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+The Project Gutenberg EBook of Great Masters in Painting: Perugino, by 
+George C. Williamson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Great Masters in Painting: Perugino
+
+Author: George C. Williamson
+
+Release Date: June 25, 2011 [EBook #36521]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GREAT MASTERS IN PAINTING: PERUGINO ***
+
+
+
+
+Produced by Thierry Alberto, Jennie Gottschalk, Susan
+Skinner and the Online Distributed Proofreading Team at
+https://www.pgdp.net
+
+
+
+
+
+Transcriber's notes:
+
+Text in italics has been marked with _. Text in bold has been marked
+with *. Text in small caps has been marked with =.
+
+For this text version, diacritical marks that cannot be represented in
+plain text are shown in the following manner:
+
+[sN] N with a small s sitting above
+[Do] D with a circle in the centre.
+
+
+
+
+
+The Great Masters in Painting and Sculpture
+
+Edited by G. C. Williamson
+
+
+
+
+
+PERUGINO
+
+
+
+
+THE GREAT MASTERS IN PAINTING AND SCULPTURE.
+
+_The following Volumes have been issued, price 5s. net each._
+
+    BERNARDINO LUINI. By =George C. Williamson=, Litt.D., Editor of the
+    Series.
+
+    VELASQUEZ. By =R. A. M. Stevenson=.
+
+    ANDREA DEL SARTO. By =H. Guinness=.
+
+    LUCA SIGNORELLI. By =Maud Cruttwell=.
+
+    RAPHAEL. By =H. Strachey=.
+
+    CARLO CRIVELLI. By =G. McNeil Rushforth, M.A.=, Classical Lecturer,
+    Oriel College, Oxford.
+
+    CORREGGIO. By =Selwyn Brinton=, M.A., Author of "The Renaissance in
+    Italian Art."
+
+    DONATELLO. By =Hope Rea=, Author of "Tuscan Artists."
+
+    PERUGINO. By =G. C. Williamson=, Litt.D.
+
+
+    _In preparation_
+
+    SODOMA. By the =Contessa Lorenzo Priuli-Bon=.
+
+    MEMLINC. By =W. H. James Weale=, late Keeper of the National Art
+    Library.
+
+    DELLA ROBBIA. By the =Marchesa Burlamacchi=.
+
+    EL GRECO By =Manuel B. Cossio=, Litt.D., Ph.D., Director of the
+    Musee Pédagogique, Madrid.
+
+    GIORGIONE. By =Herbert Cook=, M.A.
+
+    MICHAEL ANGELO. By =Charles Holroyd=, Keeper of the National Gallery
+    of British Art.
+
+    THE BROTHERS BELLINI. By =S. Arthur Strong=, M.A., Librarian to the
+    House of Lords
+
+    REMBRANDT. By =Malcolm Bell=.
+
+
+    _Others to follow._
+
+       *       *       *       *       *
+
+LONDON: GEORGE BELL & SONS
+
+
+
+
+[Illustration: Private photo. Marseilles.
+
+The Family of St. Anne.]
+
+
+
+
+PIETRO VANNUCCI
+
+CALLED
+
+PERUGINO
+
+
+BY
+
+GEORGE C. WILLIAMSON, LITT.D.
+
+AUTHOR OF
+
+"JOHN RUSSELL, R.A.," "RICHARD COSWAY, R.A., AND HIS WIFE AND PUPILS,"
+"PORTRAIT MINIATURES," "BERNARDINO LUINI," ETC.
+
+[Illustration: logo]
+
+LONDON
+
+GEORGE BELL & SONS
+
+1900
+
+
+
+
+PREFACE
+
+
+The following pages contain what is, I believe, the only full account of
+the life and works of Perugino in the English language. It is based upon
+a careful examination of almost every one of his works to be found in
+Europe, and upon a critical study of their characteristics. The labours
+of other investigators have, however, been laid under contribution, and
+I am especially indebted to the works of Crowe and Cavalcaselle,
+Morelli, Mariotti, Orsini, and Vasari, and also to the works and advice
+of Mr. Bernhard Berenson, Mrs. Herringham, and Dr. Laurie, and to the
+writings and researches of M. Broussolle. To the Archbishop of Trebizond
+(Monsignore Stonor) I am most grateful for obtaining permission for me
+to study the Albani altar-piece, and to Prince Torlonia for kindly
+granting my request, and also to His Excellency Lord Currie for constant
+and never-failing aid in regard to all the other Italian galleries.
+Signor Cecchetti has helped me to obtain good photographs of the
+pictures in and near to Città della Pieve, Miss Fearon has kindly
+re-measured some of the Italian pictures for me, and the Rev. H. R.
+Ware, and the Rev. T. C Robson, have given me much help in rendering the
+Latin verse of Perugino into English verse. To each and all of these I
+offer my hearty thanks. I have also to thank the Directors of the
+Vatican and Perugia galleries for special facilities afforded me; Mr.
+Murray for permission to quote from his handbooks, and the
+photographers for the use of their photographs, and finally to beg that
+if by chance I have made use of other material without the fullest
+acknowledgment, the omission may be forgiven me inasmuch as I have
+endeavoured to avoid so serious a fault. My own divergences from the
+accepted views will be found fully recorded in these pages, and are in
+every case founded upon personal study, and for them I alone am
+responsible.
+
+G. C. W.
+
+
+
+
+CONTENTS
+
+
+                                                                    PAGE
+
+=List of Illustrations=                                               ix
+
+Bibliography                                                        xiii
+
+Chapter
+
+   I. =Birth, Masters, and Environment=                                1
+
+  II. =Early Days=                                                    19
+
+ III. =Technique, Pigments, and Vehicles=                             33
+
+  IV. =Wanderings=                                                    39
+
+   V. =The Story of the Pillage=                                      47
+
+  VI. =In Full Strength=                                              58
+
+ VII. =The Cambio=                                                    74
+
+VIII. =Florence, Perugia, and Città della Pieve=                      83
+
+  IX. =Age, Infirmity, Dignity, and Death=                            99
+
+   X. =St. Sebastian=                                                115
+
+=Catalogue of the Works of Perugino=--
+
+  =Austria-Hungary=                                                  121
+
+  =Belgium=                                                          122
+
+  =British Isles=                                                    122
+
+  =France=                                                           127
+
+  =Germany=                                                          131
+
+  =Italy=                                                            133
+
+=Chronological List of Pictures=                                     155
+
+=Index=                                                              157
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+                                                                    PAGE
+
+The Family of St. Anne, _Frontispiece_               _Marseilles_
+
+Figure of St. Sebastian at Cerqueto, 1478                             10
+
+The Delivery of the Keys to St. Peter
+  (double plate)                           _Sistine Chapel, Rome_     14
+
+                         {Predella panel from        }
+The Baptism of Christ    {the San Pietro altar-piece }    _Rouen_     18
+                         {(Perugia)                  }
+
+Madonna and Child enthroned, with four Saints   _Vatican Gallery_     22
+
+The Crucifixion                              _La Calza, Florence_     24
+
+The Dead Christ                             _Accademia, Florence_     26
+
+Christ in the Garden of Gethsemane          _Accademia, Florence_     26
+
+The Albani altar-piece (double plate) 1491   _Villa Albani, Rome_     28
+
+The Fiesole altar-piece, 1493           _Uffizi Palace, Florence_     30
+
+Portrait of Francesco delle Opere, 1494 _Uffizi Palace, Florence_     40
+
+The Ascension of Christ                      _Borgo San Sepolcro_     42
+
+The Entombment of Christ, 1495           _Pitti Palace, Florence_     44
+
+Saint Benedict, from the San Pietro
+  (Perugia) altar-piece                       _The Vatican, Rome_     52
+
+The Virgin appearing to St. Bernard                      _Munich_     62
+
+The Virgin in Glory, 1496                       _Bologna Gallery_     64
+
+The Crucifixion (double plate)
+                       _Sta. Maria Maddalena del Pazzi, Florence_     66
+
+The Certosa three-fold altar-piece
+(double plate)                         _National Gallery, London_     68
+
+The Madonna and Child with penitents, 1497      _Perugia Gallery_     70
+
+The Intercession of St. Francis on behalf
+  of Perugia                                    _Perugia Gallery_     70
+
+The Crucifixion                             _Accademia, Florence_     72
+
+Fortitude and Temperance with the Warriors  _The Cambio, Perugia_     76
+
+Portrait of Perugino, 1500                  _The Cambio, Perugia_     78
+
+The Assumption of The Virgin, 1500          _Accademia, Florence_     82
+
+Portrait of the Abbot Baldassare of
+  Vallombrosa                               _Accademia, Florence_     84
+
+Portrait of Don Biagio Milanesi of
+  Vallombrosa                               _Accademia, Florence_     84
+
+The Resurrection                                _Vatican Gallery_     86
+
+The Crucifixion (painted around a
+  wooden crucifix)                              _Perugia Gallery_     88
+
+Letter from Perugino, 20th February 1504      _Città della Pieve_     90
+
+Letter from Perugino, 1st March 1504          _Città della Pieve_     90
+
+Letter from Perugino, 30th March 1512           _Perugia Gallery_     90
+
+The Adoration of the Magi, 1504               _Città della Pieve_     92
+
+The Deposition (Filippino Lippi and
+  Perugino), 1505                           _Accademia, Florence_     94
+
+The Schiavone altar-piece, 1507                _National Gallery_    100
+
+The Crucifixion, 1510                    _St. Augustine's, Siena_    102
+
+St. Sebastian and St. Apollonia, from the
+  Sant' Agostino (Perugia) altar-piece         _Grenoble Gallery_    106
+
+The Holy Trinity and various Saints
+  (Raphael and Perugino), 1505 and 1521     _San Severo, Perugia_    106
+
+The Adoration of the Magi, 1521               _Sta. Maria, Trevi_    108
+
+The Martyrdom of St. Sebastian, 1518            _Perugia Gallery_    118
+
+
+
+
+BIBLIOGRAPHY
+
+
+=Austin, Alfred.= "Notes made in Perugia." (An article.)
+
+=Bell, N.= "Tourists' Art Guide to Europe." London, 1893.
+
+=Bonacci Brunamonti.= "Pietro Perugino" in "Rivista Contemperanea," i.
+1889. Fasc. 2.
+
+=Brachirolli.= "Notizie e documenti inediti intorno a Pietro Vannucci."
+Perugia, 1874.
+
+=Burckhardt.= "Art Guide to Painting in Italy." London, 1879.
+
+=Bryan.= "Dictionary of Painters." London, 1893.
+
+=Berenson, B.= "Central Italian Painters." London, 1897.
+
+=Broussolle, J. C.= "Pèlerinages Ombriens." Paris, 1896.
+
+=Cennino Cennini.= "Trattato della Pittura." Italian, sixteenth century.
+
+"=Cennino Cennini=, The Book of the Art of." Translated by Mrs.
+Herringham. London, 1899.
+
+=Crowe and Cavalcaselle=. "Renaissance in Italy." London, 1877.
+
+=Church, A. H.= "Cantor Lectures on Colours." London, 1890.
+
+=Eastlake, Sir C.= "History of Painting."
+
+=Gaye.= "Carteggio."
+
+=Galetti, G.= "Lo Stile di Pietro Perugino e l'indirizzo dell' Arte
+Moderna." Bologna, 1887.
+
+="Gazette des Beaux Arts."=
+
+=Hare, A.= "Cities of Central Italy." London, 1876.
+
+=Heaton, Mrs.= "History of Painting." London, 1873.
+
+=Hoefer.= "Bibliographical Dictionary." Paris, 1860.
+
+=Jameson, Mrs.= All her works. London, 1872.
+
+=Kugler.= "Handbook of Painting." London, 1855.
+
+=Lanzi, Luigi.= "Storia Pittorica della Italia." Bassano, 1809.
+
+=Lomazzo.= "Idea del tempio della Pittura." Rome, 1844.
+
+=Lafenestre.= "Les Maitres anciens." 1882.
+
+=Lafenestre.= "La Peinture Italienne."
+
+=Lafenestre and Richtenburger.= "The Louvre." Paris, 1898.
+
+=Luebke, W.= "History of Art." London, 1868.
+
+=Laurie, A. P.= "Cantor Lectures on Vehicles and Pigments." London,
+1892.
+
+=Lupattelli, A.= "Storia della Pittura in Perugia." Foligno, 1895.
+
+=Lupattelli, A.= "Petit Guide de Pérouse." Paris, 1895.
+
+=Lee, Vernon.= "In Umbria." (Articles.)
+
+=Muntz, E.= "Raphael." Translated by Armstrong. London, 1882.
+
+=Muntz, M.= "La fin de la Renaissance."
+
+=Marchesi.= "Il Cambio di Perugia." Prato, 1853.
+
+=Mezzanotte.= "Della vita e delle opere di Pietro Vannucci." Perugia,
+1836.
+
+=Morelli.= "Italian Painters in German Galleries." London, 1882.
+
+=Morelli.= "Italian Painters," Vols. i. and ii. London, 1892-3.
+
+=Morelli.= "Della Pittura Italiana." Milan, 1897.
+
+=Mariotti.= "Lettere Pittoriche Perugine." 1788.
+
+=Orsini.= "Vita e Elegio dell' egregio pittore Perugino e degli Scolari
+di esso." Perugia, 1804.
+
+=Pascoli.= "Vite de Pittori Perugini."
+
+=Passavant, J. D.= "Raphael d' Urbin et son père." Appendix, 445-461.
+"Essai sur les Peintres de l'Ombrie." Paris, 1860.
+
+=Poynter, Sir E. J.= "Classical and Italian Painting." 1897.
+
+=Phillips, Claud.= "Perugino" in the "Portfolio." London, 1893.
+
+=Rio, A. F.= "De l'Art Chrétien." Paris, 1874.
+
+=Ris, Clement De.= "Les Musées de Province de France."
+
+=Rosini.= "Storia della Pittura Italiana." Pisa, 1847.
+
+=Rumohr.= "Italienische Forschungen," ii.
+
+=Rossi, A.= "Storia artistica del Cambio di Perugia." Perugia, 1874.
+
+=Rossi-Scotti.= "Guida Illustrata di Perugia." Perugia, 1878.
+
+=Rea, Hope.= "Tuscan Artists." London, 1898.
+
+=Symonds and Gordon.= "Story of Perugia." London, 1898.
+
+=Symonds, J. A.= "Italian Byeways."
+
+=Symonds, J. A.= "Sketches and Studies in Southern Europe."
+
+=Symonds, J. A.= "Renaissance in Italy." London, 1877.
+
+=Vasari, G.= "Delle Vite de piu Eccelenti Pittori." Firenze, 1550
+
+=Vasari, G.= Mrs Foster's Translation. London, 1894.
+
+=Vasari, G.= Blashfield and Hopkin's Edition. London, 1897.
+
+=Vermiglioli.= "Memorie di Ber. Pinturicchio."
+
+=Viardot.= "Les Merveilles de la Peinture." Paris, 1870.
+
+=Woltman and Woerman.= "History of Painting." 1880.
+
+=Yriarte, C.= "Isabella d'Este et les artistes de son temps."
+
+
+
+
+ERRATUM
+
+
+The Illustration facing page 100 should be described as _The Beckford
+Altar-piece_, and not as _The Schiavone Altar-piece of 1507_.
+
+The Schiavone Altar-piece named on pages 99 and 100 is not illustrated
+in the volume.
+
+G. C. W.
+
+
+
+
+PERUGINO
+
+
+
+
+CHAPTER I
+
+BIRTH, MASTERS, AND ENVIRONMENT
+
+
+It is not quite certain when Pietro Vannucci (called from the name of
+his adopted town Perugino) was born, but the place of his birth he
+himself announces in his signature. Probably his birth took place in
+1446 or 1447 at the little town of Castello della Pieve, now called
+Città della Pieve, as it was raised to the dignity of a city in 1601 by
+Clement VIII. His signature preserves, in the words "Petrus de Castro
+Plebis," the older name of his birthplace. Vasari gives his father's
+name as Christofano, and tells us that he was a poor man; but Mariotti
+reminds[A] his correspondent that the family, although a poor one, was
+not of low condition, as it had enjoyed the rights of citizenship since
+1427. He also mentions that one Pietro Vannucci was in 1424 a member of
+the Guild of Stone-workers, and that in 1428 a member of the family
+signed himself proudly as citizen of Perugia. 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 correct. Città
+della Pieve is not more than some twenty-five miles from Perugia, and
+although the town is near to Chiusi, yet Perugia, as the capital of the
+district of Umbria, is the more important place, and to it naturally
+would the lad be taken. Vasari speaks of the unknown painter to whom the
+youthful Pietro Vannucci was sent as one who "was not particularly
+distinguished in his calling, but who held the art in great veneration
+and highly honoured the men who excelled therein."
+
+It would be very interesting to know the name of this painter, as,
+according to Vasari, he had great influence upon Pietro. "He did not
+cease," Vasari continues, "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 effectually, and kindled in the mind of his
+pupil the desire to become one of those masters." We enter upon a
+curious speculation when we begin to surmise the name of this master.
+Lanzi speaks of an artist known as Pietro of Perugia, but conjectures
+that Niccolò of Foligno (known also as Niccolò Liberatore, and
+incorrectly as Niccolò Alunno) may have been Perugino's first master.
+Mariotti attaches much more importance to the early teaching of
+Bonfigli. Fanelli, quoted by Lupattelli,[B] speaks of "a poor and
+obscure youth from Città della Pieve in the school of Alunno receiving
+instruction from Niccolò Alunno and becoming eventually the immortal
+Perugino, master of Raffaello." Crowe and Cavalcaselle take Bonfigli as
+this early master, while later writers, notably Mr. Berenson, attach far
+more importance to the training of Fiorenzo di Lorenzo.
+
+Leaving out of consideration for a space the question of what Perugino
+learned from Piero della Francesca and in the botegas of Florence, it
+maybe well to briefly glance at the influences already named.
+
+Niccolò da Foligno was perhaps the originator of the school of Umbrian
+painters in which Perugino thereafter took so important a place. He was
+clearly a pupil of Benozzo Gozzoli, who derived his training from Beato
+Angelico; but into the sweetness, harmony, and tender feeling of these
+earlier masters Niccolò forced a fiercer spirit, an uncompromising
+realism, which is at times almost painful in its stress. Niccolò was a
+man of forceful spirit, earnest and powerful, and with a certain dry
+technique and rigid definition that is in full accord with the
+penetrating spirit that composed the pictures. Foligno is quite close to
+Perugia, and there is no difficulty in realising the presence of Niccolò
+at times in that city. His influence is marked in Perugino's early work,
+but it does not stand alone, and has associated with it characteristics
+that could not have come from the Folignate botega. Bonfigli (Benedetto
+Buonfiglio), to whom Vasari once refers at the conclusion of his life of
+Pinturicchio, was the prominent painter of Perugia. He was greatly
+esteemed in that city, and so largely confined his labours to his native
+place that even now it is impossible, save in the gallery of that city,
+to gain anything like an adequate knowledge of his art.
+
+It was not, however, from Bonfigli that we consider the strong influence
+came that affected Perugino's work. Much of Bonfigli's work was quite
+beautiful; there is a fascinating grace about many of his figures; there
+is a tenacious hold upon the laws of perspective, rich, varied, and
+charming colouring, and a general pleasing result in composition and in
+effect. There is, however, little virile force, very slight depth of
+feeling, and, above all, an absence of the open space which is so
+characteristic of later Umbrian art, and which has such a wondrous
+effect in the pictures of the great Umbrian artists. Bonfigli's pictures
+are crowded, Perugino's never were crowded. Bonfigli's are
+illustrations, records, decorative effects ever full of figures, and of
+detail, and with the beauty of certain single faces or separate groups
+swamped by the crowd of ordinary objects. Perugino's pictures, whatever
+may be their faults, never deserve this condemnation.
+
+Fiorenzo di Lorenzo on the contrary, must certainly have been a master
+from whom Perugino received no slight influence.
+
+Once again it is needful to go to Perugia in order to study the works of
+this artist, as away from the hill-top city the pictures of Fiorenzo di
+Lorenzo, are few and far between.
+
+In England there is one that is noteworthy, a "Virgin and Child,"
+belonging to Mr. George Salting.
+
+In the works of this artist we are at once struck by the aloofness that
+distinguished Perugino. Single figures stand apart one from the other,
+each slightly connected as by a thread of thought, and similarly each
+with the central feature of the picture, but in every other way
+self-contained. Here again are the placid Umbrian landscapes with which
+later on we shall become so familiar, and the tall slender youths and
+sweet women full of tender grace, that make their first appearance in
+Umbrian art. There is a grace and charm in the work of Fiorenzo di
+Lorenzo, that is far removed both from the fierce truth of the
+Folignate's pictures and from the crowded stress of Bonfigli, and those
+panels that tell the story of Bernardino in the Accademia at Perugia,
+and which represent the artist at his very best, are possessed of a
+fascination both in line, in colouring, and in movement that are
+impressive to the highest degree.
+
+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 link; 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 desired, or at his will to keep them aloof one from the other, and
+to the successors of Perugino to complete this power which Fiorenzo so
+slightly commenced and which Perugino so greatly improved. In another
+way can be seen the influence of Fiorenzo di Lorenzo. The typical
+Umbrian landscapes which are so important a feature in Perugino's
+pictures first make their appearance in the works of this artist. The
+special treatment of the landscape will be referred to in fuller detail
+later on; but we may here mention that those expansive broad landscapes,
+with distant hills bathed in a blue mist and revealing long stretches of
+level fertile land on either side, with single trees, standing
+silhouetted against the sky, which, like a vast arch of blue, frames in
+the lovely scene, are noteworthy in Fiorenzo's pictures.
+
+Finally, there is the pale golden sunlight to be seen in his works, a
+sunlight which bathes all purely Umbrian art, but which does not appear
+to any marked extent in the works of the Foligno school.
+
+Having now briefly glanced at the leading characteristics of these
+artists, it will be well to examine the work of one who was far greater
+than either of those already named, and whose influence on Perugino is
+very marked. I allude to Piero della Francesca. Whether, as Morelli
+suggests, Perugino journeyed to Arezzo, where Piero was at work, and
+aided him in his work, or placed himself under his tuition, or whether
+Perugino met Piero at Borgo San Sepolcro or in Perugia, is immaterial.
+It will suffice to understand that, somewhere near at home, and in the
+early days of his training before Perugino journeyed to Florence, the
+two men must have met, and Perugino learned much from the Tuscan-Umbrian
+master and profited largely by his instruction.
+
+One of the main features of Piero's art was his accurate knowledge of
+perspective. He was, above all, a mathematician, well versed in
+arithmetic and geometry, and the author of several treatises on the
+science.
+
+He rejoiced in complicated problems of perspective, in long vistas of
+columns stretching away into the far distance, in mysterious hollows, in
+exquisite alcoves, curves, and embrasures, in the perfectly accurate
+drawing of roofs and rooms, 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
+artist.
+
+There are, however, other characteristics of Piero's work, that must be
+carefully noted in making a survey of his style. There is a wonderful
+gravity and solemnity about his figures, a preoccupied look in most of
+their faces, and we trace also the very beginning of that power already
+mentioned, of linking figure to figure and group to group.
+
+Certainly, in the long processions that form so essential a part of the
+frescoes at San Francesco in Arezzo, 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 Sheba," the "Invention of
+the Cross," and the "Exaltation of the Cross," but individually the
+figures composing these groups are separate and distinct from one
+another, engaged in their own concerns and holding no converse one with
+the other. In these respects it was left for the later men, beginning
+with Perugino, to pull the picture together and make it one harmonious
+whole.
+
+When to this aloofness, this curious want of sympathy between the
+central group or scene in the picture and all the attendant groups or
+figures, we add a severe absence of emotion, an impassiveness in the
+faces of all the figures, together with a simple dignity of style and a
+power of delineation that is very attractive, we begin to understand
+Piero della Francesca. He never considered whether the faces of his
+figures were specially suited to the group in which he used them. He is
+quite unmoved by any ideas that the spectator may have as to fitness in
+the picture, and he never reveals his own views as to the scene and its
+appropriate presentation. Rage, pity, scorn, amazement, jealousy,
+passion, or even the depth of devotion, are no part of Piero's
+repertoire, but a quiet self-contained hauteur, a learned solemnity,
+and a religious calm characterise his figures, both men and women. There
+is abundance of dignity, stately form, earnest but impassive
+determination, but, even in the battle scenes, nothing of the _Sturm und
+Drang_ which would have been expected.
