ,san ,bernardino of ,siena1 #ga1 #gb ,st4 ,bernard1 ,vision of 7,munich71 #fc1 #acb1 ill4 #fb2 study for1 #fc ,st4 ,francis of ,assisi1 #gb1 ill4 #gj ,santi1 ,giovanni1 lines referring1 to ,perugino1 #ab2 story of his taking ,raphael to ,perugino1 #ha ,san ,sebastian1 ,comparison of ,perugino's various representations of1 #aah-abj ,san ,sebastian 7,cerqueto71 #aa1 #aah1 #ace1 ill4 #aj2 7,panicale71 #ic1 #ii1 #aah1 #adc2 7,perugia71 #aah1 #add1 ill4 #aah2 with other saints 7,perugia71 #ajf1 #adi2 7,albani ,,ms471 #aag1 #aah ,schiavone1 ,giovanni1 altar-piece painted for1 #ii1 #ajj1 #abc1 ill4 #ajj ,signorelli1 ,luca1 his influence on ,perugino1 #h1 #i1 #aa1 #be2 his decorations in the cathedral at ,orvieto1 #bi ,sixtus ,,iv41 ,pope1 pictures by ,perugino executed for1 #aj1 #ab ,space composition1 ,mr4 ,berenson on1 #ac ,spello1 ,perugino's pictures at1 #ajf ,sposalizio1 ,the1 attributed to ,lo ,spagna1 #di1 #eh-fa2 compared with pictures by ,raphael and ,lorenzo ,costa1 #fj1 #fa ,st4 ,john ,baptist and ,saints 7,perugia1 ,pinacoteca71 #ajf1 #adg ,tempera painting1 #cc-cf ,thompson1 ,mr4 ,henry ,yates1 #aag1 #aah ,tiberio d' ,assisi1 #ajh1 #aji ,tinet1 ,napoleon's commissioner1 #dh1 #di ,tofanelli1 #ea1 #eb ,transfiguration1 ,the 7,cambio71 #gg1 #gh1 #aej2 7,perugia1 ,pinacoteca71 #gh1 #aji1 #adf2 7,sta4 ,maria ,nuova71 #gi1 #acg ,triumph of ,religion1 ,the 7,cambio71 #gh ,ultramarine1 story of ,perugino's use of1 #cg ,umbria1 ,the scenery of1 #ae1 #af ,vallombrosa altar-piece1 ,the1 #fd1 #hc1 #hd ,vannucci1 ,john ,battista1 #aaa ,vannucci1 ,pietro1 see ,perugino ,verrocchio1 his influence on ,perugino doubtful1 #i ,virgin in ,glory1 ,the 7,bologna71 #fc1 #acf1 ill4 #fd ,vite1 ,timoteo1 #fa1 #fb1 #ha ,,the ,,riverside ,,press ,,limited1 ,,edinburgh ,,notice4 ,,photographs of most of the works mentioned in this volume are to be obtained in various sizes from 99,w4 ,a4 ,,mansell ,co499 ,art ,photograph ,publishers and ,dealers1 #dje1 ,,oxford ,,street1 ,,london1 ,w4 #af1 ,,pall ,,mall ,,east1 ,s4,w4 ,permanent ,carbon ,prints1 ,permanent ,prints1 ,photogravures1 from most of the ,pictures in the ,galleries at ,,london4 ,national ,gallery4 ,tate ,gallery4 ,dulwich ,gallery4 ,,edinburgh4 ,,glasgow4 ,,brussels4 ,,milan4 ,,venice4 ,,munich4 ,,berlin4 ,,dresden4 ,,vienna4 ,liechtenstein4 ,belvedere4 ,czernin4 ,,amsterdam4 ,hague1 ,haarlem4 ,,cassel4 ,etc41 ,etc4 ,royal ,collections ,,at ,,buckingham ,,palace4 ,,windsor ,,castle4 ,private ,collections of ,the ,duke of ,devonshire4 ,the ,earl ,spencer4 ,the ,earl of ,northbrook4 ,,art ,,books--,,art ,,albums--,,artistic ,,framing 99 99 99 99 99 ,,franz ,,hanfst,,ngl #af1 ,,pall ,,mall ,,east1 ,s4,w4 99 99 99 99 99 ,lists and ,prospectuses ,free4 ,catalogues1 ,one ,shilling4 ,the ,art ,reproduction ,co4 ,ltd4 #c and #d1 ,,plough ,,court ,,fetter ,,lane1 ,,london1 ,e4,c4 ,for3 ,line ,process ,blocks ,half-,tone ,blocks on ,zinc and ,copper ,photogravure ,plates ,copperplate ,printing ,fine ,art ,printing ,artistic ,advertising ,catalogues1 ,price ,lists etc4 ,write for ,specimens and ,estimates ,telegraphic ,address ,,perquisite1 ,,london ,national ,telephone #hij ,,holborn