+
+All these characteristics had direct influence upon Perugino, but even
+beyond them can be seen other marks of this master's tuition. The
+fantastic head-dresses that are to be seen in Piero's frescoes find
+their counterpart in the frescoes of the Cambio; 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 pictures; 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 Albani. Even in the shape of the hand, the clear cameo-like
+profile of the faces, and the detail of the feathers on the angels'
+wings, the relationship between these painters is marked, and comparison
+between the frescoes at Arezzo and the paintings in the Accademia will
+be found to reveal these and other points of close contact.
+
+In these early days of Perugino's life, it is therefore to the influence
+of Niccolò Liberatore, of Fiorenzo di Lorenzo, and, above all, of Piero
+della Francesca, that we attribute the growth of his art and the success
+of his later life.
+
+One more artist he must have met in these days, as Luca Signorelli, who
+was some five years his senior, was probably at Arezzo with Piero della
+Francesca. Certain pictures of Perugino, notably the "Crucifixion," at
+La Calza, and the similar scene painted around a carved crucifix now at
+Perugia, the "Pietà" in the Accademia, and the "Love and Chastity" in
+Paris, betray in their vigour, hardness, and movement some of
+Signorelli's influence, an influence that only occasionally was to be
+seen in the great Umbrian master.
+
+Morelli[C] considers that Perugino's journey to Florence after his
+Perugian training, of which Vasari speaks, took place in 1470, at which
+time Perugino would be about twenty-five years old. His name is recorded
+in the roll of St. Luke in 1472, and in the roll of the Physicians in
+1499.
+
+Vasari states that it was to Verrocchio that he went. Lanzi and Orsini
+confirm this; Morelli gravely doubts it; Resta distinctly denies it;
+Berenson rejects it; and certainly there is but little trace of such a
+tutor in Perugino's work.
+
+In the "Baptism" at the Accademia, which is an absolutely authentic
+picture, although perhaps partly the work of Leonardo, and in the
+"Madonna and Child" in the Uffizi, also attributed to Verrocchio, we
+find nothing that would appear to have influenced Perugino, or that can
+be recalled by his work, 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 appreciated, and which does appear many
+times in pictures by the Umbrian master. The position of the Christ on
+the ground, and that of the women who bend over Him, the silent
+meditative devotion of the two men and of the child who kneel on the
+right, the attitude, wings, drapery, and movement of the flying angels,
+and their very position with regard to the cross, all find answering
+echoes in Perugino's work that are unmistakable in their clearness. What
+is, however, of special importance to notice at this juncture is that
+Perugino did not go to Florence in 1472 as a mere pupil or scholar.
+Young in years as he undoubtedly was, he must have also been mature in
+experience and in knowledge; for otherwise it is inconceivable that so
+sagacious a Pontiff as Sixtus IV. should have sent for him eight years
+afterwards and engaged him upon work in the Sistine Chapel.
+
+Vasari specially states that the invitation was given because of
+Perugino's great fame throughout Italy, and it is clear that a request
+to work side by side with such men as Ghirlandajo, Cosimo Rosselli, and
+Botticelli was so high a compliment that it would not be given to one
+who was merely a student in Verrocchio's botega. There is no question
+about the date of this invitation, as the original contract between the
+Holy Father and the artists has been published, and it contains an
+undertaking to furnish "ten stories" between October 27, 1481, and March
+15, 1482.
+
+Prior to these dates we hear of two other works executed by Perugino.
+The earliest of all is recorded by Milanesi in his notes to the life in
+Vasari. He states that in 1475 Perugino was commissioned to paint
+certain frescoes in the Palazzo Publico in Perugia; but of these works
+not a trace remains, and there is no evidence to support the learned
+author's statement[D] Milanesi, moreover, further records the fact
+that in 1478 Perugino worked at Cerqueto, painting some frescoes in a
+chapel there, and one solitary figure of "San Sebastian" bearing that
+date only now remains out of the entire decoration.
+
+[Illustration:
+
+_Private Photo_] [_Cerqueto_
+
+SAINT SEBASTIAN, 1478]
+
+To this interesting figure, the earliest known work of the master, a
+reference will be made later on when consideration is given to other
+representations of the same saint, but a record must here be made to the
+Foligno, and to the Signorelli influence that this figure betrays. In
+direct truth the figure might well be the work of Niccolò Liberatore,
+and is conceived on the lines of his school. In nervous, tense muscular
+representation, and in the movement of the limbs, it is strikingly
+Signorellesque, and the realism of its wounds bespeaks the same
+characteristic; but the silky treatment of the skin, the roundness of
+the limbs, the upturned piteous face, the locks of hair, the
+extraordinarily exaggerated size of the great toe, and, above all, the
+intricate puckered folds of the drapery, are Perugino's and Perugino's
+alone.
+
+The painting of the drapery which becomes a mannerism, and one of the
+most accurate of tests here in the very early days of the artist, takes
+certain definite forms, and the dark hollows and curious hook-like folds
+are to be seen in this "San Sebastian," not certainly as freely but
+quite as definitely, as they appear in later days. The picture is but a
+fragment of what must have been an important fresco, but it is eloquent
+of better work to come, and shows promise of masterly execution that
+only three years afterwards was to be revealed at Rome in the Sistine
+Chapel. No other work exists to bridge over the time between Perugino's
+early training in Umbria, his sojourn in Florence, and his return as a
+well-known artist to the town and neighbourhood of Perugia, although
+there is said to be a picture near Naples dated 1460, but the date is
+probably apocryphal.
+
+In Florence the artist would probably have met Leonardo da Vinci and
+Lorenzo di Credi. If he attended at Verrocchio's studio he certainly
+would have met them. In Florence also, Resta tells us, he studied
+Masaccio's work, and we may be quite sure he used every endeavour to
+perfect himself in his art; and it is to this period of residence that
+Giovanni Santi refers in his oft quoted lines:
+
+  _"Due giovin par d'etate e par d'amori
+    Leonardo da Vinci e P Perusino
+    Pier della Pieve."_
+
+--"Two youths alike in age and love Leonardo di Vinci and the Perugian
+Peter of Pieve." He is mentioned in Florence in 1490 in one of the books
+relating to the Cathedral, and there is a story of his having been fined
+for fighting in Florence in 1488.
+
+In the only picture that remains to us of the series executed by
+Perugino in Rome for Sixtus IV. we see the result of all this Florence
+training, but we are also confronted at once by the great
+characteristic of the Umbrian school--free open space.
+
+In considering this great feature, the most noteworthy characteristic of
+Umbrian art, it is impossible to avoid reference to Mr. Bernhard
+Berenson's pages and to his definition of what he terms "space
+composition," which he defines in this way: "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 laterally, or up
+and down, on a flat surface, but as extending inwards in depth as well.
+It is composition in three dimensions and not in two, in the cube and
+not merely on the surface."[E]
+
+Farther on he remarks: "This art comes into existence only when we get a
+sense of space not as a void, as something merely negative such as we
+customarily have, but on the contrary as something very positive and
+definite, able to confirm our consciousness of being, to heighten our
+feeling of vitality."
+
+It is the wonderful art of space compositions which so distinguishes
+Perugino from his Sistine Chapel days down to the end of his life.
+
+The power is so well expressed by Mr. 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
+refined."
+
+In this first great picture "Christ giving the Keys to St. Peter," all
+the power of this marvellous capability is at once apparent.
+
+It produces a sense of vastness, of spaciousness, of broad, free, open
+air enclosed only by the blue arch of Heaven, and therefore gathers up
+and retains all the higher emotions of the spectator.
+
+There are the grand figures in the foreground, majestic and wonderful in
+their dignity; beyond them are others in the receding distance, smaller
+and smaller as the eye notes the vast distance expressed in the picture.
+In the centre rises the wonderful temple. Bramantesque and stately, and
+beyond it, 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
+sky.
+
+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 Montefalco.
+
+There is no sense of crowding, the space is so vast that the populace of
+a country could not crowd it, and the air circulates in and around every
+group and serves to give the greater _plein-air_ charm.
+
+There is a soothing quiet about the whole, a self-restraint and a
+stillness, and even though figure stands apart from figure and each one
+hardly notices the other, 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 persons, Christ and the Foundation of His
+Church.
+
+[Illustration:
+
+_Alinari photo_] [_Sistine Chapel, Rome_
+
+THE DELIVERY OF THE KEYS TO ST. PETER]
+
+It is well when mentioning this great picture to state as a personal
+opinion that it is not possible to appreciate Perugino adequately, or
+even to understand him properly, without a visit to Umbria itself.
+
+The country differs so much from other parts of Italy that mere
+comparison with parts better known is useless, but when once the student
+has sojourned in the country the charm of its landscape is felt and
+understood. There is a vastness about its open spaces, an immensity of
+view, boundless and yet enclosed, that must be seen to be understood.
+
+To linger on the fortifications of Montefalco, to look out from the
+public square of Trevi, to wander along the road that divides San
+Girolamo from Spello, to drive along the plains of Foligno, to stay at
+Nervi, Deruta, or Bettona, to gaze out over the plains around Assisi, or
+to appreciate the wonderland that is mapped out around lofty
+Perugia--all these are so many lessons to the right understanding of
+Perugino. Away and away in the rolling distance are those vast plains,
+not flat surfaces, but a luxuriant country-side, irregularly marked by
+the contours of hills and valleys, dotted with tiny fortified towns
+crowning each its own hill and looking down upon its neighbour. Great
+white winding roads meander hither and thither, single trees stand out
+in sharp tall silhouette against the intense blue of the sky, and around
+as far as eye can reach stretch the half-hidden, half-revealed mountains
+clothed in a purple haze while the golden glare of sunlight bathes all
+the intervening space in its mystic light, tinging with gold the very
+grass of the fields, the grey drab of the roads, the ruddy brown of the
+buildings, and the radiance of the distant towers and houses.
+
+All the Umbrian artists felt the charm of this scenery, but no one save
+Perugino so fully and so consistently expressed it.
+
+It is in all his works, and as one gazes out upon this "buoyant
+spaciousness" of view, the wondrous creatures of his conceptions, holy
+women, saints, prophets, apostles, religious guilds, praying populace,
+seem once more to people the earth, and away in the eternal immeasurable
+sky can be seen the Assumption, the angels, the mandorla of cherub
+faces, the comforting seraphim and the glowing cherubim, as Perugino saw
+them, and the sky is again the scene of the glories which faith enabled
+Perugino to visualise and depict.
+
+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 St. Peter" is the only
+fresco from the master's hand in the Sistine Chapel. 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
+Perugino, and I accept his teaching in this matter quite readily. A
+careful study of the Sistine frescoes has convinced me that Morelli was
+right and Crowe and Cavalcaselle wrong. Even the two central figures in
+the disputed "Baptism," those of Christ and St. John, which are compared
+with the two similar figures in the predella at Rouen, which is
+undoubtedly authentic, and with the same scene in the National Gallery,
+which I consider a copy only of the master's work, betray the hand of
+Pinturicchio rather than that of Perugino.
+
+In the fresco at Rome, the two figures are crowded closely together;
+the arm of Our Lord almost rests on St. John's head, the face of the
+saint is weak and feeble, the limbs are skinny and badly drawn, there is
+no sense of security in the feet, the hands are out of proportion and
+the draperies entirely lack the hook folds of Perugino, and are loose
+and inadequate. Above all, neither figure stands upon its two feet; in
+the case of the Christ one foot alone supports the whole body, a mistake
+that Perugino never makes. The whole picture is crowded with figures and
+hemmed in with hills. It is pictorial certainly, and effective, but it
+entirely lacks the spaciousness of Perugino. There is a feeling of crush
+and crowd such as Perugino never gives, and a total absence even in the
+landscape of that extensive vista of scenery, that breadth of treatment
+which is so important. 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 space, but almost touches a neighbouring
+hill, and serves but to overfill the picture and make its crowded
+composition a wearisome burden. Compare for a moment the predella at
+Rouen. The two central figures stand apart one from the other, and
+therefore stand out clearly and distinctly, while yet near enough for
+their mutual actions to be closely connected. They stand firmly and well
+balanced on their feet, the slight exaggeration of one of St. John's
+feet, 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 water. Around are the kneeling angels and attendant figures,
+eight only in number, carefully graduated in size according to
+position, aloof, serious, quiet, and still. Away and beyond is the
+rolling landscape, with its exquisite hills and dainty detached trees
+standing out clear against the sky. On and on the eye travels, eager to
+reach the limits of this limitless vision, and impressed more and more
+by the skill that painted in so tiny a compass so vast a scene. Above is
+the sky free from any crowd of spirits, and reaching up to unimagined
+heights.
+
+Here is undoubtedly Perugino's work; but at Rome we see merely a clever
+overcrowded picture, an illustration simply, and most evidently the work
+of Pinturicchio. Three other frescoes in this chapel Perugino did
+undoubtedly paint for Sixtus IV., covering the eastern wall. They
+depicted the "Assumption," into which he introduced the kneeling figure
+of the Pope, the "Nativity," and the "Finding of Moses," but all these
+works were swept away during the Pontificate of Pope Paul III. to make
+way for the tremendous work of Michel Angelo, "The Last Judgment." It is
+infinitely to be regretted that no replica of these frescoes was
+retained, as the "Delivery of the Keys" is so superb a composition, that
+it but increases the desire of the spectator to know what Perugino's
+other frescoes were in the same chapel.
+
+The payment for the frescoes in the Sistine Chapel was not authorised
+till August 8th, 1489, as Mariotti[F] records that at that time Perugino
+was entitled to draw on the Apostolic _camera_ at Perugia for 180
+ducats, being the balance of money due for pictures in the Apostolic
+chapel. On the 5th of March 1490 Perugino gave a receipt in Perugia for
+that money.
+
+[Illustration:
+
+_Petiton photo_] [_Rouen_
+
+THE BAPTISM OF CHRIST
+
+(_A predella panel from the San Pietro (Perugia) altar-piece_)]
+
+
+FOOTNOTES:
+
+[A] Mariotti, "Lettere Pittoriche Perugine," 1788, v. 121.
+
+[B] "Storia della Pittura," A. Lupattelli. Foligno, 1895.
+
+[C] "Italian Painters," ii. 107.
+
+[D] Eastlake, however, refers to a picture painted for Luca degli'
+Albizzi for which the artist was paid 100 gold crowns. At this time, it
+was, he says, in the Palazzo Albizzi, and he says it was executed prior
+to 1478, as in that year Luca, who was in the Pozzi conspiracy, was
+exiled for twenty-five years. This picture cannot now be traced.
+
+[E] "Central Italian Painters of the Renaissance," 96.
+
+[F] Mariotti, p. 150.
+
+
+
+
+CHAPTER II
+
+EARLY DAYS
+
+
+There are three pictures, one of which is especially named by Crowe and
+Cavalcaselle, which seem to belong to the early days of Perugino.
+
+Not that they should be ascribed to the Cerqueto period, or to the
+Sistine Chapel time, but it is probable that they were painted between
+1480, when the master was in Rome, and 1491, when he produced on his
+second journey to the Eternal City the magnificent altar-piece now in
+the Villa Albani. Crowe and Cavalcaselle refer to the tondo in the
+Louvre, and to it we add the somewhat similar work at Verona and the
+"Baptism" at Vienna.
+
+There is a certain immaturity in these three pictures, a straining after
+effect, a poorness in colouring, and a rigidity in the draperies,
+together with a niggling technique, with hard tight outlines, that was
+to give place so speedily to far more breadth. At the same time, thus
+early, if my surmise as to date is correct, can be seen the
+characteristics of Perugino. All three pictures are full of _plein-air_
+effect, the one at Verona especially. The group in Paris of "Madonna and
+Child" with two saints and two angels is a little cramped and crowded.
+The Verona one omits the two saints and introduces as another child St.
+John Baptist.
+
+In the Vienna "Baptism," which has been repainted in places, there is a
+hardness in the draperies, a stiffness in the attendant figures, and an
+unfinished character to the landscape; but in each of the three there is
+sweetness, calm, and devotion, and they mark the beginning of quite a
+new movement in Italian art. It will be noticed that both in Paris and
+Verona the under draperies are regular and hard in their pleating, that
+the head-dresses are merely conventional and stiffly angular and that
+ornaments, decoration, and jewellery have received an amount of fine
+laborious detail work, which renders them somewhat too conspicuous, and
+shows that the artist had not yet realised the sense of proportion in
+the various parts of his pictures that distinguished him later on.
+
+From consideration of these three pictures, remarkably interesting and
+thoroughly typical as they are of the new school of work just unfolding,
+it will be well to pass on to more definite ground and consider some
+dated pictures which follow in due course.
+
+There is an amusing story in Mariotti respecting one masterpiece that
+should be mentioned here. The Priori of Perugia desired to have an
+important altar-piece for their Capella dell' Magistrato, and in the
+predella of the picture, or else introduced into the altar-piece itself,
+were to be the portraits of the worthy Priori.
+
+A local artist, one Pietro di Maestro Galeotto, was selected for the
+work, and on the 7th of June 1479 a contract was made with him for it,
+the price to be 200 florins, and the picture to be completed in two
+years under a fine for non-compliance of 50 golden ducats. Galeotto
+from time to time drew payments on account from the Priori, and three
+years passed away and yet there were no signs of the altar-piece and no
+mention of the fine. On June 29th, 1482, 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 himself; but in
+May 1483 Galeotto died, whether from this plague or not is not recorded,
+but when inquiry was made of his heirs as to the picture nothing could
+be found of it but the frame. Shortly after this time Perugino visited
+Perugia, and to him the Magistrates turned for help; and, bringing much
+pressure to bear upon him, prevailed upon the artist to sign a contract
+dated 28th November 1483 binding himself to produce the picture in four
+months for 100 florins. The details of the picture are all given in the
+contract, and the names of the four Saints, who were to surround the
+Madonna and Child, and, above all, the portraits of the Priori were not
+to be omitted. But by this time Perugino had received the commands of
+Pope Sixtus IV. to come to Rome, 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 contract. Even the
+first section of the work, containing the portraits which he had
+faithfully promised should be ready in December 1483, was quite
+forgotten.
+
+The term of office, however, for which the Priori were elected was
+rapidly nearing its close, and there were still no signs of the
+portraits of these eminent men. In despair the Priori turned to a third
+artist, Santi di Polonio del Celandro, and in a contract dated 31st
+December 1483 they bound him to supply the picture and complete it
+within a year, but inserted a clause that all the portraits together
+with that of their notary were to be painted within a fortnight.
+
+For the whole work he was to have one hundred florins. This time the
+Priori kept their eye on the artist; there was no time to lose. Shortly
+they would go out of office, and then the chance of having their
+portraits forever adorning their chapel walls would be gone, and so the
+poor Celandro had to paint the eleven portraits within fifteen days,
+under pain of a very heavy fine. Somehow or other he accomplished the
+work; the portraits were done, and temporarily remained in the chapel
+standing against the wall waiting for the completion of the rest of the
+pictures. But, having accomplished this part of the work, Celandro took
+no further heed of the contract, and the Priori having obtained their
+desire, troubled no further as to the Madonna and saints, or were
+powerless to force Celandro to complete the work. Twelve years actually
+passed away, and the chapel still lacked its altar-piece, and Celandro,
+like Galeotto, died.[G] In 1495 Perugino was again at Perugia, full of
+honour and fame; and once more the decoration of the Capella was
+resolved on. The Priori--quite a new body to the one which had
+originally planned the picture, entered into another contract with
+Perugino, dated 6th March 1495--for him to paint the altar-piece on the
+same scheme as before, but with far higher remuneration. Perugino was to
+do the work in six months, was to receive one hundred gold ducats in
+three payments, and, in lieu of the Mother of Mercy in the lunette, was
+to paint a Pietà, and for that purpose--alas for the poor Priori--the
+portraits in fresco by Celandro which filled the space allotted to the
+Pietà were to be removed, broken up, and carted away. All, therefore,
+that remains concerning these notable Priori of 1483 whose portraits
+were to have been handed down to perpetuity, are their ten names
+recorded by Mariotti, and the name of Rubino di Giacomo, their notary;
+but of their portraits nothing is left.
+
+[Illustration:
+
+_Alinari photo_] [_Vatican, Rome_
+
+THE MADONNA ENTHRONED, WITH FOUR SAINTS]
+
+Perugino at last set to work, and the beautiful altar-piece now in the
+Vatican is the result. There is the Madonna and Child on the throne, and
+near by there are the four great saints. The picture is exquisitely
+beautiful, full of Perugino's special charm, and bearing marks of the
+Piero della Francesca influence in the arches that support the canopy,
+while below the feet of the Madonna, to make quite clear as to who
+painted the picture, is the signature in somewhat remarkable form:
+
+    HOC PETRUS DE CHASTRO PLEBIS PINXIT.
+
+Inasmuch as consideration of this finished picture brings our
+chronological survey up to 1495, it will be desirable for us to retrace
+our steps to the time that Perugino spent in Florence.
+
+Vasari records many works executed in that city, but his chronology is
+so perplexing that it is difficult to say whether they were all executed
+at the time to which we refer, or later in the artist's career.
+
+Probably the frescoes in the Convent of the Frati-Gesuati beyond the
+Pinti Gale, a house that was destroyed in the siege of Florence in 1529,
+were early works, inasmuch as the panel pictures that were saved from
+the church, and which now rest in the Accademia, were painted in
+1492-93.
+
+There were, however, as already mentioned, three pictures on panel
+executed for the same convent, and these, fortunately, are still in
+existence. They were carried, at the time of the siege, to the gate of
+San Pier Gattolini, where the monks were provided with a refuge in the
+church and convent of San Giovannino, now known as La Calza. These three
+pictures are the "Crucifixion," now in La Calza, the "Pietà," in the
+Accademia, dated 1493, and the "Christ in the Garden," also in the
+Accademia. Of these three early pictures the one in La Calza is in some
+ways the most interesting. It is a very puzzling picture. Vasari
+describes it so clearly that there is no possibility of error as to the
+picture he names. He speaks of the "infinite care" with which it is
+executed. He refers to its being carried for safety to the church, where
+it still rests, and he mentions its condition as injured by numerous
+cracks, but the difficulty is that, while much of the picture is
+distinctly Peruginesque, three of the figures might have been painted by
+Luca Signorelli, so great a resemblance in general characteristics do
+they bear to his work. Crowe and Cavalcaselle hesitate to ascribe it to
+either master, inclining more to the view that Raffaelino del Garbo
+may have painted it, but with this last ascription I cannot at all
+agree. The composition is that of Perugino, the open air effect and the
+distance, the single detached trees and the high rocks are all Umbrian.
+The draperies of the four standing figures and of the Christ have the
+distinctive folds that are so thoroughly characteristic of our painter,
+and the borders to the garments are equally noteworthy. The attitude of
+St. Francis and of S. Giovanni Columbini are thoroughly in accordance
+with Perugino's methods, but when we turn to St. Jerome and St. John
+Baptist the case is very different. In these figures the fierce strength
+and muscular development is foreign to Perugino's ordinary work, and he
+appears to have been painting under Signorelli's influence, and even
+endeavouring to introduce into faces and limbs the virile power and
+movement of Signorelli, which at that time was specially attractive to
+him. The figure of the Magdalen (strangely termed by Crowe and
+Cavalcaselle the best figure in the picture) is, I consider, a much
+later addition by quite another hand. The picture composes perfectly
+without it, and a very close inspection convinced me that it was not
+originally in the design, and that the draperies of S. Giovanni
+Columbini can be traced through the draperies of the Magdalen. In no way
+does the Magdalen recall Perugino. The attitude is not his; the
+draperies have entirely different folds; the hands are quite different
+in their structure; and the hair is painted with entirely altered
+technique.
+
+[Illustration:
+
+_Alinari photo_] [_La Calza, Florence_
+
+THE CRUCIFIXION]
+
+I look upon this La Calza "Crucifixion" as one of the earliest, if not
+the very first of Perugino's works in Florence that survives.
+
+In the Accademia (two pictures) we are on quite different ground. Here
+can be seen the hand of Perugino in every part and the wonderful power
+of space composition can be realised to the full. The receding arches in
+the "Pietà," bespeaking the influence of Piero della Francesca, the
+exquisite landscape in the background, the curious aloofness of each
+figure, and the delicate chain of sympathy that binds them all together,
+the tender sorrowful face of the Madonna seated in the midst bearing on
+her knees the dead body of her Son, all of Perugino's best.
+
+[Illustration:
+
+_Alinari photo_] [_Accademia, Florence_
+
+THE DEAD CHRIST]
+
+The third picture, the "Christ in the Garden," is fuller still of the
+genius of space composition. Far off are the hills that girdle the
+landscape, and the eye is carried on from one to the other, each step
+revealing new beauties, till in the extreme distance the sky and land
+melt into one another. In the immediate foreground are the three
+disciples sound asleep in the attitudes that convince you of heavy
+slumber. In the centre of the picture is Our Lord kneeling on a hillock
+deeply engaged in prayer, and above is an angel flying toward Him
+bearing the chalice of sorrow. 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
+figure. Their proportions are finely adjusted to their distance and
+position, and there is an admirable sense of movement in all. Beyond
+them are the distant town, the hills, the country, and above, with its
+depth and arch and vastness, 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 heaven.
+
+[Illustration:
+
+_Alinari Photo_] [_Accademia, Florence_
+
+CHRIST IN THE GARDEN OF GETHSEMANE]
+
+All the genius of Perugino exists in this picture. Later on there is a
+greater sweetness in some of the faces, there are more figures, there is
+a purer and more exquisitely sunny colouring, but in composition this
+early work contains all the characteristics of the master.
+
+These two must be attributed, however, to a later period than the
+frescoes and La Calza picture already mentioned, which were for the same
+convent, and in the interval between painting the frescoes for the
+Gesuati and the La Calza picture and these two Accademia pictures,
+Perugino had declined a commission at Orvieto, and had been to Rome and
+painted there for Cardinal Giuliano della Rovere, afterwards Julius II.
+
+Once more we must retrace our steps and tell the story of the Orvieto
+contract.
+
+It is unnecessary to refer to the work done in Orvieto Cathedral by
+Beato Fra Angelico; but after his death the work remained unfinished,
+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 place. Forty-four years had passed away, and then
+Perugino visited Orvieto. He was asked to examine the chapel and give a
+price for its decoration. He did so; at 1500 gold ducats for the whole
+chapel, provided that scaffolding, lime, gold, and ultramarine were
+furnished to him. He agreed to use such subjects as were submitted to
+him, and to personally execute the hands and faces of all the figures.
+His offer was not accepted in its entirety; but a contract was made for
+him to do the ceilings and spaces above the capitals for 200 gold
+ducats, ten of which were paid him, on the understanding that he began
+the work in April 1490 and continued it through the whole of the
+following summer. Perugino, however, having secured the contract, was in
+no hurry to fulfil it, and as the question was being discussed in
+Florence as to the completion of the cathedral west front, he left
+Orvieto, and hurried on to Florence to compete in the proposed work.
+
+The work in Florence, however, did not come off, and Perugino proceeded
+to Perugia and went on again to Rome. Here he commenced the work for his
+patron Cardinal Giuliano della Rovere, almost all of which has since
+perished, one notable picture only being left.
+
+The artist seems to have dreaded lest the canons of Orvieto should
+demand his presence in their cathedral, and it is clear that they made
+strenuous efforts to lay hold of him.
+
+The Cardinal, very desirous of retaining his services for himself,
+protected the artist, and when the Orvieto authorities determined to
+cancel the contract, he wrote to the Priori an exceedingly strong
+letter, telling them to await the convenience of the artist and himself.
+This letter of June 2, 1492, was in reply to one sent to Perugino
+stating that the Priori would appoint some one else in his stead.
+
+[Illustration:
+
+_Anderson photo_] [_Villa Albani, Rome_
+
+THE ALBANI ALTAR-PIECE, 1491]
+
+The Cardinal reminded the authorities that they had promised, in reply
+to a previous letter from Perugino, to wait a few months, and he adds:
+"Now Maestro Pietro has stated that, contrary to your word, you intend
+to substitute for him another painter who shall do your work. This is
+indeed truly remarkable conduct. We laboured under the impression that
+you were to be compliant as best suits the love we have ever borne to
+your community. So we now again exhort and pray that you do reserve this
+place, which is his due, to Maestro Pietro, and refrain from molesting
+him for the short time during which he has to expedite our affairs."
+
+The Orvietans had, however, meantime, been in correspondence with
+Pinturicchio, but fearing to offend so great a dignitary as the
+Cardinal, they retained the chapel of S. Brizio for Perugino, giving
+Pinturicchio work in another part of the cathedral.
+
+Perugino, however, never kept his promise, though it does not appear
+whether he returned to the Priori of Orvieto, the ten ducats they had
+advanced him, and eventually, as is well known, Luca Signorelli was
+employed to decorate the chapel in question.
+
+As already mentioned, but one picture remains of the work done for the
+Cardinal at Rome. This is the wonderful altar-piece, dated 1491, now the
+property of Prince Torlonia, and to be seen in the Villa Albani.
+
+It is in six compartments, and is a most beautiful work, full of
+brilliant colour. In the centre is "The Nativity," represented as having
+taken place beneath a sort of temple with open sides, its roof resting
+on a series of beautiful arches forming a centre and two aisles and
+springing from square pillars with rich capitals.
+
+The three divisions above contain the "Annunciation" and "Crucifixion."
+On either side of the cross are St. John the Divine and the Virgin, and
+at its foot kneels the Magdalen. If with this figure of Mary Magdalen
+is compared the similar one in the La Calza picture the difference will
+be apparent. There is a beauty and nobility of face and a grace of
+posture wholly lacking in the La Calza picture, and the draperies, so
+sure a mark of Perugino's hand, are here as true to his method as in the
+Florence picture they are manifestly different. On one side of the
+lunette is a panel representing the Virgin kneeling beneath the open
+arcading of a temple, and on the opposite side a similar panel
+containing the Archangel Gabriel.
+
+The altar-piece is full of the influence of Piero della Francesca, the
+fine drawing of the receding arches, the architectural details, the
+marble of the pavement and the proportion of all the figures mark in
+unmistakable form the teaching of the man of Arezzo, 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 master. The lunette gives
+Perugino at his best in this period, and the distance, with its rocks,
+pools of water, cities, plains, and hills, is of fascinating beauty, and
+fills the spectator with amazement. The whole picture is bathed in a
+haze of golden colouring. The tones, in places almost jewel-like in
+their transparent brilliancy, are tender and expressive, and there is a
+serenity and quiet about the work that is quite wonderful and expressive
+of complete peace and masterful resignation. The picture is signed:
+
+    PETRVS DE PERVSIA PINXIT 1491.
+
+Now for a while we return to Florence, picking up the threads that we
+dropped a few pages back.
+
+[Illustration:
+
+_Alinari photo_] [_Uffizi Palace, Florence_
+
+THE FIESOLE ALTAR-PIECE, 1493]
+
+In 1493 Perugino was balloted, so Orsini says, into the municipal
+council at his native place, Città della Pieve, for May and June, and is
+said to have served his time there, but in the same year he was painting
+at Florence, and, according to Mariotti, had a botega in that city and
+accepted many commissions. To this period belong two notable pictures,
+one in Florence and the other in Vienna. The face of the Virgin in each
+picture is identical, and the infant Christ in each is painted from the
+same model. The picture in the Uffizi was painted for San Domenico in
+Fiesole, and was the second altar-piece Perugino did for that church,
+the first, painted in 1488, having disappeared.
+
+It represents the Virgin on a throne bearing the infant Christ on her
+knees. On one side stands St. Sebastian (to whom reference will be made
+later on) and on the other, St. John the Baptist. The group stands under
+the vaulted arching resting on square pillars, of which Perugino was so
+fond. In the distance is the customary landscape. The picture is signed:
+
+    PETRVS PERVSINVS PINXIT AN 1493.
+
+The other work is at Vienna, and bears an inscription denoting the name
+of the priest who commissioned its execution.
+
+The Blessed Virgin is on a throne in this picture also, but the group is
+enclosed by high stone walls only open to the sky. On one side stand St.
+John the Baptist and St. Paul, on the other, St. Jerome and St. Peter.
+The St. Jerome is the same face as appears in the Albani altar-piece of
+1491, and the curious long white beard which he wears, and which hangs
+in two divisions, will be noticed many times in later works notably at
+Trevi and Montefalco, and constitutes a mark of Perugino's own
+handiwork.
+
+
+FOOTNOTES:
+
+[G] In 1491 the incomplete picture begun by Galeotto turned up. It had
+been at his father's house, and quite overlooked; but in that year the
+heirs of Galeotto's father found it and sent it to the Priori, together
+with a number of colours that had been prepared for it. For three years
+the incomplete picture stood in the Priori's room, silently reminding
+them of Galeotto; but no further progress in the negotiation was made
+till 1495.
+
+
+
+
+CHAPTER III
+
+TECHNIQUE : PIGMENTS : VEHICLES
+
+
+We now come to the year 1494; but before dealing _seriatim_ with the
+pictures painted at that time it will be well to refer briefly to a
+question of technique. Crowe and Cavalcaselle make a definite statement
+to which I can give no adherence. They speak of Pietro's work changing
+from tempera to oil work, and they allude to his inability at this time
+to use the new medium in all its complexity, and later on to his
+complete mastery over oil-painting and his constant use of it. Mr.
+Herbert Horne, on the other hand, states with an equal assurance that
+"all Perugino's pictures were painted in tempera on a gesso
+background,"[H] and I find it as difficult to accept this statement as
+that of Crowe and Cavalcaselle as a sufficient explanation of the
+question.
+
+It is quite clear to a careful observer that the technique of the Albani
+picture differs from that of the triptych in the National Gallery, for
+example; but the difficulty is then only stated. It is an extremely
+puzzling question to determine from an old master painting whether it
+was painted in tempera or not. 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 tempera. The repeated oiling and
+varnishing to which Italian pictures have been submitted renders the
+task of discriminating the original medium one of the greatest
+perplexity. 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 colour, the danger of making such
+dogmatic statements as those already mentioned, is still more apparent.
+
+The information which we possess as to tempera painting in the
+fourteenth century is derived from the "Trattato" of Cennino Cennini,
+and this has just been re-translated by the one person in England, who,
+more than anyone else has practised and understands tempera work. Mrs.
+Herringham, who has for years worked in tempera and copied the
+Quatrocento pictures in the National Gallery, has discussed this
+abstruse question, and to her knowledge, derived both from personal
+conversation and from her invaluable book,[I] I have obtained much
+information, and have coupled it with close personal examination of the
+pictures, and some interesting experiments. I think, in considering
+tempera painting, one factor, that of climate, has not always received
+sufficient attention. Mr. Spencer Stanhope has expressed to Mrs.
+Herringham that tempera never dries completely in this country, and
+should not be varnished, but that has not been her experience. It,
+however, expresses in crude statement, the difficulty there is in this
+moist climate in using tempera satisfactorily, and there is little doubt
+that part of the success of Italian tempera work is due to the climate
+in which the artists worked. It is quite clear from Mrs. Herringham's
+work, that tempera painting, by which I mean strictly yolk-of-egg
+painting, is capable of the soft transparent effects which are to be
+seen in Perugino's pictures, and that no admixture of another vehicle
+with the egg is needful. It is not, however, clear whether the _whole_
+of many of his pictures were painted with yolk of egg alone.
+
+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 formulæ by which the medium used
+could be detected, but a very careful examination only gave inadequate
+results. There appear to be certain thick ridge-like formations in the
+darker colours especially at the very edges of the draperies, which it
+is very difficult to imitate in tempera, and while the landscape is most
+clearly put in quite lightly in tempera, yet the draperies are so
+different in handling as to give the impression that another medium was
+used for them. There is also a curious variety in Perugino's pictures as
+to hatching, especially after 1500, and the hatching which till then
+only appears in the flesh, is later on to be seen in other parts of the
+picture. 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 show,
+as with pure tempera painting the paint "cannot be moved and blended as
+in oil work," but "it must be put on and left alone till it is dry." I
+do not pretend to have touched more than the fringe of this subject, but
+my opinion is that Perugino did many of his pictures wholly in tempera,
+and that with others he used tempera for the under-painting and oil for
+the glazes, 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 desired. The question of oil colours cannot be dismissed in a
+sentence. Perugino probably learned a good deal as to the use of colours
+from the Gesuati, who were, as Vasari informs us, well practised in the
+art of colours, and conversant with glass-painting and enamel work, but
+the mystery remains as to how it is that the very fugitive colours he
+used have stood and remained as brilliant as ever.
+
+For his Cantor Lectures in 1892,[J] Dr. A. P. Laurie carried out some
+remarkable experiments with certain fugitive colours and certain oils
+and balsams, with a view to ascertaining whether any oil varnishes were
+impervious to moisture, and securely locked up the colours against
+change. Some of these experiments I have repeated, and I have had some
+interesting conversation with Dr. Laurie, 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 balsams. The stickiness of colour ground in balsam to which
+he alludes can, I have ascertained, be overcome by a few drops of pure
+linseed oil and a morsel of wax, and the result can then be used easily
+with a brush. Experimenting with the balsams of the larch and of the
+silver fir, I have been able to protect verdigris, orpiment, and kermes
+lake securely, and the experiments have been mainly conducted with
+verdigris and orpiment as notoriously fugitive colours and yet colours
+which it is quite clear Perugino used.
+
+It may be well perhaps to allude here to Vasari's story respecting the
+artist's use of ultramarine. The colour was so costly that in several of
+his contracts Perugino expressly stated that his patron was to provide
+it, and Vasari states that when he was painting in the cloister of the
+Ingesuati, the Prior, who himself prepared and supplied the ultramarine,
+was mean and mistrustful as to Perugino's use of it, and would always be
+present when it was used. The artist took the Prior's distrust to heart,
+and by constantly washing his brush in a bowl of water allowed more
+colour to be precipitated than he was using in his fresco. Having
+punished the Prior in this way, he gathered up the blue from the water
+and returned it to him with the words, "This belongs to you, father;
+Learn to trust honest men, for such never deceive those who confide in
+them, although they well know how to circumvent distrustful persons like
+yourself when they desire to do so." Pliny records a singular story
+about vermilion. Perugino's skies were painted with this colour, and put
+on very thinly, and they have a peculiar formation of cracking which is
+quite recognisable.
+
+As regards grounds, I believe that all Perugino's panel pictures are
+upon gesso laid upon panel, 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
+together. Verdigris is, I believe, the only colour that will produce
+some of Perugino's greens, and, as far as I have experimented, the
+balsams, as Venice turpentine and olio d' abezzo, are the only varnishes
+that protect it unchanged against the action of sulphuretted hydrogen
+and moisture.
+
+These few statements as to technique are only suggestive. I am not a
+chemist, and the subject demands prolonged experiments in a laboratory;
+and such experiments should result in most interesting discoveries.
+Resta calls Perugino's colouring dry and sparing; Lanzi alludes to what
+he terms its skimpiness, but the very thinness of it is but proof of the
+artist's complete mastery of his medium, and that this medium was always
+mainly tempera, and was never what we know as oil painting is my
+distinct opinion, based upon an examination of almost every one of his
+works in Italy.
+
+
+FOOTNOTES:
+
+[H] _Magazine of Art_, April 1899.
+
+[I] "The Book of the Art of Cennino Cennini" (Geo. Allen), 1889.
+
+[J] "The Pigments and Vehicles of the Old Masters." Society of Arts,
+1892.
+
+
+
+
+CHAPTER IV
+
+WANDERINGS
+
+
+Crowe and Cavalcaselle, in speaking of the beautiful picture at Cremona
+dated 1494, refer to it as executed in Florence and sent to Cremona, but
+there are grave reasons against accepting this statement. It is quite
+clear that in that year Perugino was in Venice,[K] and it is more
+natural to believe that he painted the picture in Cremona itself. The
+picture is one of great beauty, but is singularly unlike most of the
+painter's other creations in a sturdy robustness of pose and
+countenance, both in the Madonna and in the Child, unlike the calm and
+slightly insipid composure of other works. This characteristic may
+perhaps be attributed to the recent influence of the works of Giovanni
+Bellini and Antonello da Messina.
+
+The picture represents the Blessed Virgin and Child on a throne, while
+St. James is on one side, St. Augustine on the other of the central
+figures. It is signed 1494, and still hangs in St. Augustine's Church,
+Cremona, on the altar of the Roncadelli family.
+
+In 1496 the Duke Il Moro of Milan was anxious to obtain the services of
+another painter for the rooms at the Castello, and he wrote to his envoy
+in Florence for information. The envoy replied, giving to the Duke
+information as to the leading characteristics of each of the greater
+Florentine artists. Of Perugino he wrote: "He is a rare and singular
+artist, most excellent in wall painting. His faces have an air of the
+most angelic sweetness." The Duke Lorenzo at once decided to employ
+Perugino, and wrote to his friend Guido Arcimboldo, Archbishop of Milan,
+who was then in Venice, begging him to inquire about Perugino, and, if
+possible, engage him. The Archbishop replied on June 14th to say that
+Perugino had left Venice. Unable to secure his services himself at that
+time, the Duke recommended Perugino to the monks of the Certosa at
+Pavia, and commissioned a great altar-piece from him. Accordingly, in
+October 1496, we hear of Perugino being at Pavia working at the
+altar-piece. In the following year, 1497, Il Moro again tried to secure
+the services of Perugino for the Castello, and wrote to one of the
+Baglioni, who at that time ruled over Perugia, begging him to send
+Perugino to him; but the artist was then at work in Perugia, and so full
+of commissions that he declined Il Moro's offer, and never went to the
+Castello.
+
+The two years, 1494 and 1495, saw the completion of the altar-piece for
+the Magistrates' Chapel in Perugia--now in the Vatican Gallery and
+already mentioned,--the great "Entombment" in the Pitti Palace, the
+"Ascension" altar-piece for San Pietro, Perugia, the portrait of
+Francesco delle Opere in the Uffizi, and the commencement of the
+greatest work of all, which was finished in 1496, the "Crucifixion" at
+Sta. Maria Maddalena dei Pazzi.
+
+[Illustration:
+
+_Alinari photo_] [_Uffizi Palace, Florence_
+
+PORTRAIT OF FRANCESCO DELLE OPERE, 1494]
+
+The "Ascension" altar-piece is the first one that we have to consider
+of that group of Perugino's altar-pieces which have been divided, the
+component parts being scattered throughout Europe. To this division and
+scattering fuller attention is given in the next chapter, and it will
+suffice here to state that the centre part is at Lyons, the lunette at
+St. Gervais, Paris, the predella in three panels at Rouen, and the
+surrounding saints divided, three in the Vatican Gallery and five in the
+church of S. Pietro, where at one time the complete work rested. The
+picture at Borgo San Sepolcro is usually spoken of as a replica of the
+centre piece of this great picture, but I am strongly disposed to take
+an opposite view of the case.
+
+Vasari records the painting of the Borgo picture, which was, he says,
+"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
+cost." He also records the painting of the picture for S. Pietro, naming
+it almost at the close of his biographical notes on the artist; and of
+this picture he says: "The whole of it is replete with evidences of
+thought and care, insomuch that it is one of the best paintings in oil
+executed by Pietro in Perugia." It is quite impossible to accept the
+chronology Vasari gives, as he mixes up dates in the most hopeless
+confusion; but in this instance I think he is right in putting the Borgo
+picture before the Lyons one rather than _vice versâ_.
+
+The picture at Borgo is in bad condition: the one at Lyons has been
+transferred to canvas and very much repainted, and still shows signs of
+two vertical splits in the panel; but, despite all these injuries, the
+Borgo picture is, I consider, the finer of the two, and the Lyons one,
+although by the same hand, a later and more careless replica.
+
+In the Borgo picture the Virgin is in religious garb and has the head
+covered: in the Lyons picture there is a more secular garb, the head
+uncovered and short hair to be seen. In the Borgo picture the angels
+carry loosely looped narrow ribbon carefully and gracefully drawn: the
+ribbon in the Lyons picture is broader, more coarsely painted, lettered
+throughout, and falling in awkward folds. The wings of the cherubs in
+the mandorla at Borgo are painted with exquisite detail, every little
+scale and feather being carefully represented; these details are almost
+entirely absent in the Lyons picture, where the wings of the cherubs
+appear to be hurriedly painted and lacking altogether in finish. There
+is far greater sweetness in the faces at Borgo, especially those of the
+Redeemer, the Virgin, St. Peter, and St. Paul, than at Lyons, where all
+these four important faces are roughly and even coarsely delineated. In
+some of the attendant disciples, the hair, which at Borgo is daintily
+painted in, and flows in slightly ringletted form, hangs loosely at
+Lyons and is of a harsher texture, and the wonderful trees sharply
+delineated against the sky and full of exquisite foliage at Borgo, are
+hardly to be seen at Lyons, and are represented by half-a-dozen dwarfish
+shrubs.
+
+The mandorla in the Borgo picture is a deep luminous band of mysterious
+colour, out of which, and against the light fleecy clouds, rise the
+cherub faces: at Lyons it is a flat band of heavy colour, the clouds
+are woolly and thick, and the cherub faces, instead of rising from the
+wondrous depth, lay superimposed upon the mandorla as upon a piece of
+board.
+
+[Illustration:
+
+_Alinari photo_] [_Borgo San Sepolcro_
+
+THE ASCENSION OF CHRIST]
+
+I am strongly of opinion that the Borgo picture was the original work,
+the Lyons one, for which he contracted to the monks of Cassino, March
+6th, 1495, being either a somewhat hurried replica of it in which the
+master grew tired of the monotony of repetition, or else that it was a
+picture in which a certain amount of labour was left to assistants and
+pupils. There is an important study for three apostles, in the Uffizi,
+which was clearly prepared for the Borgo picture and not for the Lyons
+one, as, while closely resembling the former, it differs from the latter
+in one or two important details. This is not the accepted theory, I
+know, and it is one that will probably not meet with universal
+acceptance, but a careful comparison of the pictures leads me to a clear
+opinion in the matter. With regard to the pilaster saints the case is
+different. Those at the Vatican are all genuine work of the master and
+are extremely fine, and the same may be said of three of the five at
+Perugia, but two of them are not entirely Perugino's work, and bear
+traces of a pupil's hand. The three predella pictures on the other hand,
+which are at Rouen, are charming examples of the master's work, and are
+bathed in that wonderful golden sunlight which is so distinctive of his
+finest work. In each picture a strip of the foreground which was damaged
+in transit has had to be restored: in the "Adoration" it is the very
+slightest bit along the front of the whole picture; in the
+"Resurrection" it is a wider piece, embracing part of the feet of three
+of the sleeping soldiers and the edge of the stone slab on which the
+tomb rests; but in the third picture, the "Baptism," the damage is
+serious, as the foreground strip includes the feet of Our Lord and one
+foot of the Baptist. In all other respects these three panels are
+exquisite specimens of Perugino's fine and discriminative work.
+
+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 St.
+Germain l'Auxerrois in Paris, whereas it is in St. Gervais, a very
+different church. It is not in good condition, having suffered much from
+cleaning and repair, and it has a horizontal split which nearly divides
+it into two pieces. It is nevertheless clearly discernible as a fine
+work from the master's hand. There is neither predella nor lunette at
+Borgo S. Sepolcro. There is no question as to the date of the S. Pietro
+altar-piece, as the original contract for painting it is still in
+existence and appears in full in Orsini.[L] It is dated 8th March 1496,
+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 500
+gold ducats. The Borgo picture was therefore, I contend, a little
+earlier, but perhaps only a year in advance of the other. The picture of
+Francesco delle Opere belongs to this same period, but as in the chapter
+on the Cambio it will be further discussed, it may well be passed with
+brief mention at this place. Finally, as part of the work of these two
+prolific years, comes one of our artist's masterpieces, the
+"Entombment," now in the Pitti Palace. Space composition is seen in
+this picture in its full vigour. How quiet is the atmosphere of the
+scene, how reverent and tender a mood it creates. How vast is the space
+in which the episode is placed, and how marvellously is the sense of
+immeasurable distance produced.
+
+[Illustration:
+
+_Brogi photo_] [_Pitti Palace, Florence_
+
+THE ENTOMBMENT OF CHRIST, 1495]
+
+The picture is one of the most beautiful that Perugino ever painted. The
+composition is very clever, well balanced and well grouped, while the
+faces are of a serene beauty that was never surpassed in later works. It
+is well to notice that the dead body of Our Lord retains much of the
+flexibility of life, while quite as clearly is seen the weight and the
+looseness of death. The mourners around are full of tender pity, while
+the grief of the Virgin is too great for words, and evinces itself in
+the look of deep affection that fills that wonderful face. Each figure
+is, however, distinct, self-centred, and enfolded in its own grief. It
+is only the fact that each one is thinking of the great central figure
+that gives to the picture, as a whole, any real completeness. It is a
+sober, thoughtful composition, full of sentiment, but lacking any of the
+strong moving force that other schools gave to a similar representation,
+and, although the forerunner of Fra Bartolommeo's greater work, it has
+none of the intensity that his more emotional nature could present.
+
+Some delightful studies for this picture appear in the Uffizi, marked by
+most careful study. The clenched hands of one of the two persons who
+stand close to Nicodemus are very noteworthy. The action is so
+expressive of intense, but restrained sorrow, and the drawing of the
+fine, delicate, but muscular hands, is particularly excellent. In the
+studies the richly-ornamented cap of the youth in the group does not
+appear. The cap in the drawing is quite plain, and the face, which in
+the picture is very expressive, is hard and uninteresting. Another large
+pen drawing for this picture exists, and is in Christ Church, Oxford. By
+some critics it is not accepted as a work of Perugino's. It is ascribed
+to one of his pupils, or to a later man altogether, especially because
+several of the faces are hard and unimpressive. Let, however, the
+drapery be closely examined, and the curious formation with dark hollows
+and oval curves will be recognised at once. The large projecting great
+toe, and the manner in which it sets away from the other toes, leaving a
+clear space between it and them, is noticeable, while the limp
+flexibility of the bare flesh of the Christ is also an important
+criterion in deciding on the origin of the drawing. To me it appears as
+a thoroughly genuine work, marking out the general grouping of the
+picture. The positions of Nicodemus, Mary Cleophas, and the youth,
+underwent some slight changes, and the other figures near to Nicodemus
+were introduced, but the picture preserves very closely the original
+suggestions of the drawing.
+
+The finished picture was executed for the nuns of Santa Chiara, but when
+they had obtained it, so highly was it admired, that Vasari records that
+a rich Florentine, Francesco del Pugliese, offered them three times the
+price that they had paid for it, as well as a replica from the master's
+own hand, but the tempting offer was declined, as Pietro had told them
+that he did not think he could equal the one they possessed.
+
+
+FOOTNOTES:
+
+[K] _Vide_ Gaye ii. 69; and Morelli [1883], 287.
+
+[L] Orsini, "Vita dell' egregio pittore Pietro Perugino," 1804, 140.
+
+
+
+
+CHAPTER V
+
+THE STORY OF THE PILLAGE
+
+
+There are two noteworthy circumstances that affect the biographer of
+Perugino. On the one hand is the fact that so many of his pictures are
+dated, and hence along the story of his life stand out clearly defined
+certain pieces of definite evidence, marking his progress and his years.
+On the other hand is the opposing circumstance that most of his
+altar-pieces have been taken to pieces, removed from their original
+home, and scattered in all directions throughout Europe, so much so that
+the task of reconstructing the most important, that of S. Agostino, is
+one of serious difficulty.
+
+This scattering has enormously increased the troubles of the biographer,
+obliging him to journey from Paris to Marseilles, from Grenoble to
+Bordeaux, from Strassburg to Tarbes in order to inspect all the parts of
+even one picture, and even in Perugia itself renders it almost
+impossible to speak definitely of the history of certain altar-pieces.
+
+It is from the French occupation of Italy that all these difficulties
+result. There was a time prior to 1796 when Perugia was very rich with
+the works of her adopted son Pietro Perugino. At that time almost every
+church possessed pictures by the master; the altar-piece painted in 1495
+for the magistrates' chapel was still _in situ_, and the public
+buildings in the city were possessed of rich decoration, the work of
+that artist whom Perugia had delighted to honour and employ.
+
+After the armistice of Bologna had been signed in 1796, French
+commissioners were sent through Italy to demand and select pictures and
+other works of art which Napoleon required as spoil from his defeated
+enemies.
+
+Perugia, as a city rich in art treasures, suffered greatly. The treaty
+of Tolentino (1797) demanded urgency, and, without any delay, a
+commissioner, Tinet by name, descended upon Perugia, and, on the very
+day on which the treaty was signed, addressed a letter to the Priori,
+demanding in the name of the Republic leave of entry into all churches,
+monasteries, and public places, in order to select such objects as he
+thought were worthy of transmission to Paris. He did not confine himself
+to an arrangement that had been made in the previous July, that Perugia
+was to furnish three pictures as its ransom, but demanded free right to
+take what he pleased. His orders were too pressing to be eluded, and the
+Priori had no course but to obey. The pillage commenced on the 20th, and
+lasted for two days, but Tinet was not satisfied. He had a strong
+impression that many of the best things were hidden from him, and so in
+even more emphatic terms he demanded that the superiors of St. Augustine
+and St. Antoine, 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 republic. Meantime, secretly by night, with urgent haste, the
+treasures of the religious houses were being hidden away. The
+altar-pieces were divided and the smaller portions, pictures from the
+predelle, and panels of attendant saints were carried to private houses,
+hidden under floors and behind panelling, and secreted in every possible
+way. Reliquaries and monstrances were in wells, and railings and iron
+grilles covered over with grease and dirt in order to hide them from the
+covetous gaze of the commissioner.
+
+Tinet was, however, unfortunately, a very determined man, and a
+connoisseur to boot, and in the two days' search, he had obtained the
+chief treasures in Perugia. It appeared at one time as though that
+notable picture, the altar-piece in the Magistrates' Chapel, painted in
+1495, would be overlooked, but he remembered it at the very last moment
+and it was included. To add insult to injury, the Perugians were ordered
+to pack and transmit their treasures, but every possible effort was made
+to delay the work and prevent their being sent off. Much correspondence
+ensued, and the Priori did their utmost to raise difficulties, but all
+was to no purpose, and on March 27th six carriages drawn by twenty-four
+oxen and attended by six peasants, quitted Perugia amid the tears and
+lamentations of the people, carrying with them the greatest treasures of
+the city, never to be seen again within its walls. The very magnificent
+proportions of many of Perugino's pictures rendered it impossible for
+them to be concealed, their predella pictures and pilaster saints were
+in some instances safe, but the central panels it was impossible to
+guard, and in the thirty-two pictures carried off to Paris, there were
+included twelve of the greatest of the master's works, and also the
+famous "Sposalizio" from the chapel of the Anello, and the "Palladium"
+of the city, the altar-piece from the Magistrates' Chapel. Drawn by the
+great white Umbrian oxen, and slowly journeying across Europe, these
+heavily-laden vans took their way, and the pictures that for three
+hundred years had been objects of devotion and delight to the good
+people of Perugia, and were cruelly torn from their resting places, went
+to swell the vanity of the terrible conqueror in Paris.
+
+Still, however, Perugia now so poor in her master's works, was too rich
+for envious eyes. The peace of Vienna had been signed, there was a pause
+in the warfare in Europe prior to the invasion of Russia in 1812, and
+some attention was given to internal affairs. On the 25th of February
+1811 appeared an Imperial decree, requiring that the treasures in the
+department of the Trasimène (as the district under its new French rulers
+was styled) should be brought together in order to ornament the picture
+galleries that Napoleon had erected. With cruel irony the decree stated
+that, doubtless, the people of Perugia would rejoice that their pictures
+were deemed worthy to ornament the galleries of Paris.
+
+Napoleon himself had a great admiration for the works of Perugino, and
+the pictures he owned by the master made him desirous of possessing
+more; and as with the conqueror to desire was to obtain, he immediately
+issued this decree regardless of the feelings of his newly conquered
+subjects. The Count de Champagny, who was the minister charged with the
+execution of the decree, passed on to Count Daru, his subordinate in the
+"French" city of Rome, a list of pictures that had been prepared by
+Baron Denon, the director of the gallery, who had passed his youth in
+Italy, and being a great connoisseur, had an excellent memory of what
+fine Italian pictures were left in the plundered city.
+
+Count Daru was to pass on the list to Baron Roederer, Prefect of the
+Trasimène, who on his part was to see that the Sub-Prefect Spada gave
+every assistance to one, Tofanelli, who was to select and transmit the
+pictures.
+
+Tofanelli arrived in Perugia September 30th, 1812, and one day sufficed
+for him to make his selection. Forty-eight pictures were selected, and
+packed in cases ready for transmission, an agreement entered into
+between him and the town, signed by himself and countersigned by the
+mayor, and a contract sealed between him and Signor Franceschini for
+removing the pictures to Rome, and then Tofanelli hurried off back to
+Rome. The pictures were to be sent immediately, but upon Tofanelli's
+departure, a long series of delays and negotiations commenced, suggested
+and arranged by the mayor in order to save the pictures. This worthy
+man, Cesarei, deserves better recognition to-day in Perugia. He worked
+valiantly for the city, and now his name is nearly forgotten. While
+Tofanelli was in Perugia, he dissembled his feelings, aided the
+commissioner, signed any papers that were presented to him, had the
+pictures packed, and gaily saluted Tofanelli as he left the city; but
+once the commissioner had gone, he determined to do his very utmost to
+prevent the forty-eight pictures gathered from the shrines of his city
+leaving its gates. He appealed to the bishop and to the government, he
+worried the prefect and the sub-prefect, and eventually obtained a
+promise that those pictures which were specially dear as objects before
+which the Perugians paid their devotions might be retained. Forthwith
+the cases were opened, and these pictures replaced in their original
+positions, to the great joy of the people.
+
+Hardly had this been done than the permission was countermanded. The
+mayor was regretting that he had asked for so little, and that the
+pictures in the sacristies and corridors of the monasteries would not be
+grouped with those taken from the churches. He was explaining that all
+the pictures were equally dear to the Perugians, when again an order
+arrived to send on all the pictures. Once more the mayor dissembled. He
+promised to send the cases as soon as he could obtain carriages, but at
+the same time wrote, to the Count Daru, to the Director of the Police in
+Rome, and to the Count Baglioni Oddi, one of the deputies in Paris,
+invoking the interests of religion and of art of the province and of the
+capital to save his beloved pictures. Again he won a temporary success.
+On August 26th an order arrived from headquarters, permitting Perugia to
+retain twenty out of the forty-eight pictures chosen by Tofanelli. Once
+more there was rejoicing, but again came disaster. Count Daru
+intervened, every concession was overturned, and a fresh order from even
+higher authorities reached the mayor, ordering him to send on without
+delay to the Capitol at Rome, every picture selected by Tofanelli. These
+instructions the mayor stated he could not understand. He wrote on
+November 16, stating that, of course, this last order did not include
+the pictures just given back to Perugia, and appealing to Baron
+Roederer for consideration, adding as a reason that he could not be
+responsible for the people should the pictures that they cherished be
+taken away.
+
+[Illustration:
+
+_Alinari photo_] [_Vatican, Rome_
+
+SAINT BENEDICT]
+
+To this appeal Roederer turned a deaf ear. He wrote on December 4, again
+on December 8, and again on December 13, stating that it was impossible
+to admit any reasons, and he must demand that all the pictures be sent
+at once. The mayor, indefatigable as ever, wrote again and again, raised
+all kinds of difficulties, continued to warn the authorities that the
+people would make a tumult, and that he could not be responsible for
+their tranquillity, and finally sent letters from the clergy of San
+Severo and San Costanzo supporting his statements.
+
+All was of no avail. On November 6th, 1813, final definite orders
+arrived, and the precious cases had to be sent to Rome.
+
+A few more days' delay would have saved the pictures, as at the moment
+that the cases reached Rome the Neapolitans under Murat entered the
+city, and French dominion in Rome was at an end. Even then the irony of
+circumstance continued, for, when, on January 6th, 1814, the pictures
+arrived in Paris, the allied forces arrived also, and Baron Denon was
+ordered to restore to their lawful proprietors the pictures that had
+been stolen.
+
+The most unfortunate part of the story has now to be told. Instead of
+forcing France to restore the booty at her own cost and at once, the
+allies, in more merciful mood, simply demanded that she should send for
+the Italian representatives and permit them to take away their
+property. Only ten days were allowed in Paris for the booty to be
+secured, packed, and transmitted, and, as envoys arrived from all parts
+of Italy, and each was eager to obtain what he could as quickly as
+possible, very many pictures were left behind. The pictures sent to
+Paris in 1797 had been more in number than could be accommodated in the
+gallery, and, as it is so easy to give away other people's property, the
+government had distributed as marks of favour and bribes for
+tranquillity many of the best Italian pictures amongst the provincial
+museums in France. Many of these pictures Canova, who was sent by the
+Holy See, failed to trace; others it was impossible to obtain, as,
+although the allies were in possession of Paris, they were not equally
+masters of the distant provinces in France, and, consequently, in France
+these pictures remained. Even of those twenty-one pictures stolen from
+Perugia in 1812 but two were returned to Italy, and those only got as
+far as Rome.
+
+Englishmen may well feel proud of their part in this transaction. 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 world. They not only enforced the restitution by the French of the
+plunder accumulated in the Louvre by the rapacious arms of Napoleon, but
+even contributed some £30,000 to defray the expenses of the removal,
+which the finances of Pius VII. could ill afford, no other allied power
+contributing one farthing.
+
+Canova gathered up, in the short time at his disposal, and with the
+limited means that he possessed, all the fine pictures that he could
+obtain, and the treasures now in Rome are the proof of his zeal and
+exertions.
+
+Meantime the Priori of Perugia waited for two years, hoping against hope
+that their treasures might come back to them. At length, in September
+1816, they wrote to Canova, and he replied to them on the 20th. His
+letter explained how encompassed with difficulty he had been in Paris,
+how short a time had been allowed him in which to remove the pictures,
+how small were the means at his disposal, how scattered were the
+pictures, and how impossible it was, without force of arms to travel
+from department to department and take possession of the property.
+
+With regard to one notable picture about which the Perugians were
+specially anxious, the "Ascension," from San Pietro, he explained that
+the people of Lyons had appealed to the Pope for permission to retain
+it. They set forth their attachment to the Holy See, their zeal for the
+Chief Pontiff, and the singular affection which they had manifested
+toward His Holiness whenever he passed by Lyons. Their petition received
+attention, and the cardinal secretary wrote, on November 13th, 1816, an
+authorisation to the city of Lyons to retain the picture which had been
+so disgracefully torn from its resting-place in Perugia.
+
+Canova was evidently as anxious as were the Perugians to obtain back all
+the pictures; but events were too strong for him, and the poor Perugians
+never again possessed the great treasures of art which, prior to 1797,
+made their city one of the richest in Italy.
+
+Cesarei, the indefatigable mayor of Perugia, who had been appointed
+_gonfaloniere_ year after year in order to obtain restitution of the
+pictures, did not give up hope of obtaining his end for some years. He
+tried hard to obtain the two pictures which English generosity had
+restored to Italy, and he worried the Holy See with repeated letters and
+appeals.
+
+At length Cardinal Consalvi, on October 8th, 1817, closed the whole
+episode by a letter to Cesarei. 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 taken, 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 Cities. In consequence, the Papal
+Government had the right, the Cardinal continued, to retain the
+pictures.
+
+It may be added that, even if the Holy See had not the right to retain
+the pictures, it had too much business on hand at that time to be able
+to give attention to works of art, and insufficient money in its
+depleted treasury to pay for their removal.
+
+Such is the story, with all its mournful details, of the pillage of
+Perugia, and it will now be easily understood why the provincial museums
+of France are so rich in the works of this master.
+
+To reconstruct the great altar-piece of St. Agostino means that visits
+must be made to Lyons, Grenoble, Toulouse, Nantes, and Perugia. For
+another altar-piece it is necessary to visit Rouen, Lyons, Perugia,
+Rome, and Paris; while yet other pictures are at Caen, Nancy, Tarbes,
+Bordeaux, Strassburg, Marseilles, Lille, and Chantilly.
+
+The scattering is not now wholly confined to France, for pictures at one
+time in France are now at Altenburg, Frankfort, Vienna, and St.
+Petersburg, while odd pieces of these self-same pictures remain to-day
+in Perugia.
+
+
+FOOTNOTES:
+
+[M] Murray, 1899, 253.
+
+
+
+
+CHAPTER VI
+
+IN FULL STRENGTH
+
+
+In the early spring of the year 1496 Perugino was in Venice, but in the
+autumn back in Florence and in Perugia, although possibly the winter saw
+him in Bologna. In 1497 he was in Florence, in Perugia, and in Fano. In
+1498 he was in Florence, and then again at Fano.
+
+The proof that Perugino was in Florence in 1496 consists in the document
+quoted by Morelli recording the purchase of certain land in Florence
+with a view to a permanent residence in the city.
+
+To this year Morelli attributes the "Sposalizio" from the chapel of the
+Anello at Perugia, which is now at Caen. Vasari states that "for the
+altar of the Sacrament where the ring with which the Virgin Mary was
+espoused is preserved, this master painted an altar-piece representing
+the Marriage of Our Lady." Mariotti quotes Vasari, and on his evidence
+gives the picture to him, and every succeeding writer, including Crowe
+and Cavalcaselle, and Morelli, continues the ascription.
+
+What is quite clear is that the company of St. Guiseppe received, as
+Mariotti records, the grant of a subsidy for an altar-piece; but
+Professor Adam Rossi states that up to November 1500 the picture had not
+been commenced. To 1500, therefore, Crowe attributes this picture,
+Morelli putting it earlier, in 1496. On these attributions a theory has
+been built up that Raphael in his "Sposalizio" (painted in 1503 or 1504)
+took as his _motif_ the picture painted by his master Perugino, and
+improved considerably on the original conception. Crowe and Cavalcaselle
+in their inspection of the picture refer to its most striking quality,
+"its bright colouring," and qualify their praise by stating that "the
+tones have not the glow" of the master's usual work, and that "the forms
+are less pliant than of old." It is exactly these features that first
+attract the spectator and which, I must confess, puzzled me very
+considerably.
+
+A little closer examination revealed the strange inequality in the
+surface of the picture, the stringiness and lumpiness of the draperies
+and the streaky character of the background. Much of my perplexity,
+however, ought not to have existed, inasmuch as in the _Gazette des
+Beaux Arts_, April 1896, Mr. Berenson had carefully examined the whole
+question, and ascribed the picture not to Perugino at all, nor to an
+earlier period than the Raphael "Sposalizio," but to the hand of Lo
+Spagna, and since 1504. With his opinion, although contrary to the
+accepted judgment, I am in the fullest accord, and I think that Vasari,
+going only upon hearsay, and with probably only a casual glance at the
+picture, if ever he saw it at all, makes a grave mistake when he
+attributes it to Pietro. Mr. Berenson examines all the evidence pro and
+con with his usual ability, and produces, in my opinion, overwhelming
+proof of his attribution. He compares the "Sposalizio" with the pictures
+by Lo Spagna in other places, the "Virgin and Child" at Perugia, the
+"Nativity" and the "Madonna and Child" at the Louvre, and the
+"Coronation of the Virgin," Lo Spagna's greatest work (dated 1511), and
+preserved at Todi.
+
+He points out that several of the faces in these pictures are identical
+with faces at Caen, notably the face of the Virgin, which in every way,
+even in position, is the counterpart of the one in the "Nativity" in
+Paris. He finds the face of St. Joseph in more than one of Spagna's
+pictures, and especially he refers to a figure in the Caen picture, the
+fourth to the right, a woman wearing a hood, which never once appears in
+any work of Perugino's, but which does appear, line for line, not only
+in the Todi "Coronation," but in another of Spagna's pictures. Other
+points of close resemblance are to be found in the drawing of the ears,
+which are totally different to those of Perugino's figures; in the
+hands, which are broad and heavy in the Caen picture and in Lo Spagna's
+usual work, but fine and delicate in Perugino's; and especially in the
+colouring, certain special tints such as a chartreuse-green and
+rose-salmon appearing in the Caen and Todi pictures, and never once to
+be found in Perugino's accepted work.
+
+One very instructive set of arguments Mr. Berenson draws from a close
+examination of Raphael's "Sposalizio" at Milan. Its shape is upright.
+Perugino always represented the scene in a long, narrow panel, the
+position of the Virgin and St. Joseph, and of the branch carried by St.
+Joseph, are entirely antithetical to the Umbrian fashion, while,
+curiously enough, Lorenzo Costa, who was probably a fellow-pupil of
+Raphael's, under the influence of Timoteo Vite, painted in about 1504 or
+1505 a "Sposalizio," upright as is this one, at Caen, and agreeing with
+it in many other ways. A masterly piece of reasoning shows that
+Raphael's work is of the Ferrarese school and not of the Umbrian, and
+that instead of its being a souvenir of the Caen picture, and based upon
+it and greatly improved, it is, in fact, an original work upon which Lo
+Spagna based his picture which is now at Caen. When to these arguments
+are added the want of style and dignity in the Bramantesque temple at
+Caen, the absence of the colonnade that Perugino favoured, and which he
+drew from Piero della Francesca, the want of intermediate grouping, the
+stubborn heaviness of the draperies, so different from Perugino's light,
+easy folds, the hard, empty density of the foliage, the change in the
+distant scenery, and the absence of horizon and cloud, and finally the
+entirely different drawing of the feet from the manner in which Perugino
+drew them, the case is practically proved, and to Lo Spagna must the
+Caen picture be attributed. If further evidence were needed, it is ready
+to hand in the fact that not one Perugian letter, document, or writer
+attributes the "Sposalizio" to Perugino, although all speak of it with
+great terms of reverence, while Vasari alone gives it to Vannucci, and,
+as is well known, his attributions must often be taken _cum grano
+salis_.
+
+Having in all this agreed most gladly with Mr. Berenson, I must now part
+company with him in reference to another picture attributed to this same
+year.
+
+Few pictures have exercised critics more than has the "Apollo and
+Marsyas" in the Louvre.
+
+This charming little work was purchased by Mr. Morris Moore as a
+Mantegna. When sold to the Louvre in 1883 for 200,000 francs, it was
+agreed that it should be placed in the Salon Carré, under the title of
+"Raphael de Morris Moore."
+
+It is still called a Raphael in the Louvre catalogue, although a note is
+added which only commits the authorities to the statement that it is
+unquestionably the work of an Umbrian artist. Morelli put it first to
+Timoteo Vite, but confesses that he did not examine it carefully. In a
+later work he withdrew this ascription, and says that "it belongs most
+probably to a master whose style is in close affinity with that of
+Perugino." Mr. Berenson includes it in his list of Perugino's works, but
+I am much more inclined to leave the attribution where Morelli left it.
+
+The two figures are quite nude. This is almost a unique circumstance
+with Perugino, the only other nude figures in his pictures being some
+distant ones in his "Love and Chastity." Here is, therefore, a most
+exceptional circumstance; and also the absence of any drapery deprives
+the critic of one of the most definite marks, the dark hollows, by which
+Perugino's work is identified. Furthermore, there are birds in the sky,
+and I know of no sky of Perugino's in which they appear. The feet of the
+two figures are very Peruginesque, the open and upward curling great toe
+is clearly defined; but the hands have not the awkward tong shape of his
+earlier work, nor the very thin, boneless appearance of his mature work.
+The landscape and the trees are like those of Perugino; but the very
+prominent lyre has none of his characteristics, and in technique and
+handling is painted quite differently from Perugino's method. The
+picture seems much more likely to be the work of Pinturicchio, and, in
+any case, I cannot personally attribute it to Perugino.
+
+[Illustration:
+
+_Hanfstaengl photo_] [_Munich Gallery_
+
+THE VIRGIN APPEARING TO ST. BERNARD]
+
+I agree, however, with Mr. Claud Phillips in attributing the "St.
+Bernard" at Munich to this period of Perugino's life. It is, of course,
+impossible to fix its date exactly, but from 1496 to 1500 one may safely
+put it, and, as regards its serene beauty, hardly too much can be said.
+The picture was originally in the church of San Spirito in Florence, and
+there is now a copy of it in that place. King Ludwig I. bought it in
+1829 from the Capponi family, who held the rights over the Nasi chapel,
+where it hung, and although it has been cleaned and restored, it remains
+a beautiful and quite genuine work. It is well to compare the hands and
+the ears in this picture, with their delicate, sensitive beauty, with
+the heavy features in the Caen picture, to which reference was lately
+made, and the comparison will be wholly satisfactory, and in every way
+in favour of Mr. Berenson's argument. An interesting study for this
+"Vision of St. Bernard" is at the Uffizi, and comparison may well be
+made with a picture by Lippo Lippi in the Badia, illustrating the same
+scene.
+
+To this same period we attribute the "Virgin in Glory" at Bologna, the
+"Family of St. Anne" at Marseilles, and the masterpiece in Florence, the
+"Crucifixion" of Sta. Maria Maddalena dei Pazzi. In the Bologna picture
+we see the lovely figure of St. Michael, to which allusion has already
+been made when reference was made to the Certosa altar-piece, now in the
+National Gallery. The great archangel is even fuller of beauty in this
+picture, his hands especially being of exquisite form and grace. There
+are three other adoring saints, St. Catherine of Alexandria, St. John
+the Divine, and St. Apollonia.
+
+Above in the sky is the glowing mandorla of cherubs, a favourite device
+of Pietro's, glowing with rainbow radiance, and enveloping in its misty
+colour the cherub heads which belong to it. The conception is very
+lovely, the colouring subdued and sunny, and, while the picture recalls
+the Borgo and Lyons pictures, it yet foreshadows the great Vallombrosan
+"Assumption" which the master was to produce a few years later on.
+
+The Marseilles picture is remarkable in many ways. It represents a scene
+that was very seldom selected by the old masters, and which no one
+treated so beautifully as did Perugino (see _Frontispiece_). There are,
+perhaps, not more than half-a-dozen examples amongst all the old
+masters' pictures which represent the "Family of St. Anne," and yet the
+subject is one that is particularly worthy of careful and thoughtful
+treatment. Perugino has adopted a very fine arrangement. The Virgin is
+enthroned in the centre, and has the divine Child on her knee. Behind
+her stands St. Anne in a very motherly attitude, resting her two hands
+on her daughter's shoulders. On the right of the throne stands St. Mary
+Salome, holding in her arms St. John the Divine, and by her side is St.
+Joachim, the husband of St. Anne. At their feet stands the child St.
+James. On the opposite side, to the left of the throne, stands St.
+Mary, the wife of Cleophas, holding in her arms St. James the Less. By
+her side stands St. Joseph, and near by another child, St. Joseph
+Justus. Two more children, St. Simon and St. Thaddeus, are seated on the
+steps of the throne, and above them is the inscription, =PETRVS DE
+CHASTRO PLEBIS PINXIT=.
+
+[Illustration:
+
+_Alinari Photo_] [_Bologna Gallery_
+
+THE VIRGIN IN GLORY, 1496]
+
+The whole scene is under a wonderful and lofty archway, and beyond is an
+exquisite landscape of hills and rolling plain. The children are
+exquisite in grace and beauty, and two of them were copied by Raphael,
+and his picture still hangs in the sacristy of St. Pietro in Cassinense
+at Perugia. The artist has inscribed the name of each saint on the halo
+of light that surrounds each head, and the composition of the group is
+almost perfect, so well arranged and so well balanced. The colouring is
+subdued but radiant with sunlight, and few pictures are as typical of
+the master's hand. All his peculiarities of painting, his unusual
+draperies, his exaggerated feet, his long slender hands with lumpy
+knuckles, and his restful, quiet, self-contained figures can be studied
+in it. Originally it was painted for the monastery of St. Anna, and
+later on was transferred to St. Maria de Fossi in Perugia, and was
+brought to Marseilles with the Perugian spoil which was mentioned in a
+preceding chapter. There is an early drawing for the whole picture at
+Alnwick.
+
+The wonderful fresco at Sta. 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 conceptions. In Crowe's time, the permission of
+the Archbishop of Florence was needed ere the picture could be
+inspected, and this permission Crowe could not obtain. The
+chapter-house in which it is situate is now secularised, and the fresco
+can be seen. Vasari speaks of the monastery under its old name of the
+Cestello, and records that a picture of St. Bernard was also painted for
+the same house, but this has been lost. The great fresco in question was
+ordered in 1493, for 55 ducats, by Pietro Pucci and his wife Giovanna,
+and was finished in this eventful year April 20th, 1496. The scene is
+represented under three arches. In the central one is the Crucifix, its
+arms stretching from wall to wall of the arch, its foot on the ground,
+and its upper extremity nearly touching the crown of the arch. At its
+foot kneels the Magdalen, gazing tenderly up at the crucified Christ,
+above the cross are the eclipsed sun and moon. On the left are the two
+figures of the Virgin and St. Bernard, and on the right are two more
+figures, St. John the Divine and St. Benedict.
+
+There are only these six figures in the entire picture, which covers the
+whole wall of the chapter-house, but beyond them the arches seem to
+reveal a great Umbrian landscape, which stretches farther than eye can
+reach. It is practically the same view as can be seen from the city of
+Perugia, from the hill of Montefalco or from the monastery of Assisi,
+and is apparently limitless. There are the long sweeping outlines of the
+Umbrian Hills, the distant towns with their churches and castles, the
+pleasant waters winding in and out of the hills and gleaming in the
+evening light, and the delicate larch and olive trees crowning the hills
+and standing out so clearly and daintily against the sky, while above
+and filling nearly half of the archway space is the blue and purple sky,
+flecked with white gossamer clouds and reaching far up in its hollow
+dome beyond the range of sight.
+
+[Illustration:
+
+_Alinari photo_] [_Sta. Maria Maddalena dei Pazzi, Florence_
+
+THE CRUCIFIXION]
+
+As the spectator steps into the quaint chapter-house, this whole scene
+appears to open into view. The central crucifix with its solemn burden,
+and the five quiet figures standing so still and placid, full of that
+intense sorrow and tender pity which absorb the whole being, and which
+are so evidently the dominant passions that the mind of the spectator
+unites with them, and all who gaze on this sublime scene do so with
+reverend pity for the central figure, and intense sympathy for the
+spectators in the drama. There are two studies in existence for this
+work, one for the Christ on the Cross, on the back of a drawing of
+Pericles (252, 400) and the other for the standing figure of the Virgin
+(251, 417). Both are in the Uffizi Gallery. In the central compartment
+of the fresco will be recognised the prototype of the "Crucifixion" by
+Raphael now belonging to Mr. Ludwig Mond. There is, however, far more
+pure beauty, definite purpose, and tender reverence in the work by
+Perugino than in that by the youthful Raphael, although the merit of the
+latter work is very great, and surprisingly so when the age of the
+artist is taken into consideration. There is a breadth and power and an
+originality about Raphael's figure that is wonderful, but from the point
+of view of reverence and devotion, Perugino's marvellous and touching
+creation is superior to it.
+
+The Certosa altar-piece, now in the National Gallery, is usually
+considered to be one of the greatest pictures Perugino ever executed.
+One-sixth part of it only is still _in situ_, the central panel of the
+upper tier. This represents the Eternal Father within a mandorla of
+cherubs. The remaining five panels are copies, the two upper ones, after
+Borgognone, to replace originals in France, the three lower ones to
+replace the originals in London.
+
+There are one or two points that merit special attention in this
+picture. It is desirable to mention that what has been called the
+monotony of Perugino can be clearly seen at this time. The figure of St.
+Michael has already appeared in the Albani altar-piece, and will appear
+again in the Bologna "Assumption," and other pictures.
+
+The elaborately decorated shield and the quaint head-dress of the great
+archangel appear in the figures of the Cambio decoration, in the
+"Sposalizio," and in the Sistine Chapel fresco. The angels which appear
+in the central panel will be marked again and again in later works.
+
+Perugino in his lifetime was severely criticised for this failing. Lanzi
+expressly records the grumbling of many of Perugino's patrons at his
+want of variety in treatment, the fact that his altar-pieces more or
+less closely resembled one another, and the artist's reply that he
+robbed no one. His figures were admired in one picture, why should they
+not be in another? and if a figure was pronounced lovely and suitable at
+one time and for one place, why should it be condemned when used for a
+similar position in another place.
+
+This complaint, made in the fifteenth century, has continued down to the
+present time, and has certain justification. There is a want of
+originality about Perugino's conceptions beyond a certain point; but
+this very monotony is a most useful aid in recognising and scheduling
+his pictures, while individually his figures are so graceful, and his
+groups so well composed, that those who love Umbrian art never tire of
+gazing upon his fascinating pictures.
+
+[Illustration:
+
+_Hanfstaengl photo_] [_National Gallery, London_
+
+THE CERTOSA THREE-FOLD ALTAR-PIECE]
+
+This great altar-piece was completed in 1499. In the early part of that
+year the Duke of Milan, Il Moro, wrote to the monks at Pavia complaining
+of the delay in the completion of the altar-piece he had commissioned,
+speaking of the large sum he had disbursed, and of his love for the
+Certosa and desire to see it completed, and begging the Carthusians to
+hurry on Perugino to complete his work. They did so, and by the end of
+1499 the picture was in its place.
+
+In the following year, 1497, Perugino was in Fano, and there again in
+1498. In each of these years he was probably also in Perugia, and in one
+of them, perhaps 1497, he was at Sinigaglia and at Cantiano, two small
+places close to Fano. Of his visits to Fano we have two results: a
+"Madonna and Child with Saints," dated 1497, and an "Annunciation,"
+dated 1498; while at Sinigaglia there is a "Madonna and Child with
+Saints" closely resembling the Fano one, and at Cantiano a "Holy Family"
+of similar characteristics. In the intervals which enabled the artist to
+revisit Perugia we have evidence of his work in a "Madonna and Child,"
+dated 1497, now in the Gallery of Perugia, and in another picture
+attributed to the same period and now hanging in the same gallery. Even
+these visits do not complete his wanderings, for on the 26th of June
+1498 he was certainly in Florence.
+
+It is only an assumption on my part that the Sinigaglia and Cantiano
+pictures followed the Fano ones. They may have just preceded them, and
+should perhaps belong to that already crowded year 1496, but I am
+strongly of opinion that such is not the case. Again, they should
+perhaps be given to a later period altogether, say to 1500 or 1501; but
+we have no evidence whatever connecting Perugino with this remote part
+of the sea-coast save in 1497 and 1498, and as in style and colouring,
+even in composition and design, the Sinigaglia and Cantiano pictures so
+closely resemble those at Fano, and the places were not easy of access
+save from Fano, and we do not hear of the artist being in this district
+on any other occasion, the attribution to that period is given.
+
+[Illustration:
+
+_Alinari photo_] [_Perugia Gallery_
+
+THE MADONNA AND CHILD WITH PENITENTS, 1497]
+
+Both of these pictures have signs of hurried execution, and do not
+appear to be in all their details the work of the master, 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 hand. The 1497 altar-piece at Fano is really a
+fine picture, and the five predella pictures are remarkably good,
+perhaps the finest of this style of miniature-like painting that
+Perugino ever executed. In the predella scene can be noted Perugino's
+method of representing the "Sposalizio," and the arcade and temple
+doorway, the arrangement and grouping of the figures, and the open air
+effect of the whole, and entire absence of crowding will all be noted as
+characteristics which the Caen picture does not possess. The lunette of
+this fine altar-piece is the same scene as the artist used in the
+scattered altar-piece for St. Agostino, and should be compared with the
+lunette from this altar-piece which now hangs in St. Pietro in
+Cassinense at Perugia. In the latter the Virgin and the Magdalen are
+each holding one of the hands of the dead Christ. In the Fano picture
+these hands hang down loosely and rest on the tomb. In other respects
+the two pictures are almost identical.
+
+[Illustration:
+
+_Alinari Photo_] [_Perugia Gallery_
+
+THE INTERCESSION OF ST. FRANCIS ON BEHALF OF PERUGIA]
+
+The other Fano picture is a very charming "Annunciation." The arched
+colonnade again appears. The Eternal Father, within a circular mandorla,
+is above, and below, flying towards the Madonna, is the white dove of
+the Holy Spirit. In the distance is Fano itself, and in the far distance
+the sea.
+
+We now come to the two Perugia pictures. The one which is known to have
+been painted in 1497 for the altar of the noble confraternity of "San
+Pietro Martire," represents the Madonna seated upon a throne or tomb,
+crowned, and holding the Christ on her knee. Above in the air are two
+angels kneeling in adoration, while on the ground around and partially
+behind the Queen of Heaven, are two groups of white-robed penitents.
+There is a study for this picture in the Uffizi.
+
+It ought to be quite easy to discover the exact date of the other
+picture. It was painted for the noble confraternity "della Giustizia,"
+who deposited it in the gallery, and it evidently alludes to the union
+of the original confraternity of San Andrea della Giustizia, with a
+smaller but similar body dedicated to San Bernardino and connected with
+the church of San Francesco. San Bernandino of Siena is one of the two
+saints who are kneeling in the foreground, and is distinguished by the
+tablet bearing the I.H.S. surrounded by rays of light which floats in
+the air close to him. He lived at the convent of San Francesco al
+Prato, and close to the convent now stands the oratory dedicated in 1461
+to his memory, the front of which is decorated with Agostino Ducci's
+wonderful marble and terra-cotta façade. The confraternity for whom the
+picture was painted, specially honoured the memory of San Bernardino,
+and therefore had a peculiar devotion toward his patron saint, St.
+Francis of Assisi. St. Francis, in the picture in question, kneels
+opposite to San Bernardino. In the background is a large group of
+kneeling people headed by the Priori in their furred gowns, and near at
+hand are women and penitents, all intent upon the same petition. Still
+more remote is a representation of the city, differing in many respects
+from the view of Perugia given in the St. Agostino altar-piece painted
+in 1521, and resembling much more closely the town of San Gemignano as
+it now appears.
+
+One would have naturally expected that this picture would have been
+named by Mariotti, or that documents in Orsini or in the Perugian
+archives would have mentioned it. My chief reason for giving it to 1498
+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 supplication,
+and it is possible that this picture was painted for the confraternity
+in commemoration of this answer to prayer. There are perhaps only two
+other instances in which St. Francis is represented, but the reason
+already stated may well account for his presence in this picture.
+
+[Illustration:
+
+_Alinari photo_] [_Accademia, Florence_
+
+THE CRUCIFIXION]
+
+The "Crucifixion," now in the Accademia, may, I think, be ascribed to
+this period. It is an altar picture, and was painted for the Convent of
+St. Jerome in Florence, and there is definite evidence that in 1498
+Perugino did visit Florence and painted a picture in the city. There is
+much in this work which recalls the Pazzi "Crucifixion." The Christ is
+from the same model, but is a larger figure in every way and not quite
+so carefully drawn as in the Pazzi one. Its increased size and more
+hurried execution gives it a coarser and harsher effect. The Pazzi
+"Crucifixion" has but one figure at the foot of the cross. The Accademia
+necessarily has two, as St. Jerome, with his lion and hat, had to be
+introduced. The Blessed Virgin is the same figure as in the Pazzi
+fresco, and in the same posture even to the twisting of the fingers in
+the clasped hands, but her feet are bare in the Pazzi fresco and in the
+St. Jerome picture are adorned with elaborate sandals.
+
+The scene at the back of the cross in the Pazzi fresco is evidently not
+Florence, and was probably either a typical Umbrian town or one
+connected in some way with the donor's early life; but in the St. Jerome
+picture the city that is depicted is clearly Florence, and certain
+towers and spires can be recognised in the scene. The composition is
+more crowded than in the Pazzi fresco, and this element and the heavier
+treatment of the crucified Figure somewhat detract from its beauty; but
+it is probable that the explanation of the whole circumstance is that
+the St. Jerome "Crucifixion" was intended to be placed high up above an
+altar and at the end of a long and somewhat dark church, whereas the
+Pazzi "Crucifixion" was on a level with the eye, rising up from the
+ground, and in a small and well-lighted chapter-house.
+
+
+
+
+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 incorrect, but
+it is quite open to believe that he had desired to do so. He invested
+some of his earnings in the purchase of land in the Borgo Pinti in 1498,
+and in the deed is referred to as "habitator in populo S. Petri
+Majoris." In January 19th, 1497, he was called in to assist Benozzo
+Gozzoli, Cosimo Roselli, and Filippino Lippi to value the frescoes of
+Alesso Baldovinetti in the church of Sta. Trinità in Florence, and in
+June 1498 he was present at a meeting called to discuss the repairs of
+the lantern of Sta. Maria del Fiore.
+
+The church had been struck by lightning, and the question of the repair
+of the injured lantern was submitted to a meeting of architects,
+sculptors, and painters, and at this meeting Filippino Lippi, Lorenzo di
+Credi, and Perugino all tendered their advice. At about this time came
+an invitation from the Priori of Perugia for him to undertake the entire
+decoration of their Cambio or Bourse; and this invitation seems to have
+finally disposed of the Orvieto contract. He wrote to the Orvietans
+stating that he could not come as he was otherwise engaged; and there
+is no trace of his ever visiting their city during his life.
+
+The flattering request of his adopted townsmen was well pleasing to
+Perugino; the terms offered him were satisfactory; and early in 1499 he
+left Florence and commenced in Perugia what I consider to be the most
+important work of his life.
+
+The scenes in the decoration of what is still called in Perugia the
+"Noble Cambio," are not the most beautiful that Pietro painted, nor are
+they the finest of his works in the way of drawing, composition, or
+colouring. They, however, form part of a complete scheme of decoration,
+carried out, it is true, under certain definite restrictions laid down
+by the Priori, but, subject to these restrictions, designed throughout
+by the master, and mainly executed by his own hand.
+
+It has already been said that to understand Perugino it is absolutely
+necessary to visit Umbria. The dictum can be made even more definite. It
+is needful to see not only Umbria but Perugia, and not only Perugia but
+the Cambio, in order to have an adequate idea of the artist's power. The
+quaint little room must be visited again and again if the student is to
+really understand its beauty. When at first one steps from the brilliant
+sunshine of the street into this dark chamber, it is not easy to realise
+the rich decoration which covers its walls. Gradually, however, as the
+eye becomes accustomed to the more subdued light, it reveals itself, but
+part only of the room can be studied at a time. The room is very much as
+Pietro left it, and in its way is one of the most beautiful in all
+Italy.
+
+The lower part of the walls is wainscotted with dark wood inlaid in
+tarsiature. Near the entrance is the throne for the judge, and below it
+the desks and seats for the money-changers, all exquisitely carved, and
+then all around the room, above the wainscotting, is Perugino's fresco
+decoration, and above it the vaulted ceiling painted from his designs by
+his pupils. There is unity about the whole which is perfect. Perugino is
+at his best, straining his utmost to give honour to the town of his
+adoption, stimulated by the very nature of his commission, exercising
+all the fertility of his talent in design, and labouring with intense
+sympathy and determination, convinced that in Perugia he can execute a
+work that will perpetuate his name for ever and ever.
+
+The decoration is curiously illustrative of that strange mingling of
+spirits which the Renaissance produced. The popular mind at this period
+was deeply affected by the study of the classics, and sacred and profane
+literature were being considered side by side. The predominant spirit
+was certainly Christian and not pagan, but in a building intended for
+secular work the classic spirit had a fuller development than in a
+church, and, 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 duty, but to remain
+faithful to the dictates of wisdom, of natural reason, and of religion,"
+so it was quite admissible for him to appeal to great classic heroes for
+the lessons he desired to teach, and to emphasise and spiritualise all
+by the teaching of pure and humble Christianity.
+
+[Illustration:
+
+_Alinari photo_] [_The Cambio, 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 Maturanzio, Professor
+of Rhetoric at Perugia, and secretary to the Priori. In a MS. of
+poetical works by Maturanzio, still preserved at Perugia, the
+inscriptions on the tablets of the decoration appear, and Maturanzio
+himself, according to Marchesi, derived some of his inspiration from a
+MS. Cicero, in which are miniatures of the Virtues and of the classic
+heroes who specially exemplify them. Near the door Pietro has painted
+Cato, then on the left wall, in two bays, are groups of philosophers and
+warriors in groups of three, each group consisting of a Greek between
+two Romans, and underneath each figure is his name. Above are
+representations of the Virtues, and opposite to these two bays is one in
+which are depicted the "Prophets and Sibyls," while at the end of the
+room appear the "Nativity" and the "Transfiguration."
+
+These figures are arranged in one long line, each figure standing
+separately apart from the others, lonely and abstracted. The warriors
+are singularly unlike what a more pagan artist would have depicted. They
+are dainty, dreamy, gentle knights, almost feminine in their grace of
+limb and countenance, and in their elegance of costume and pose. In
+their head-dresses the fancy of the artist has run wild. Nothing is too
+extraordinary for Perugino to devise, and, fond as he always was of
+eccentric helmets and mitres, he has given full play to his imagination
+in these Cambio groups, and decked his heroes in the most extraordinary
+and extravagant helmets that even his fancy could invent. The armour and
+the costume of the figures also show how exuberant was the artist's
+fancy, and in the shape and decoration of the shields especially he
+gave it full play. Despite all these drawbacks, there is a certain
+stately grace about the figures, the drawing is accurate, the
+proportions good, and the attitudes natural, although just a little
+forced. The most important work of all is in the large bay opposite to
+the warriors and philosophers. This is styled the "Triumph of Religion,"
+and represents the Prophets and the Sibyls standing together in
+converse, and above them is the Eternal Father, who is attended by two
+angels, and who is raising His hand in blessing. There is more power,
+breadth, and movement in this group than in the others, and there is
+closer connection between the various figures. They are more certainly
+interested one in the other, and in conversation one with the other;
+while as regards their draperies there is a broad, full sweeping
+treatment that is very marked, and deserves careful attention.
+
+One more point may well be noted, that, fond as Perugino was of
+inscriptions and names on his pictures, of Latin verses, and of Latin
+signatures, in none of them is there such a profusion of inscriptions as
+in the Cambio, and every letter is most carefully drawn with the pencil,
+and is admirable in its proportions and clearness. One scene is
+practically unique. On but one other occasion, as far as I am aware, did
+Perugino paint the "Transfiguration," and then he carried out but little
+of the picture himself. Vasari incorrectly styles it the "Resurrection."
+This latter scene Pietro represented many times, and even Crowe and
+Cavalcaselle, careful as they usually were, have confused the
+"Transfiguration" with the "Resurrection" when they refer to the Fano
+altar-piece. The three disciples in the Cambio fresco are grouped very
+much in the way in which Pietro grouped the sleeping disciples in the
+Accademia picture. The attitude of the Christ closely resembles that of
+the Christ in the Vatican "Resurrection"; but, this resemblance
+accepted, the connection between the two representations is at an end.
+
+[Illustration:
+
+_Alinari photo_] [_The Cambio, Perugia_
+
+PORTRAIT OF PERUGINO, 1500]
+
+There are no angels in this picture, which, for Perugino, is most
+unusual; but Moses and Elias, fine, well-drawn, powerful figures, take
+the place of the usual singing angels who float in the sky. The
+half-startled look of the disciples is very cleverly presented, and the
+glow of the ethereal light upon their faces, partially warded off by St.
+John with his upraised hand, is beautifully depicted.
+
+The transfigured Christ is an imposing figure, full of dignity and
+peace, and demanding reverence from those around. There is a sense of
+space, of distance, and of mystery in this fine fresco, which Perugino
+seldom, if ever, exceeded.
+
+When, at the very close of his life, Perugino painted for Sta. Maria
+Nuova his other fresco of the "Transfiguration," he used the same
+cartoon as he adopted for the Cambio, reversing the three figures on the
+ground. The result is, however, far different, and but little of the
+fresco is really the work of Perugino. In place of a mandorla of rays of
+burning light, there is the usual one of cherubs, cut across by an
+awkward cloud, and almost all the figures have lost their dignity and
+power.
+
+His fellow-citizens paid him the compliment of desiring that his
+portrait should be identified with his important work, and probably
+Maturanzio composed the complimentary verses which are written beneath
+it, and which Perugino himself could certainly not have selected. The
+inscription runs:
+
+    Perdita si fuerat pingendi his retulit artem;
+    Si nunquam inventa est hactenus ipse dedit,
+
+which Rev. H. R. Ware has thus rendered:
+
+    If we had lost the painter's art, 'tis here restored in better part;
+    If it had always been unknown, he's given it as his very own.
+
+The portrait of the artist may well be compared with the one in the
+Uffizi, which was so long believed to be his, but which has now been
+removed from its old position and hung in the Tribuna as the portrait of
+Francesco delle Opere, according to the inscription on its back.
+
+With the knowledge that the one in the Cambio is genuine, it is
+surprising that the Uffizi portrait should for so long have been called
+Perugino's, and a whole story spun to account for the words "Timete
+Deum" which occur in the man's hand.
+
+In not one feature do the two portraits, however, resemble one another,
+and the one of Perugino in the Cambio reveals him as a man of strong,
+healthy appearance, of unusual determination and great power. The
+features reveal strong sense of ideality, good knowledge of form and of
+colour, and some dry, lurking humour of a cynical and malicious type. To
+a certain extent the face is sensual, but not lascivious or voluptuous;
+but its main characteristic is its determination, the ability to conquer
+difficulties, to labour hard and long, and to produce a vast amount of
+work in a short time. It is also the face of a thoughtful man, not so
+much of a loveable one, as of one who was masterful and resolute.
+
+Opposite to the portrait of the artist, close by the fresco of "Prophets
+and Sibyls," is a label with the words, "=Anno Salvt M.D.=," giving the
+definite information in what year the work was completed. It was, I take
+it, at this period of Perugino's life that the great Raphael first
+became his pupil. Vasari's statement as to Giovanni Santi taking the lad
+to Pietro is unconfirmed, and must be received with caution, especially
+as we know that Santi died in 1494.
+
+As has already been shown, Perugino was wandering, in the years previous
+to 1500, far and wide, and was seldom at Perugia for long together; and,
+as Morelli was the first to point out, it would have been impossible for
+him to give the regular and continuous instruction to the young lad
+Raphael at that time. In 1504 Raphael painted his "Sposalizio," in 1505
+the fresco at S. Severo in Perugia, and probably it was several years
+previous to this that he painted the Dudley "Crucifixion." Professor
+Rossi of Perugia has announced that documents exist in that city proving
+that Raphael actually did not leave Urbino till the end of 1499. The
+information is quite credible, and is what might be expected; but it
+lacks confirmation, and when at Perugia I was quite unable to verify its
+statement.
+
+The question is still an open one. Morelli gives Raphael's earlier
+training to Timoteo Vite, but, to my mind, produces no distinct proof
+of the influence of Timoteo upon the young Raphael. It is perfectly
+certain that the lad was a pupil to Perugino, and it is, of course,
+possible--although hardly conceivable--that his tuition was taking place
+during the busy wandering years which preceded 1500. My own notion is
+that the tuition began in 1499 or 1500, and that Raphael, together with
+the other pupils, took his part in the Cambio decoration, probably in
+the work of the ceiling. There is, of course, a local tradition that in
+two of the faces in the fresco of "Prophets and Sibyls" are immortalised
+the features of Raphael and Pinturicchio. Nothing is more likely. Both
+pupils were of unusual and remarkable appearance, and the master may
+quite as well have used them as his models while working with them in
+the room. There can be no definite proof of what part Raphael took in
+the scheme of decoration, but it is pleasant to conceive him as working
+side by side with the master whose art influenced him so strongly, and
+between this time and that of 1505, when the San Severo fresco was
+executed, Raphael may well have been assisting Perugino in all his work,
+and learning from him the art in which in later days he was to reign so
+triumphantly as king.
+
+For the Cambio decoration Perugino appears to have received 350 _large_
+gold ducats, but the final payment of the money is not made till 1507,
+when the juror of the Cambio, Alberto de Mansueti, records with pride
+the fact that he had finally settled the Cambio payments and obtained
+Perugino's receipt in full, dated 15th January 1507.
+
+[Illustration:
+
+_Alinari photo_] [_Accademia, Florence_
+
+THE ASSUMPTION OF THE VIRGIN, 1500]
+
+
+
+
+CHAPTER VIII
+
+FLORENCE, PERUGIA, AND CITTA DELLA PIEVE
+
+
+The date 1500 is attached to the great Vallombrosan altar-piece, and it
+must, therefore, have been executed immediately after the completion of
+the Cambio. Whether it was painted in Vallombrosa itself or not cannot
+be stated with accuracy; but the general impression given by the
+documents relating to the picture is that it was executed within the
+precincts of the religious house. Vasari states clearly that the picture
+was done _at_ Vallombrosa, but his statements of this sort have always
+to be accepted with caution. It is, however, in this case more than
+probable that he is correct.
+
+The picture, now in the Accademia, is one of the finest that Perugino
+ever produced. It presents, of course, many of Perugino's favourite
+figures and arrangements. The mandorla recalls the altar-pieces of Borgo
+and of Lyons. The Eternal Father above is similar to the scene in the
+"Prophets and Sibyls" fresco in the Cambio. The angels with musical
+instruments will be found again in the SS. Annunziata picture, and the
+archangels attending upon the Eternal Father have already been seen
+several times in earlier works. The general scheme of the picture is the
+one which Pietro made somewhat hackneyed, but there are certain special
+features that must not be overlooked. The Virgin is seated in the skies
+within a glowing radiance of pure white light, and this of itself is an
+unusual feature. Never has Perugino painted the Madonna so finely. There
+is a celestial beauty upon her face, and her hands and robe are depicted
+with the utmost skill and care. The angels are somewhat loosely drawn,
+insipid in countenance, and lacking in proportion, especially in their
+attenuated legs, and in the large size of their hands; but the artist's
+main attention has been given to three points in the picture--the figure
+of the Virgin, the four figures on the ground, and the landscape in the
+rear. Crowe and Cavalcaselle speak of the four attendant saints as
+"magnificent as isolated creations," and the words are none too strong.
+
+The four figures are superb; they are well-balanced and stand firmly on
+their feet; their draperies are in easy folds, and are painted with
+unusual care, especially in their delicate gradations of colour; the
+pose is in each instance suitable and sufficient, and there is tender,
+reverent beauty in the faces, and the utmost dexterity and feeling in
+the painting of the hands.
+
+Still greater work, however, Perugino executed at Vallombrosa. He
+painted the portraits of the Abbot Baldassare, and of Don Biagio
+Milanesi, and triumphantly proved his right to be termed a great
+portrait-painter. If all other works of Perugino had perished and we
+possessed these two heads alone, the genius of the artist would be
+revealed by them as of the highest order.
+
+[Illustration:
+
+_Alinari photo_] [_Accademia, Florence_
+
+PORTRAIT OF THE ABBOT BALDASSARE OF VALLOMBROSA]
+
+They are painted with the lightest of touch and with extraordinarily
+little colour. The tone is that of old yellow parchment, and each
+picture contains only the upturned head and a few inches of the brown
+monastic robe; but the effect is perfect. The marvellous feature,
+however, of each portrait is its absolute truth and its perfection of
+modelling. There is no accessory; there is no cap, or hood, or costume;
+there is only a plain brown background: but the effect is that of
+living, breathing life. The very slightest touches reveal the bones of
+the face and the corresponding hollows of the tightly-drawn skin. The
+bare, shaven head, with its narrow tonsure, allowed no opportunity for
+careless drawing. There was no hair with its rich shimmering colour to
+hide inaccuracies of line or to cover up faults in execution; but the
+master needed none of these excuses. The task was a stern one,
+uncompromising in its severity; but it is nobly executed, and two
+delineations of character are presented. Already allusion has been made
+to the portraits of Francesco delle Opere and of the artist himself, and
+if to them be added these two, and the faces of the standing figures in
+the Vallombrosan altar-piece, a careful student can hardly fail to
+acknowledge that the artist was, above all, a portrait-painter in the
+truest sense of the term.
+
+[Illustration:
+
+_Alinari photo_] [_Accademia, Florence_
+
+PORTRAIT OF DON BIAGIO MILANESI OF VALLOMBROSA]
+
+There is a very puzzling picture which was probably painted at about
+this time, and which was executed for San Francesco in Perugia and hangs
+now in the Vatican Gallery. Vasari ascribes it to Perugino. Orsini
+suggests that Raphael had a hand in it. Crowe gives it entirely to
+Raphael as a very early work, and Morelli ascribes it entirely to the
+hand of Lo Spagna. In the midst of so many conflicting theories it may
+be allowable for me to agree with Vasari. It is not very likely that in
+all his work Perugino would preserve the same level of beauty. The
+master had, as was most natural, his successes and his failures. At
+times his commissions were so numerous that some of them were carelessly
+executed; at another time a subject was given him which did not
+altogether appeal to his mind; at another he worked _con amore_, and put
+his whole soul into his labour. We see fine results in the Cambio, and
+in the Vallombrosan pictures, and I take it these are followed by this
+"Resurrection," which is weak and unsatisfactory, and by others which
+are even at a lower level. Later on we shall see important work at Rome,
+in the Louvre, and at Città, followed by poor, inadequate work at
+Spello. Then comes a recrudescence, of which the great altar-piece at
+St. Agostino is the result, and this is followed by final work which is
+weak and monotonous, but which still retains the perfume of the master's
+nobler days.
+
+The figure of the Saviour is inaccurate and badly drawn, the face is
+quite unsatisfactory, the mandorla clumsy and rigid, the angels poor and
+lacking in expression, and their draperies feeble. The colouring of the
+picture, the landscape, the faces and hands, the wonderful detail, the
+composition, the balance, and, above all, the technique, speak to me
+strongly of the master, to whom I ascribe the picture unhesitatingly. I
+can see no hand of Raphael in it, and while I see no special reason for
+our crediting the story that gives the sleeping soldier on the right the
+face of Raphael, yet even that statement but renders it less likely that
+Raphael had a hand in the picture itself, 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 himself.
+
+[Illustration:
+
+_Alinari photo_] [_Vatican, Rome_
+
+THE RESURRECTION]
+
+We must now retrace our steps and look at the artist at Perugia.
+Mariotti records that in 1501 Perugino was one of the Priori of the
+City, and, being salaried officers, the Priori were obliged, according
+to Marchesi, to reside in the Palazzo Communale, and give daily
+attendance for magisterial business. This involved a good deal of civic
+duty, and doubtless consumed a great deal of time, and probably during
+1501 Perugino did little painting. He was concerned also in domestic
+matters, as Orsini states that in two deeds, dated December 11th, 1501,
+and February 24th, 1502, he divided up certain property that had
+belonged to his uncle, Giovanni, and which devolved to himself and his
+two nephews, Agnolo and Giacomo di Giovanni. However, if he was at the
+moment unable to paint, he was prepared to make contracts for future
+work, and Mariotti records several of his interesting engagements.
+
+One dated September 10th, 1502, is for some saints and angels around a
+large crucifix carved in wood, belonging to the convent of San Francesco
+al Monte, and for a "Coronation of the Virgin" to form the reverse side
+of this altar-piece. For that he was to have 120 florins. In the same
+year he agreed to supply to Baccio d' Agnolo designs for the intarsia
+work in the stalls of St. Agostino, which Baccio was to make in one year
+for 1120 florins, and for the due performance of his task Perugino
+became surety. He was also to paint a double altar-piece for St.
+Agostino, and was to design a frame for it which Tomaso was to carry
+out.
+
+By another contract he agreed to paint a "Sposalizio" for the Duomo.
+This latter part of the contract I do not believe he ever carried out,
+and the St. Agostino altar-piece was not finished for nearly twenty
+years, as there is a record of its completion in a letter dated
+September 1521, written to the Podesta of Trevi, advising him that the
+Prior of St. Agostino had appointed a valuer for the picture, and
+begging him to apprise Perugino, who was then at Trevi, of the fact.
+
+Other commissions recorded by Mariotti were the decorating of the doors
+of the palace, and the painting up of the arms of Pope Julius II., who
+three years after was to visit Perugia in state, and also the designing
+of a silver ship or _nef_, to be used as a credence table. Of all these
+various works he certainly executed at this time the double altar-piece
+for the Minorites at San Francesco al Monte, which has been removed to
+the Pinacoteca. Probably little more than the design for one side of
+this altar-piece was the work of Pietro, the execution being done by his
+pupils. The picture is in very bad condition, and in places seriously
+damaged, but there are certain features about it that distinguish it
+from Perugino's own work. The long chain of flowers and pearls carried
+by the angels is not Peruginesque. The master would have used a ribbon.
+The cloud which cuts across the mandorla in two places, the awkward,
+sentimental-looking faces of the disciples and women, the ill-drawn
+feet, and weak draperies, all reveal the hands of a pupil, yet the idea
+of the picture is distinctly Perugino's, and here and there are traces
+of firmer, stronger work, which may well be due to the master himself.
+The reverse side of the picture may, however, be safely ascribed to
+Perugino. The Virgin is the same as in the Pazzi "Crucifixion," while
+the figures of St. Mary Magdalen, St. Francis, and St. John, are to be
+found in other altar-pieces by Pietro in the same gallery. In its
+original condition the picture must have been a really fine one, and
+although terribly damaged, enough remains to show how tender and
+sympathetic must the whole composition have appeared. There is a rough
+grandeur about the quatrocento carved wood crucifix which is laid on the
+canvas; and the four figures and two angels grouped about it, so placid,
+and calm, and so full of simple sorrow, must have formed a very
+impressive work. The landscape is delicate and sunny, and there is every
+reason to consider this picture entirely the work of the master, and to
+regret very much that by reason of exposure, damp, and neglect it has so
+seriously suffered.
+
+[Illustration:
+
+_Alinari photo_] [_Perugia Gallery_
+
+THE CRUCIFIXION
+
+(_Painted round a wooden crucifix_)]
+
+In 1503, Perugino left Perugia, so Mariotti records, completing in the
+October of that year the arms of Julius II. on the gates of the palace
+and on the five entrances to the city. He settled down in Florence in
+the Pinti quarter, and early in the year, on January 25th, 1504, was
+present at the meeting called to choose a place for Michel Angelo's
+gigantic statue of "David." This meeting resulted in some bitter
+controversy. There were eighteen artists present, amongst whom were
+Andrea della Robbia, Lorenzo di Credi, Sandro Botticelli, Perugino,
+Leonardo da Vinci, Filippino Lippi, David Ghirlandajo. Various positions
+were suggested for the statue, and a place under the Loggia met with
+the greatest approval. Lippi and the goldsmith Salvestro di Lavacchio
+having suggested that Michel Angelo himself would probably have given
+grave consideration to a site, Piero di Cosimo proposed that he should
+be given his choice. He chose the place occupied by the "Judith," which
+was removed, and the "David" taken to the Palazzo Vecchio. With this
+selection and decision Perugino did not agree, nor did those who voted
+with him for the position in the Loggia, and a party came into existence
+opposed to Michel Angelo and disliking his style. Many of these
+objectors were in the habit of meeting in the botega of Perugino's old
+friend, Baccio, the worker in intarsia, and on one of these occasions,
+when some remarks antagonistic to Michel Angelo were passed round, the
+sculptor, roused to exasperation, turned to Perugino and pronounced his
+paintings to be "absurd and antiquated." In the light of the new classic
+influence the statement was doubtless true, but it grievously annoyed
+Perugino, and he was foolish enough to appeal to the Council of Eight,
+but obtained no redress and only exposed himself to ridicule and
+sarcastic remarks.
+
+[Illustration:
+
+ [_Città della Pieve_]    [_Perugia_]    [_Città della Pieve_]
+  20th February 1504    30th March 1512     1st March 1504
+
+THREE LETTERS FROM PERUGINO]
+
+Within a few days after these occurrences Perugino left Florence again,
+and went to Perugia. Here a letter reached him from the Priori of his
+birthplace, Città della Pieve, begging him to come and paint a fresco
+for them. On February 20th, 1504, he replied, stating that a fresco such
+as they required would cost two hundred florins, but that, in
+consideration of the commission being from his native town, he would
+reduce his charge to one hundred florins, twenty-five to be paid at
+once, and twenty-five every year for three years, and that he was
+prepared to start at the work as soon as he heard from the Priori. The
+price, even so reduced, was more than the Guild could afford, and
+further correspondence ensued. Eventually, Perugino wrote again, on
+March 1st, 1504, agreeing to abate another twenty-five florins and
+execute the work for seventy-five, and this the town of Città accepted.
+The two letters to which reference is made were discovered by Signor
+Guiseppe Bolleti of Città, in 1835. He was excavating a terrace of earth
+that made the wall damp on which is the famous fresco, and found in this
+earth a number of paint pots, and a tin tube of about 4 inches long
+containing these two letters, and a third one. Two are still preserved
+between sheets of glass at Città, and the third is in the gallery at
+Perugia, and my friend, Signor Andrea Ceccheti of Città della Pieve,
+has, by permission of the authorities of Città and of Perugia,
+photographed the three letters, so that I am able to present them in
+this book. Two are reproduced for the first time, the third was in
+Mezzanotte's scarce volume. The fresco covers a wall space of about 22
+feet square. It is dated 1504.
+
+There is in the centre the usual late Perugino erection, under which the
+scene takes place, and away in the distance is the customary Umbrian
+landscape. The whole picture is suffused with a delicious, sunny light,
+and is very pleasing to behold. The fresco is a cherished possession of
+the city of Città, and its inhabitants are always glad for the great
+curtains to be drawn back that cover it, in order that they may feast
+their eyes upon the picture. I cannot, however, refrain from mentioning
+how touched I was by the exquisite and genuine courtesy of the people of
+this city, so characteristic as it was of the Italian country-folk. The
+little crowd that followed me into the oratory seemed to acknowledge
+possession on my part in the picture for the time being, and begged my
+permission, with many apologies, that they might look at the fresco
+which I had paid to have uncovered. They eagerly took me through their
+town, and pointed out every treasure that they possessed, giving up
+gladly to me a considerable portion of their day, and only too anxious
+that I should join with them in admiring the work of their great artist.
+
+To understand the hill towns of Umbria, and to see them in all their
+peaceful, sunny slumber, a visit must be paid to Città della Pieve.
+Perugino's works find a more fitting resting-place in his old birthplace
+than in any place that I know. The town is solemnly quiet and strangely
+beautiful. It is like a petrified city, suddenly stopped in its growth,
+left high and dry by the moving waters of civilisation. It is untouched
+and unspoiled, and the visitor to-day finds the town very much as it was
+when Perugino left it. It is a city of peace, and the peace glows on the
+faces of the people. They are the kindest and most courteous of people;
+many of them look as though they had stepped from the master's pictures:
+they stand in quiet, meditative postures, and in church kneel in solemn
+ecstacies of prayer. They are purely a pastoral people, working hard in
+the day, coming quietly home at night, and full of tender devotion in
+their religion, of ardent faith, and of deep domestic love in their
+family circles. The very influence of Perugino's pictures seems still to
+dwell in this little Umbrian town.
+
+[Illustration:
+
+_Private photo_] [_Città della Pieve_
+
+THE ADORATION OF THE MAGI, 1504]
+
+Another little town is Panicale, and here, in the following year,
+Perugino painted a "San Sebastian." Lo Spagna, his pupil, is said to
+have lived in this town, and therefore, Crowe suggests, had a hand in
+the work; but the fresco is signed by Perugino, dated on the columns
+=A.D. MDV.=, and is thoroughly typical of Perugino's work in every way.
+There is no need to look for Lo Spagna's hand in the fresco, or to
+expect it; but it is, of course, quite possible that he assisted
+Perugino in painting it.
+
+This work is not a true fresco, but _a secco_--that is, it was painted
+on the dry wall.
+
+The church of San Agostino, in the same town, contains a fresco of the
+"Virgin and Child," and here the spectator will be safe in attributing
+the greater part of the work to Lo Spagna.
+
+It was in this year that Isabella d'Este Gonzaga, Duchess of Mantua,
+commissioned a picture for her boudoir in the Ducal Palace. She gave
+very definite instructions as to its subject, writing to the artist in
+the following words: "My poetical idea, which I desire you should paint,
+is a battle of Chastity against Love--that is, Pallas and Diana fighting
+against Venus and Love. Pallas must have almost conquered Love; after
+breaking to pieces the gold arrow and silver quiver that she has cast
+down before her feet, she holds him with one hand by the bandage that
+the blind one wears over his eyes, and she raises her other hand to
+strike him. Between Diana and Venus victory must seem to be doubtful;
+Venus shall be injured in some part of her dress only; as to Diana, her
+clothes shall be set on fire by the torch of Venus, but the bodies of
+the two goddesses shall suffer no wound."
+
+In June 1505, Perugino wrote to the Duchess from Florence, having come
+there from Panicale, explaining that he had executed her commission in
+tempera, as he had deemed that to be the best medium in which to depict
+the scene. He received eighty ducats for the picture, and it remained in
+the Palace at Mantua La Gloriosa until the time of the plunder in 1630,
+when it was removed to the castle of Richelieu, where it remained down
+to the time of the Revolution, and it now hangs in the Louvre. The
+master was evidently in this picture "cribb'd and confined" by the terms
+of his commission. His genius was not allowed its own proper
+development, and he was bound down to certain scenes, which his patron
+had indicated so precisely. The consequence is, that there is no heart
+in the picture. It is pleasing in a superficial way; the landscape and
+the trees are delightful, although the latter are lacking in proportion;
+but the composition is far too crowded, weak in drawing, and careless in
+execution.
+
+There is a real sense of movement in it, and its colouring is pleasant;
+but the closer the picture is scrutinised the less it will be liked; and
+faults in drawing abound on all hands. Most noticeable of all, perhaps,
+is the carelessness shown in the sizes of the figures. They are of all
+heights, some gigantic, and out of all proportion, others far too small
+and grotesque in shape, and others again, in the middle distance, far
+too gigantic for their position. There is a skilful bit of movement in
+the figure of Mercury in the sky, and there is some shrewd originality
+in the various fables represented in the background; but the picture is
+far from satisfactory, and not worthy of the master.
+
+[Illustration:
+
+_Brogi photo_] [_Accademia, Florence_
+
+THE DEPOSITION
+
+(Filippino Lippi and Perugino)]
+
+A fortnight after he had written to the Duchess he met Lorenzo di Credi
+at the Duomo in Florence, 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 Zenobius.
+
+Twice during the master's life was he called upon to complete another
+man's work, once at S. Severo toward the end of his life, as will be
+seen later on, and in the year now under consideration for the church of
+Santissima Annunziata.
+
+An important "Descent from the Cross" had been commissioned by one
+Jacopo Federighi, a Knight of Malta, for the brethren of SS. Annunziata
+de Servi, and the instruction given to Filippino Lippi. In 1503 he
+commenced the work, but in 1505 he died, leaving it half finished, and
+the monks called in Perugino to complete it, giving him also a
+commission to paint an "Assumption" of the same size for the reverse of
+the altar-piece. The first commission he executed well, the second so
+carelessly that Vasari states that the monks gave the place of honour to
+the picture begun by Filippino Lippi. Of this picture, now in the
+Accademia, Lippi did the upper part, Perugino the lower, and it is right
+to add that he so well blended his work with the work of Lippi that the
+picture is harmonious and delightful.
+
+The swooning of The Virgin on the left is not well drawn or pleasingly
+represented, but the faces are good. The kneeling Magdalen is almost
+dramatic, while the action of Joseph who is supporting the dead Body as
+it is removed from the Cross is excellent. Faces, feet, and hands are
+all good in this picture, those of the two men especially, and in the
+completion Perugino evidently did his utmost, and succeeded. The
+"Assumption" is, however, far different. Vasari expressly records the
+story that "when the picture was first uncovered, all the new artists
+censured it greatly, principally because Pietro had again adopted the
+same figures that had been previously painted in other of his works, for
+which his friends reproached him not a little, declaring that he had
+taken no pains." Pietro's reply was: "I have painted in this work the
+figures that you formerly commended, and which then pleased you greatly;
+if they now displease you and you no longer extol them, what can I do?"
+
+Our artist was, however, only begging the question. His habit of
+repetition must by that time have been well known and understood. We
+have already seen how the same figure appears again and again, in
+somewhat different pose in his pictures, and the fault is a common one,
+especially in the Umbrian school; but at least the pictures are
+different in other respects, in arrangement, in grouping, in
+composition. Here, however, the case is altered. The resemblance between
+this "Assumption" and the "Ascension" at Lyons, the "Ascension" at Borgo
+and the "Coronation" at Perugia, is so close as to show that the artist
+had hardly troubled to make any change. The groups of angel musicians
+around the mandorla in the "Assumption" and two "Ascensions" are
+practically identical. The flying angels and cherubs below are also
+alike, and the changes made in the group of apostles on the ground are
+but slight. The Virgin who stands beneath the Christ in the "Ascension"
+is replaced in the "Assumption" by St. Thomas, who stands in the
+identical pose.
+
+The empty tomb is, of course, introduced; the mandorla is composed of
+rays instead of cherubs, and the emblems of St. Peter and St. Paul are
+omitted; but in general effect the pictures are the same, and the group
+in the "Coronation" at Perugia, attributed in the catalogue to Perugino,
+closely resembles the group in the other three pictures. When to all
+this is added the fact that the "Assumption" is painted in a slovenly
+way, the landscape hardly more than suggested, the clouds streaky and
+wooden, and the draperies formal and stiff, it will be seen that the
+complaint made by both monks and artists was a well-founded one. The
+picture is certainly charming in general effect and colouring,
+especially in its present high position over a side altar; but it will
+not bear inspection, and is no credit to the artist.
+
+He was, however, becoming careless and indifferent to his work, and,
+growing old, was more sensitive to the remarks of the younger and more
+popular men. The satirical verses that this latest picture evoked, and
+the complaints of his patrons and friends, were a cause of constant
+irritation to him; and although, as Morelli records, he had taken a
+house, and purchased in this very church, the SS. Annunziata, a
+burial-place for himself and his descendants, he turned his back upon
+Florence, and retired in great indignation to Perugia. His name appears
+no longer on the rolls of the painters' guild in Florence, but in 1506
+is again recorded on the similar rolls of Perugia.
+
+A curious feature about this incident is that in the Uffizi appear
+several drawings and studies which, it is said, were prepared for this
+very picture. If it were so, it would imply that Perugino took great
+pains in the preparation of the picture, and made elaborate studies for
+it. At the first glance a drawing of five apostles, which is the most
+important of these studies, might readily bear the name attributed to
+it, but on very close scrutiny, it will be found that it does not
+exactly or even closely resemble any group in the Annunziata picture,
+nor in the "Ascensions" at Lyons or Borgo San Sepolcro, nor the
+"Coronation of Our Lady" at Perugia. It much more closely resembles, and
+is in parts identical with Perugino's later work at Rome, in the Camera
+dell' Incendio, and it is for this work that I believe the studies were
+prepared, which the Uffizi catalogues to the Annunziata picture.
+
+
+
+
+CHAPTER IX
+
+AGE, INFIRMITY, DIGNITY, AND DEATH
+
+
+Arrived in Perugia, Pietro's first work, as we are told by Mariotti and
+Orsini, was to collect certain sums of money due to him for pictures he
+had painted. From the town authorities for the "Cambio" he drew 350
+ducats. From Città della Pieve he claimed twenty-five florins, but
+accepted, on March 29th, 1507, a house from the municipality in
+settlement of his claim. To the town of Panicale he wrote for payment of
+the balance due to him for the "San Sebastian," but in his letter made a
+generous offer to the authorities. Two years before, says Mariotti, he
+had lent fourteen painted banners to Panicale for a Corpus Christi
+procession, and he now wrote that the town might, if it desired so to
+do, keep the banners as a gift from him, but that if that was done he
+considered he ought to be paid the balance of the eleven florins that
+was still due to him. The Priori accepted his kindly offer, and on
+September 1st, 1507, sent him the eleven florins, for which he gave them
+a receipt, and they accepted his gift of the banners.
+
+An interesting commission reached him in Perugia in 1507. The executors
+of one, Giovanni Schiavone, a master carpenter, commissioned an
+altar-piece for Sta. Maria Nuova de Servi, and this commission Perugino
+executed with great care.
+
+The picture, which now hangs in the National Gallery, is a remarkable
+one in many ways. The painter was over sixty years old; he had just
+finished a very poor and slovenly work. He was, a little later, to
+execute some works even more strange in their stiffness, formality, and
+want of accurate drawing, but in this picture much of his old fire is to
+be seen. The colouring is notable, as the picture is full of that living
+golden haze or glow which marks his finest works, and is so typical of
+them. It has caught and imprisoned the sunshine, and is forever
+brightening the room in which it hangs. The composition, too, is
+original; the two angels in the air do not appear in other pictures. As
+far as I know never did Perugino, save in this picture, represent the
+Madonna being crowned by angels, nor did his angels bear palms. In the
+figure of St. Francis he does not follow his usual type or pose, and the
+divine Child possesses far more vigour of life, and is far better drawn
+and proportioned than is generally the case. Is it possible that the
+master's old studies and cartoons were still in Florence or _en route_
+for Perugia, and that in their absence he was compelled to design a work
+of unusual character, and on original lines?
+
+The Schiavone picture completed, Perugino left for Foligno, where a
+"Baptism of Christ" had been commissioned for the church of SS.
+Annunziata. It was commissioned by one Giovanni Batista, whose name
+appears upon it, and who was probably Giambattista Caporali of Perugia,
+but the church is now disused and neglected, and the fresco is in very
+damaged condition.
+
+[Illustration:
+
+_Hanfstaengl photo_] [_National Gallery, London_
+
+THE SCHIAVONE ALTAR-PIECE, 1507]
+
+While at Foligno, Perugino received orders to come to Rome. Pope
+Julius II. desired him to decorate some ceilings in the Vatican, but it
+is not very clear what the instructions really were. One ceiling we know
+he decorated, that in the Camera dell' Incendio, because when Raphael
+completed the decoration of the series of rooms he spared this ceiling
+out of respect to his old master. The Holy Father, prior to Raphael's
+arrival in Rome in 1508, had been employing the chief well-known artists
+of the day in his schemes; Piero della Francesca, Bramantino, Sodoma,
+Luca Signorelli, and others had received commissions. Raphael, who, then
+only in his twenty-fifth year, was heard of through Bramante, was
+summoned to Rome to assist the others, but his work so delighted the
+Pope that the other artists were dismissed, and Raphael was ordered to
+destroy their frescoes and to replace them with his own. One, however,
+of Perugino's ceilings Raphael spared as just recorded.
+
+This ceiling decoration consists of three tondi within borders and
+decoration of flowing arabesque design, and both composition and figures
+are marked by the master's early methods, and do not reveal the power of
+his more mature work. Their composition is more crowded than was
+Perugino's wont, but the exquisite beauty of the figures is
+unmistakable, 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
+stanze.
+
+Two at least of the Uffizi drawings were prepared, I believe, for this
+ceiling. What else Perugino did in Rome on this his second visit, or how
+long he stayed, is not known. We are, however, told that he lodged in
+the Palazzo San Clemento, that he met Luca Signorelli and Pinturicchio,
+and that they dined together at Bramante's house, and the scene is
+described by Giambattista Caporali in his comments on Vitruvius.
+Perugino at this time introduced his pupil Caporali to the artists in
+Rome.
+
+Crowe thinks that from Rome Perugino went to Assisi, where, at the
+church of Santa Maria degli Angeli, on the rear wall of the portiuncula,
+facing east, he painted a fine "Crucifixion."
+
+Few events in his life show the very high reputation enjoyed by the
+master more clearly than is shown by this commission. To be called in to
+decorate the very wall of the sacred little house that in the sixth
+century had sheltered St. Benedict and in the thirteenth century St.
+Francis, and which even at that period had become one of the great
+shrines of Christendom, was honour indeed. The "Crucifixion" somewhat
+closely resembled the one in the Accademia painted for the monastery of
+St. Jerome, but hardly anything of the artist's work now remains. The
+upper part of the fresco was destroyed in 1700 during the demolition of
+the old choir to make way for the present building, and the lower part
+which remains was entirely restored by Castellani in 1830. From Assisi
+Perugino went to Siena and painted a picture for the Vieri family for
+the church of San Francesco which was completed September 5th, 1510,[N]
+and which was burnt in 1655. One fragment only remains of this picture,
+a face of very considerable beauty, which belongs now to Miss Hertz,
+and is in her home in Rome.
+
+[Illustration:
+
+_Alinari photo_] [_St. Augustine's, Siena_
+
+THE CRUCIFIXION, 1510]
+
+In Siena, also, Perugino painted a "Crucifixion" for the Chigi altar in
+San Agostino, for which he was paid 200 ducats. This is still in
+existence, but is a stiff and formal piece, especially if compared with
+his earlier renderings of the same dread scene. Two features distinguish
+it from other crucifixions. The pelican in its piety with its three
+young in their nest surmounts the Cross, a piece of symbolism used
+nowhere else by the artist, and the floating angels carry with them
+double twisted ribbons instead of a single one. Orsini, at this stage,
+says that Perugino went to Florence, but he was soon back in Perugia
+(1512), where he purchased two farms and a house.
+
+Mariotti records the transaction. The total sum was 1600 florins, but
+Perugino could not pay the entire sum at once, and paid down a deposit
+and gave over a house in Porta Santa Anna which he had received in
+payment for a picture, and promised to pay other sums at fixed times
+till he had cleared off the amount.
+
+In this same year we find the wandering artist at the little hill town
+of Bettona, so difficult of access, and situate near to Assisi, and the
+pictures which remain in proof of his visit are extraordinary and
+remarkable ones.
+
+The chief one is a votive picture commissioned by one Boto da Maraglia
+who had been taken prisoner by the French but released. The picture
+represents a gigantic figure of St. Anthony, calm and almost
+expressionless, and then a curious dwarfish figure of Boto, kneeling at
+his feet, in full armour, gazing up into the face of his patron saint
+to whom he renders his thanks. The other one is a Madonna, who is also
+of abnormal size, gathering under her ample cloak kneeling figures of
+San Manno and San Girolamo, together with much smaller figures of the
+man and his wife who commissioned the picture. These pictures are in
+very bad condition, but distinctly interesting, as they differ so much
+from Perugino's ordinary work. Still journeying around Perugia, we find
+our artist visiting in 1512 and in 1513 his native town of Città della
+Pieve.[O] How long he stayed there is not clear, nor whether he went
+again and again to the town or remained there for a year or two. There
+are two pictures at Città dated 1513, another done in 1514, and a fourth
+in 1517, and a fifth without date. The "Virgin and Child with four
+saints," St. Protasius, St. Peter, St. Paul, and St. Gervasius, painted
+for the cathedral of St. Gervasius, is marked by that formal, and,
+although sweet, yet sickly sentimentality that distinguished much of
+Perugino's later work. It is terribly formal and stiff, and only
+detached parts of it, such as the faces of Our Lady, the Child, and St.
+Peter, are really beautiful.
+
+It was ordered by the Prior, and is signed and dated. The other one in
+the Duomo, bearing the same date, is of the "Virgin and Child with four
+saints," and then in a chapel is one of the "Baptism," which clearly
+belongs to the same period and is as formal and superficial as the other
+two.
+
+In the church of St. Peter, over the altar, is the picture which was
+painted in the following year, and is in far better condition than are
+the other three, and distinguished by a grace that is absent from the
+others. The face of St. Anthony is benevolent and expressive, but little
+more can be said in favour of this picture. There is, however, some
+strength and some tenderness in what remains of the ruined fresco in the
+church of St. Servi. Nearly all the fresco is gone. Part has been cut
+away to make a door, part has faded, part has crumbled away, part has
+been picked off the wall, but what remains is wonderfully beautiful. It
+is but a fragment, a ruined, faded bit, but it differs entirely from
+every other "Crucifixion" that Perugino ever painted and is full of
+graceful figures. The chief part that is left is the group of the holy
+women assisting the Virgin as she sinks to the earth in a swoon, and it
+is worth all the journey to Città to see this group. There is life and
+vigour here, this is real anguish of spirit and bitter grief depicted in
+the faces, and we do not in the least wonder that not only M.
+Broussolle, but Mrs. Vaughan and Miss Duff Gordon, who are amongst the
+few who have penetrated to this remote town and absorbed its spirit and
+its beauty, speak in words of reverence of the pathos of this scene.
+
+In all his life Perugino never painted anything more tender and sweet
+than he did at St. Servi in his old home, and the fragment that remains
+should be guarded with infinite care, for, damaged as it is, it is most
+precious.
+
+One work only remains that can be definitely attributed to the next
+year, 1518, and then for two years we know nothing of Perugino, although
+we are able to surmise as to the work that engaged his time. The 1518
+picture was painted in Perugia for the great church of San Francesco al
+Prato. It represents San Sebastian bound to a column and attacked by
+archers, and is signed and dated. During the next two years, it may well
+be imagined that Perugino was hard at work at the great altar-piece for
+St. Agostino, which had been ordered before 1512.
+
+One of the most puzzling questions which arises in a book about Perugino
+is how this ancona is to be reconstructed. It is scattered far and wide
+over Europe, and only important parts of it are now in Perugia.
+
+One altar-piece, which is stated to have come from San Agostino, must
+have, I think, belonged to another altar and had nothing to do with that
+double ancona. It represents the Madonna with St. Nicolas, St. Bernard,
+St. Jerome, and St. Sebastian, and had the space below left for the
+tabernacle, the mark of which can still be seen.
+
+[Illustration:
+
+_Private photo_] [_Grenoble Gallery_
+
+ST. SEBASTIAN AND ST. APOLLONIA
+
+(_From the S. Agostino (Perugia) altar-piece_)]
+
+Perhaps to this same period belongs the fantastic "St. John Baptist,
+with St. Anthony of Padua, St. Sebastian, St. Jerome, and St. Francis,"
+painted for San Francesco al Prato. The St. Sebastian here has
+degenerated into a girlish fop, with elaborate head-dress and boots, and
+although the faces of the other three saints are pleasing and
+thoughtful, yet the picture is terribly degenerate, and the landscape in
+the rear hardly exists at all. The same faults are to be found in the
+typical late pictures to be found at Spello, in the church of Sta.
+Maria Maggiore. They are both signed and dated, and belong to 1521, and
+can only be admired for their colour and for the knowledge that even
+they reveal of the possibilities of space.
+
+[Illustration:
+
+_Anderson photo_] [_San Severo, Perugia_
+
+THE HOLY TRINITY AND VARIOUS SAINTS
+
+(Raphael and Perugino), 1505 and 1521]
+
+The tale of the 1521 pictures is not yet, however, nearly complete, but
+in the works now coming under consideration an improvement will be
+perceptible.
+
+The six figures of St. Scholastica, St. Jerome, St. John, St. Gregory,
+St. Boniface, and St. Martha, which Perugino added in the church of San
+Severo, below the fresco painted by his great pupil in 1505, are
+dignified and impressive. They are far removed from the power of early
+work; there is a cumbersomeness about their draperies, and a sameness in
+pose and style, but the face of St. Boniface is lovely, and those of St.
+Jerome and St. John solemn and grand, while all the figures are
+well-proportioned, and stand well on their feet.
+
+It was a melancholy duty to complete the unfinished and early work of
+the great pupil who had so far surpassed his master, but evidently the
+old master did it as well as he could, lingered lovingly over its
+details, and proudly recorded his name upon his work. The whole fresco
+is of notable interest, as the combination of the works of master and
+pupil, with the inscriptions recording the names of the artists and of
+the patrons who employed them, is unique. Sixteen years had passed since
+the upper fresco was painted. Raphael had mounted on from glory to
+glory, leaving behind him all his contemporaries, and had been reckoned
+as the king of them now; and now, in the year after his death, his old
+master is called up to complete the work, and he gives to the
+commission the best abilities of a fading old age.
+
+Perhaps his neighbours commiserated too much with him, or taunted him
+with the decay of his powers. Whatever may have been the cause, it is
+quite clear that, rising superior to the quaintness, stiffness, and
+formality of Spello, Perugino suddenly wakened up into some old vigour,
+and much of the old spirit is to be seen in his last works.
+
+In the church of San Francesco at Montefalco is his Presepio, which it
+is absurd to give to Tiberio d' Assisi, Lo Spagna, or Manni. Works by
+all these men hang close by in the deserted church, which now forms a
+wonderful picture gallery, and the comparison can easily be made.
+
+There is a record of a visit from Perugino to the town _en route_ for
+Trevi in this very year, and with him came two at least of these pupils,
+but no pupil ever painted this Presepio, although it is most probable
+that the lunette above it is by Tiberio d' Assisi. The lower picture,
+however, glows with golden sunshine, and the landscape is full of
+beauty, and represents, as was so often the case, the view to be seen
+from the very walls of this wonderful old city. Some of the faces are
+formal, the draperies are coarse and stiff, and show signs of hurried
+work, but the sense of distance proclaims the author of the fresco, and
+the faces of St. Joseph and of the Virgin and the dainty decoration of
+the columns are with the landscape really good pieces of work, and a
+wonderful improvement upon the pictures at Spello, Bettona, or in the
+Duomo at Città della Pieve.
+
+[Illustration:
+
+_Alinari photo_] [_Sta. Maria, Trevi_
+
+THE ADORATION OF THE MAGI, 1521]
+
+Outside Montefalco is San Fortunato, where Tiberio d' Assisi painted the
+cloisters, and here probably Perugino stopped, and one figure in the
+ceiling is certainly his work, perhaps done to show Tiberio a suggestion
+as to the decoration, or put in at the pupil's own request. Then he
+journeyed on to Trevi, another delightful hill town, full of charm and
+beauty, and there, an old man of seventy-five, in the church of Sta.
+Maria della Lacrime, outside the town, he painted his "Adoration of the
+Magi." It is the old, old design. There is the wooden erection, the
+enthroned Madonna and Child, the kneeling Magi, the crowd of attendants.
+In the distance are the servants with horses and camels, and away beyond
+are the blue hills, the river, and the sky.
+
+Certainly it is degenerate work; but which of the men of his time could
+do such work? No one else could so present the continuous space of
+nature, the spaciousness and vastness of the distance, or bathe his
+pictures in the dreamy sunlight of summer. I lingered long before this
+fresco, loth to leave it, its tranquillity is so marked, its airiness is
+so impressive.
+
+It was while completing this picture that the message as to the San
+Agostino ancona reached Pietro. Back he came to Perugia in 1522, painted
+the "Transfiguration" for Sta. Maria Nuova, and its three predella
+panels now in the Perugia Gallery, and the frescoes in the Nunnery of S.
+Agnese (where he had relations), which I have not been able to see, as
+the Nunnery is now strictly cloistered.
+
+Three more frescoes only remain for mention. A harsh and hurried one in
+the cathedral of Perugia, in which the Magdalen's face is the redeeming
+feature, a faded but lovely "Nativity" in the Alfani Rooms (Room 13) in
+the Perugia Gallery, which is full of exquisite feeling and tender,
+reverent grace, and finally, the last and unfinished work which now
+hangs in the National Gallery. This is a huge fresco transferred to
+canvas, and measures 19 ft. 6 in. long. It was executed at Fontignano in
+1523, and is said to have been the last work of the artist. The hand had
+not lost its cunning, and there is much of the early sweetness in this
+huge fresco. There is the charm of its faded blues and purples, the haze
+of its shimmering sunshine, and the tender reverence of the kneeling
+figures.
+
+There are just the same accessories as were adopted by Perugino in
+earlier "Adorations," very much the same grouping, and almost identical
+figures, and in these respects the two last pictures that the artist
+painted are almost copies, one of the other, differing only in
+proportions. The Perugia fresco is small, the London one very large; but
+both are really lovely compositions, full of mysterious charm, and it is
+pleasant to know that the artist's last works were not the queer, quaint
+ones of Spello and Bettona, but the wonderful, scenes of the
+"Adoration," painted with much of his old vigour and with all his
+earlier charm.
+
+Mariotti tells us that Perugino died at the Ospedale of Fontignano, and
+Orsini suggests that it was of plague. There were various traditions as
+to his burial; even in Mariotti's time, Vasari states, he was honourably
+buried at Città della Pieve, but there is absolutely nothing to support
+this statement. The artist was, according to local account hurriedly
+buried in a field, as at that time all town funerals were forbidden on
+account of the violence of the epidemic. In the following year, his
+sons, desirous of affording him an honourable burial, according to the
+rites of Holy Church, tried to make arrangement for the removal of the
+body.
+
+On December 30th, 1524, they entered into a contract with the monks of
+San Agostino, who were still in their father's debt 50 scudi, that they
+should remove his body from Fontignano and bury him in their church, and
+the sons agreed to pay for the Mass. Mariotti says that there was in his
+time no proof that that ever was done, but the very fact of the contract
+proves that nothing could be said to the discredit of Perugino's life or
+character, and refutes idle rumour as to his atheism.
+
+A spot was pointed to Mariotti half-a-mile from Fontignano as the place
+of Perugino's burial, but he records that, although nothing was found
+when this spot was examined, yet he could never find any proof that the
+devout wishes of the three sons, Giovanni Batista, Francesco, and Michel
+Angelo, were ever fulfilled. It is most probable that owing to the
+plague and to the war, which at the time were raging in Perugia, the
+removal of Perugino's body was delayed, and so eventually quite
+forgotten. No man, therefore, knows where the great artist was buried,
+and the burial-place he bought at SS. Annunziata in Florence, was
+unoccupied. Mariotti states that his only descendant was a grandson, one
+John Battista Vannucci, whose name appeared as a scholar in the
+University of Città della Pieve. It is, therefore, quite possible that
+the plague carried off not only the artist, but shortly afterwards his
+three sons also. Pietro's wife was one Chiare Fancelli, a very beautiful
+girl, whom he married, 1st September 1493, in the Canonica in Perugia.
+She was the daughter of Luca, an architect and surveyor in the service
+of the Marquis of Mantua. Tradition states that she was the model for
+the angel with Tobias in the National Gallery. She brought him a dowry
+of 500 gold ducats, and had in all seven children; and Vasari states
+that Pietro was exceeding fond of her, and so proud of her beauty that
+he loved to give her beautiful jewels and costly dresses, and to adorn
+her with his own hands. After his death she wrote in 1524 to the
+Marchioness of Mantua offering her a picture by her husband (not now
+known) of "Mars and Venus discovered together by Vulcan," which was for
+sale. This information Braghirolli discovered. She was still living in
+1540.
+
+Of Perugino's scholars who so closely followed their master, it will
+suffice just to mention Lo Spagna, Eusebio di San Giorgio, Giovanni
+Batta Caporali, Tiberio d'Assisi, Giannicola Manni, Rocco Zoppo, Baccio
+Ubertini, but the glory of Raphael has overshadowed them all.
+
+It may be well finally to review briefly the characteristics of the
+artist, and of his work. Perugino appears to have been a man of great
+determination, Lupatelli says of iron will. He had known poverty in his
+early days, and had faced it. He was determined to push his way and make
+a living, and, if possible, a great name; and he succeeded in his
+purpose. Brunamonti speaks several times of his desire to go ahead, and
+it is quite clear that he was ambitious and energetic, and hence his
+success. There is no proof whatever that he was irreligious, or, as
+Vasari implies, atheistic, but his face betokens a mind that would not
+ordinarily be satisfied without argument and examination, and it was
+perhaps his controversial habits that obtained for him the character
+that Vasari has recorded. His employment by the Church, not only by the
+Chief Pontiff but by numerous dignitaries and by many religious orders,
+and the arrangement just mentioned and entered into by his sons as to
+his burial, sufficiently refute Vasari's statements; but beyond this, it
+is inconceivable that such pictures as the Pazzi "Crucifixion," the San
+Severo "Deposition," the Vallambrosan "Assumption," to name but three
+typical ones, could be painted by an irreligious man. I am disposed to
+consider his portraits as his finest works, and to me the portraits of
+the two monks of Vallombrosa reveal him as a great master, very skilful,
+and possessed of wonderful power.
+
+His more popular compositions are many of them of striking beauty,
+especially in the delineation of faces, in the landscape, and in the
+colouring, and, above all, in that wondrous genius for representing open
+limitless space to which attention was given in Chapter I. Perugino is
+never dramatic, he is always lyric, and the poetical charm of the
+Umbrian school is at its very zenith in his hands. He is not passionate,
+as is Botticelli, nor strong, moving, and forceful as is Signorelli.
+
+The delights of movement, the extremes of rage or desire, did not appeal
+to him. He was not as diversified as was Lippi; he never reached the
+stolid impressiveness of Ghirlandajo, nor the ecstatic devotion of Fra
+Angelico. He was not so purely illustrative as was Pinturicchio, but
+very far exceeded him both in genius and in power. The emotions of
+pathos were not beyond his reach, the stateliness of dignity he could
+represent if he desired, but his charm is in the calm quiet of his
+pictures, in their tender reverence and exquisite sweetness, in their
+poetry rather than in their power. His creations are dreamy and
+contemplative, full of faith, hope, and expectation, and they embody and
+express the reality of a spiritual world of serene peace and
+satisfaction which, in its contrast to the world around us, speaks of
+the revelation of a faith that is true. His execution is masterly, his
+colouring mystic and glorious, his compositions are complete and united,
+his sense of decoration is excellent. He was himself sincere in his
+work, and his pictures therefore embody this sincerity, and their
+teaching is to lift the soul from sordid thoughts, and to raise it to
+Heaven itself.
+
+
+FOOTNOTES:
+
+[N] In this same year 1510, Perugino painted a "Virgin and Child between
+St. Peter and St. Paul," for Agostino Spinola of Savona, Bishop of
+Perugia.
+
+[O] A letter dated 30th March 1512, and written from Città della Pieve,
+already mentioned, is in existence, and proves not only his presence in
+the town in that year but that the St. Agostino altar-piece was at that
+time in hand, although not finished till 1521.
+
+
+
+
+CHAPTER X
+
+SAINT SEBASTIAN
+
+
+There is a tradition in Umbria that upon two occasions Perugino painted
+miniatures on vellum, and that these works formed pages in two missals
+or Books of Hours. Several times the story was repeated to me, in
+Florence, in Perugia, and in other places, and it appears that at one
+time manuscript evidence of the fact existed in Rome, and may still
+exist. Of one of these pages I can give no information, as the most
+diligent inquiry has failed to identify it; but the other one, the
+earlier of the two, according to the Roman story, is now in England.
+
+Its history is decidedly a romantic one. The volume to which it belongs
+was once in the possession of Cardinal Giovanni Girolamo Albani, and
+from him was called the Albani manuscript. He died in 1591, and the
+manuscript, which tradition says at one time came into the hands of
+Clement XI., passed on down to the possession of another Cardinal
+Albani, Giovanni Francesco, at whose death in 1809 it was sold. A small
+dealer in curiosities obtained it, and Mr. Denistoune, the great
+collector, saw it in his shop near the Ghetto in Rome, and bought it for
+22 scudi, about £5 sterling. Mr. Denistoune brought the book to England,
+and offered it, so the family story goes, to the British Museum for
+£250, but failed to persuade the trustees to purchase it; and so ten
+years afterwards when he returned to Rome he took the manuscript with
+him.
+
+Gregory XVI. had by this time died, and the carelessness which existed
+in his time as to the purchase of art treasures in Rome had become a
+thing of the past. The new Pontiff, Pius IX., was much more particular,
+and he was ably seconded by Count Rossi in his endeavour to retain in
+the Eternal City its chief artistic treasures. Count Rossi heard of the
+Albani book, and Mr. Denistoune, alarmed for the safety of his treasure,
+wrapped it up in paper, addressed it to his bankers in London, and,
+explaining that it was his bank pass-book, gave it over to a lady friend
+who was leaving for England, to convey to London.
+
+Within three or four days of the lady's departure, the agents of the
+Vatican called on Mr. Denistoune to demand the surrender of the treasure
+which had, they declared, been stolen from the Library in the Vatican of
+Clement XI. Mr. Denistoune declared he had not got the book they wanted
+and gave them permission to search his house. 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 removed, and, not finding it there,
+they searched the house from top to bottom.
+
+A charge of theft was then formulated against Mr. Denistoune, and he was
+taken off to the Castle of St. Angelo, and there confined. Mr.
+Denistoune, however, at once appealed to the English consular
+authorities, who quickly gave the police to understand that they had
+exceeded their powers, and, after two days' imprisonment, Mr. Denistoune
+was liberated, and at once left for England. The late Earl of Ashburnham
+then heard of the book, and tried hard to get its owner to sell it to
+him. At last, in an unguarded moment, Mr. Denistoune cheerily said that
+years before he had offered it to the British museum for £250, and he
+should not be content with less than three times that price now. Lord
+Ashburnham jumped at the figures, produced a bundle of notes, and in a
+few moments obtained the coveted treasure for £750. Until a year or two
+ago, the little volume rested at Ashburnham Place, but it was privately
+sold quite recently, together with several other fine manuscripts, to
+Mr. Henry Yates Thompson. It is now in his famous and most wonderful
+collection, and it is to his kindness that I owe the privilege of
+handling and describing the book. The story has been pieced together
+from several narratives told me in Italy.
+
+There are four splendid illuminated pages in the volume, each by a
+different hand, and each page the work of some great artist at his very
+best. There are also borders and other illuminations, which are probably
+the work of yet a fifth miniaturist.
+
+The Perugino page is signed:
+
+    PETRVS PRVSINVS PINXIT,
+
+and represents Saint Sebastian fastened to an upright pillar of wood,
+and being shot at by two archers.
+
+These archers are gaily dressed: one, wearing a cap, has long red
+stockings, brown shoes, and a blue vest and a brown drapery around his
+waist; the other, who is bareheaded, has blue stockings, yellow boots,
+a red vest, and green drapery around his waist.
+
+Above, in the air, are two angels, one of whom is turning towards the
+martyred saint. One angel has a drapery of puce, with green sleeves, and
+has yellow wings; the other wears orange, with red sleeves, and has
+green wings. The drapery around Saint Sebastian is puce colour. In the
+distance is a lovely typical Perugino landscape, extensive, and full of
+light and air; there are hills and rocks, trees and water, exquisitely
+painted, and revealing, in their wonderful effect of never-ending
+distance, the best work of the artist. The silhouetted effect of the
+trees is particularly characteristic. Above is the lofty dome of blue
+sky, bearing upon it the strange, frilled, fleecy clouds in which the
+artist so delighted, and illuminated by the glow of light that he was so
+easily able to produce.
+
+The work I attribute to the 1500-1523 period, as the puce colour, the
+colouring of the angels' wings, and the shape of the clouds, all are
+characteristics of that period, as well as the subject itself and its
+treatment.
+
+It is important to refer briefly to the way in which Perugino painted
+Sebastian. There are: 1. the Cerqueto fresco of 1478; 2. the Fiesole
+picture, now in the Uffizi, of 1493; 3. the Wantage figure, of about
+1498; 4. the Borghese picture, of about 1500; 5. the Panicale fresco, of
+1505; 6. the Perugia fresco, of 1518; 7. the manuscript in question; and
+the drawing of an archer at Christ Church, Oxford. (I leave out of this
+consideration the effeminate St. Sebastian, in the Perugia gallery, Sala
+XI., No. 16.)
+
+[Illustration:
+
+_Alinari photo_] [_Perugia Gallery_
+
+THE MARTYRDOM OF ST. SEBASTIAN, 1518]
+
+The Cerqueto one, and all the others save No. 2, represent St.
+Sebastian tied to a column of wood; but the Cerqueto fresco is far more
+robust in its delineation, more Signorellesque in its muscular power
+than any of the others. The bend of the neck and the upward gaze of the
+face are distinctive of all seven.
+
+The Uffizi picture alone (2), in which St. Sebastian is one of the two
+attendant saints, standing one on either side of the enthroned Madonna,
+represents the figure with his hands, as usual, bound behind him, but he
+is not bound to a column. In Nos. 2, 3, and 4 the saint stands on the
+ground; in the others, 1, 5, 6, and 7, the wooden post is elevated above
+the ground. The position of the feet differs in every case, but in each
+instance the face is upturned, the hands bound behind the back, the body
+nude, save for a loin-cloth, and the flesh pierced by arrows. In No. 7
+there is but one mark of an arrow to be noted. The page in question most
+closely resembles the Perugia picture, No. 6. This came from the church
+of San Francesco al Patro, and was painted in the year of a great
+visitation of plague, and the selection of the plague saint is thus
+accounted for. In this picture there are the two archers only (whereas
+at Panicale there are four), and there are the two angels, which in the
+Panicale fresco certainly appear, but are in attendance upon the Eternal
+Figure, whose representation appears in the lunette above. One angel in
+the Perugia picture (6) bears a crown. It is impossible to say what the
+other one carries, as the fresco is so damaged; but the colouring of
+these angels very closely resembles the gay colouring in the manuscript.
+The column was a very persistent type, as in structure the one painted
+in 1478 appears over and over again later on. The column in this
+manuscript very closely resembles the central limb of Perugino's crosses
+in his crucifixion scenes; and in this detail Lord Wantage's picture
+resembles most closely the manuscript; but the landscape, which is but
+slight and loose in this picture, is very fine in the manuscript and
+almost identical with the Città della Pieve landscape, and with the
+Bettona one, and closely resembles the repainted Borghese picture (4),
+which has also the frilled clouds that are so distinctive in the
+manuscript.
+
+Mr. Thompson's manuscript is in perfect order, and is a most beautiful
+work. I have no hesitation in accepting it as a genuine work of
+Perugino, and the very folds of the drapery, when compared with the same
+arrangement in other pictures, will be found to ratify the attribution.
+
+Comparison with the Perugia fresco (6), will give the probable date of
+the manuscript, and will afford a striking example of the readiness with
+which Perugino used over and over again the same theme, treated in the
+same manner, varying each representation in some slight, characteristic
+way, and yet preserving the same general effect which had pleased him so
+much in days gone by.
+
+
+
+
+CATALOGUE OF THE WORKS OF PERUGINO
+
+
+AUSTRIA-HUNGARY.
+
+
+VIENNA, PICTURE GALLERY.
+
+=The Baptism of Christ.= Panel. 0·29 × 0·22 = 11 in. × 8 in. [24.]
+
+    St. John Baptist is pouring water from a shell upon the head of Our
+    Lord, who stands with His feet in the river Jordan. Near by are two
+    kneeling figures.
+
+    This closely resembles the same scene in the cathedral at Città
+    della Pieve, and is probably a copy.
+
+    _From the collection of the Archduke Sigismond at Innsbruck._
+
+=St. Jerome.= Panel. 0·30 × 0·23 = 1 ft. × 9 in. [25.]
+
+    The saint is kneeling before a crucifix. In his right hand he holds
+    a stone, by his side is the lion, and on the ground a cardinal's
+    hat.
+
+    _From the same collection._
+
+=Madonna and Child.= 1·86 × 1·44 = 6 ft. 2 in. × 4 ft. 9 in. On paper.
+[27.]
+
+    The Madonna is on a throne holding the divine Child on her knees. On
+    the right stand St. Jerome and St. Peter, and on the left St. John
+    the Baptist and St. Paul.
+
+    On the throne is inscribed: =PRESBITER JOHANNES CHRISTOFERI
+    DETERRENO FIERI FECIT MCCCCLXXXXIII.=
+
+    _Purchased in 1796._
+
+=Madonna and Child.= 0·85 × 0·62 = 2 ft. 10 in. × 2 ft. [32.]
+
+    The divine Child, who is on the Virgin's knees, is in the act of
+    imparting a benediction. Behind the Madonna are two female saints.
+
+    The picture is signed: =PETRVS PERVSINVS PINXIT.=
+
+
+LICHTENSTEIN GALLERY.
+
+=Nativity.=
+
+    A Tondo of the Virgin kneeling before the divine Child, who is
+    seated upon a sack and supported by an angel. Signed: =PETRVS
+    PERVSINVS P.=
+
+    This closely resembles the picture in the Pitti.
+
+
+BELGIUM.
+
+
+BRUSSELS, ROYAL PICTURE GALLERY.
+
+=Madonna, Christ and St. John.= Oval, 0·69 × 0·60 = 2 ft. 3 in. × 2 ft.
+[477.]
+
+    The Virgin is seated upon a stone bench and holds on her knees the
+    infant Christ, who is turning toward St. John.
+
+    _This picture was at one time in the collection of the Princes of
+    Conti in Florence. It was sold in 1850 to M. P. Vellati of Rome, and
+    from him purchased with two pictures by Crivelli for the Gallery in
+    1862._
+
+
+BRITISH ISLES.
+
+
+LONDON, NATIONAL GALLERY.
+
+=Virgin and Child and St. John.= Panel. 2 ft. 2 in. × 1 ft. 5 in. [181.]
+
+    The divine Child stands erect on a stone balustrade supported by the
+    hands of the Madonna, who is by =His= side, and playing with a lock
+    of her hair. St. John stands on the ground and has clasped hands and
+    gazes in adoration at the Christ.
+
+    _This picture, which is painted in tempera, was obtained by the late
+    Mr. Beckford in Perugia, and purchased of him for the Gallery in
+    1841._
+
+    On the hem of the mantle of the Virgin is inscribed: =PETRVS
+    PERVGINVS.=
+
+=The Virgin adoring the Divine Child.= Panel; centre 2·1 × 4·2. Side
+panels, each 1·10 × 4·2. [288.]
+
+    The left panel is inscribed below: =PETRVS PERVSINVS PINXIT.=
+
+    These three panels were originally in the Certosa di Pavia.
+
+    _These three panels were purchased from the Certosa by one of the
+    Melzi family in 1786, and bought of Duke Melzi of Milan for the
+    Gallery in 1856._
+
+=The Virgin and Child and two Saints.= Panel. 6·0 x 4·11. [1075.]
+
+    This picture was ordered of Perugino by the testamentary executors
+    of Giovanni Schiavone, a master carpenter of Perugia, in 1507, and
+    was executed within that year, when it was placed over the altar of
+    their chapel in S. Maria Nuova (de' Servi) in an elaborate carved
+    but ungilt framework, said to be designed by Pietro himself. After
+    the demise of the executors and their heirs the chapel reverted to
+    the Frati Serviti, owners of the church, who subsequently sold the
+    chapel with its contents to the Cecconi family, at whose extinction
+    it was inherited by the family della Penna.
+
+    In 1822 Baron Fabrizio della Penna removed the picture to his palace
+    in Perugia, leaving the frame _in situ_, in which at the same time
+    was inserted a copy on canvas executed by a young Perugian painter,
+    Giuseppe Carattoli.
+
+    _The picture was purchased for the National Gallery from the Baron
+    della Penna in 1879._
+
+=The Baptism of Our Lord.= Panel, 1·0 × 1·11. [1431.]
+
+    St. John the Baptist in the centre of the picture is pouring water
+    from a cup on the head of the Saviour, who stands with His feet in
+    the river. Two angels kneel to the right and two to the left, and
+    behind them again stand four of the disciples, two on either side.
+
+    See Chapter I. as to this picture, which I cannot accept as a work
+    of Perugino. It is painted in oil upon an unprepared panel.
+
+    _Bought in Rome in 1894 for £400._
+
+=The Adoration of the Shepherds.= Fresco transferred to canvas. 8·2 x
+19·5. [1441.]
+
+    In the centre the infant Christ lies, supported by a cushion on a
+    purple drapery on the open ground. Behind is a shed surrounded by a
+    fence, within which cattle are lying. On the right and left kneel
+    the Holy Virgin and St. Joseph, and behind them the shepherds
+    approach with offerings. An angel is on either side in the sky.
+
+    This fresco was removed from the church at Fontignano in 1843, and
+    is said to be the last work of the painter.
+
+    _It was purchased by the South Kensington Museum in 1862 from Mr. W.
+    B. Spence of Florence, and is now lent to the National Gallery._
+
+
+BRITISH MUSEUM.
+
+=Study for the figures of Tobias and the Angel.= Brown and green.
+
+=Study for the Head of a bearded Saint or Prophet.= Black and white on
+brown.
+
+=Study for a Virgin and Child.=
+
+=Study for an angel playing on a Violin.=
+
+=Study of a Female Saint kneeling with clasped hands= (and draperies).
+
+    Her head-dress is twisted, and there is embroidery on her robe.
+    Brown heightened with white.
+
+=Study for an Adoration of the Magi.=
+
+=Study for a Pietà.=
+
+    There are two other drawings labelled Perugino which I cannot
+    accept, and one in the Malcolm collection which is of Perugino's
+    school.
+
+
+CHRIST CHURCH, OXFORD.
+
+A large finished pen drawing representing the =Deposition of Our Lord=,
+in the Pitti Gallery 164.
+
+=A Study of an Archer.=
+
+    A bistre pen drawing for the St. Sebastian at Panicale.
+
+=A Study for the Archangel and Tobias=, in the picture No. 288 in the
+National Gallery.
+
+
+WINDSOR CASTLE COLLECTION.
+
+=Study for a figure of the Sleeping Disciple=, in the Mount of Olives
+picture in the Accademia, Florence.
+
+    A pen drawing in bistre.
+
+=Study for the figures of two Sleeping Disciples= for the same picture.
+
+    A pen drawing in bistre.
+
+=Study of a Female Head.=
+
+    Bistre heightened with white.
+
+=Study for the Armour of the figure of St. Michael=, in the picture No.
+288 in the National Gallery.
+
+=Study of a Female Head.=
+
+    Attributed to Perugino.
+
+=Study for the Fresco= in the Sistine Chapel in the Vatican of the
+Delivery to St. Peter of the keys.
+
+
+=F. A. WHITE, Esq., QUEEN'S GATE, S.W.=
+
+=The Resurrection.= Panel. 10 × 17. Old Masters, 1892. No. 154.
+
+    Christ standing upon the open tomb bearing a banner in his left hand.
+    Around, four soldiers, three sleeping and the fourth moving away in an
+    attitude of surprise.
+
+    _From the Dudley Collection._
+
+
+CAPTAIN G. L. HOLFORD, C.I.E., DORCHESTER HOUSE.
+
+=Virgin and Child.= Panel. 19 × 13.
+
+    The Virgin is seated, having the divine Child, who is nude, erect
+    upon her knees.
+
+
+LORD WANTAGE, V.C.
+
+=St. Sebastian and St. Jerome.= Two Panels each. 17 × 7. Old Masters,
+1886. No. 197.
+
+    St. Sebastian is bound to a tree, and St. Jerome stands erect with a
+    stone in his hand, and behind him is a lion.
+
+    _From an altar-piece._
+
+
+=L. HARDY, Esq., M.P.=
+
+=Saint in Prayer.= Panel. 31 × 11.
+
+    Figure of a saint to the left with clasped hands.
+
+
+LORD ALDENHAM, ST DUNSTAN'S, REGENT'S PARK, N.W.
+
+=Virgin and Child.= Panel. 13 × 11. Old Masters, 1886. No. 176.
+
+    The Virgin is seated, and has the divine Child on her knees, and she
+    is holding His left hand.
+
+
+LORD BATTERSEA, SURREY HOUSE, MARBLE ARCH, W.
+
+=Head of a Saint.= Panel. 13 × 10.
+
+    Bust facing, black dress with gold edging.
+
+
+THE EARL OF DUDLEY'S COLLECTION.
+
+    There were exhibited at the Old Masters Exhibition in 1892, five
+    panels, each 10½ × 18, Nos. 146, 147, 148, 154, 155, representing
+    "The Nativity," "The Baptism," "Christ and the Woman of Samaria,"
+    "The Resurrection," and the "Noli me Tangere."
+
+    _Originally in the Barker collection, No. 154 now belongs to Mr. F.
+    A. White (_q.v._); the others have not been traced._
+
+
+=WILLIAM DRURY-LOWE, Esq., LOCKO PARK, DERBY.=
+
+=Virgin and Child with Saints.= Canvas. 47 × 45. Old Masters, 1893. No.
+164.
+
+    The Virgin is seated, with the divine Child, who is nude, erect on
+    her knees. His right hand is raised, and in his left is a globe.
+
+    On the left is St. Jerome reading a book, and behind him St. Nicolas
+    of Tolenteno. On the right, St. Catherine and a bishop in adoration.
+
+    This is now ascribed by Dr. Richter to Lo Spagna, one of Perugino's
+    pupils. The identical picture, executed in fresco, is to be found at
+    Spoleto, and is there considered to be Lo Spagna's masterpiece.
+
+    _The above easel replica came from the Palazzo Darino at Milan, and
+    was bought in 1852 from Sig. Giovanni Locarnos._
+
+
+PICTURES AT ONE TIME IN ENGLAND.
+
+    C. and C. describe a "Resurrection," in their time belonging to Lord
+    Taunton, and originally in Venice. Signed: =SEPVLCRVM CHRISTI PETRVS
+    PERVSINVS PINXIT=.
+
+    They also refer to a "Virgin and Child between St. Jerome and St.
+    Peter," once at Manchester, originally at Lucca, and latterly in the
+    Northwich collection.
+
+
+FRANCE.
+
+
+BORDEAUX, PICTURE GALLERY.
+
+=Virgin and Child enthroned with S. Jerome and four Angels=, from St.
+Agostino, Perugia.
+
+    This has never been photographed.
+
+
+CAEN, MUSEUM, HOTEL DE VILLE.
+
+=St. Jerome.= On Panel. 0·90 × 07·4 = 3 ft. × 2 ft. 5 in. [4.]
+
+    This is probably one of the figures of saints that surrounded the
+    great altar-piece at St. Agostino, in Perugia; others at Nantes,
+    Toulouse, Lyons, and Grenoble. Signed: =PETRVS PERVSINVS PINXIT=.
+
+    The saint is kneeling before a Cross, a lion is close by, and on a
+    tree in the centre of the picture is a large red hat.
+
+
+CHANTILLY.
+
+=Study for the Head of an Old Man with a beard and wearing a turban.=
+
+
+GRENOBLE, MUSEUM.
+
+=SS. Sebastian and Apollonia=, from the great altar-piece painted for
+St. Agostino, at Perugia.
+
+    _See Caen, Lyons, Nantes, and Toulouse for other panels._
+
+
+LILLE, PICTURE GALLERY.
+
+The Chevalier Wicar collection of Old Master drawings contains:
+
+=Drawing for the Adoration of the Magi=, from the picture in the Museum
+of Rouen. 0·207 × 0·283. [546.]
+
+    In silver paint on prepared paper.
+
+
+LYONS, PICTURE GALLERY, HOTEL DE VILLE.
+
+=The Ascension.=
+
+    It formed part of a large altar-piece painted in 1495 for S. Pietro
+    in Perugia. The lunette belonging to it is in St. Gervais, Paris,
+    the predella at Rouen; and of the pilaster panels three are at the
+    Vatican and five remain at S. Pietro.
+
+    The Eternal Father is above within a circular glory of rays issuing
+    from a cloud. Our Lord rises toward Him pointing upward with both
+    hands. There are angels playing on instruments on either side of
+    Christ, and below on the ground are the Madonna, St. Peter, St.
+    Paul, and the rest of the Apostles.
+
+    _Given to the town by the French Government and confirmed by Pius
+    VII. in 1816._
+
+=SS. Herculanus and James.=
+
+    Probably from St. Agostino, Perugia.
+
+    _See Caen, Nantes, and Grenoble for others._
+
+
+MARSEILLES, PICTURE GALLERY.
+
+=The Family of St. Anne, or the Infant Saviour with His five Cousins.=
+
+    The Madonna is enthroned, with the divine Child on her knees, and
+    St. Anne stands behind her and places her hands on the shoulders of
+    Our Lady. St. Simon and St. Thaddeus are on the steps of the throne
+    playing one with the other. To the right St. Mary Cleophas holds St.
+    James the Less in her arms, and St. Joseph has St. Joseph Justus
+    standing beside him and holding a stick. To the left is St. Mary
+    Salome with St. John in her arms. St. Joachim is behind her, and St.
+    James is standing near by. Each of the saints, including St. Anne
+    but excluding the Madonna and Child, bears its name in the halo
+    around the head. St. Joseph Justus is nude, as is also Our Lord, the
+    other five children have slight draperies about them. The throne is
+    inscribed: =PETRVS DE CHASTRO PLEBIS PINXIT=.
+
+    _An original drawing for this picture belongs to the Duke of
+    Northumberland, and is at Alnwick Castle._
+
+
+NANTES, PICTURE GALLERY.
+
+=Isaiah and Jeremiah.= Circular pictures. 1·27 diam. = 4 ft. 3 in. [202
+and 203.]
+
+    Each picture has an inscription on it. On Isaiah are the words
+    =ELEVATA E MAGNIFIC͞ETIA TVA SVP CELOS D͞S=; and on Jeremiah
+    =CŒLVM SEDES MEA, TERRA AVT͞E SCABELLV̄ PEDV̄ MEORVM=.
+
+    Probably from St. Agostino, Perugia.
+
+    _See Caen, Lyons, Toulouse, and Grenoble for others._
+
+=Adoration of Christ.= 1·6 × 1·18 = 5 ft. 4 in. × 3 ft. 11 in. [87.]
+
+    The Madonna and St. John with two angels are kneeling and adoring
+    the divine Child, who is on a pillow on the ground and has his hand
+    raised in benediction.
+
+    The signature is much damaged, and only reads: =PETRVS PERVSI[sN]
+    PINXIT=.
+
+    _From the gallery of the Count de Brissac, and given to the Gallery
+    of Nantes by the State in 1803._
+
+
+PARIS, THE LOUVRE.
+
+=Virgin and Child.= Panel, circular. 1·51 diam. = 5 ft. [1564.]
+
+    The Madonna is seated on a throne and has the divine Child on her
+    knees. St. Rosa is on her left, St. Catherine on her right. Behind
+    are two angels, with clasped hands in adoration. The dress of the
+    Virgin is cut square at the neck and fastened with a beautiful
+    brooch. The usual Umbrian landscape is in the background with
+    clearly defined trees.
+
+    _Once in the Collection Lapeyrière and then passed to the King of
+    Holland, from whom in 1850 it was bought for 53,302 francs._
+
+=The Holy Family.= 0·80 × 0·66 = 2 ft. 8 × 2 ft. 2 in. [1565.]
+
+    The Virgin is seated, and holds the divine Child, who is in the act
+    of benediction, in her arms. On one side of The Virgin is St.
+    Joseph, and on the other St. Catherine of Alexandria. The faces of
+    the Virgin and St. Catherine closely resemble one another. St.
+    Catherine's name is inscribed on her dress, and the picture is
+    signed: =PETRVS PERVSINVS PINXIT=.
+
+    _Collection of Louis XVIII. Purchased of M. Scitivaux._
+
+    A replica is at Vienna, but in that picture St. Agnes is depicted in
+    lieu of St. Joseph.
+
+    _See Frankfort._
+
+=St. Paul.= Circular. 1·02 diam. = 3 ft. 4 in. [1566.]
+
+    The saint is standing, his right hand holding the hilt of his sword,
+    and his left hand resting on his side. Behind is a stone balustrade.
+
+=St. Sebastian.= [1566=A=.]
+
+    _This picture was obtained in 1896 from the Sciarra Colonna
+    Gallery._
+
+    It is inscribed: =SAGITT͞E TVĒ INFIXĒ SVNT MICHI=.
+
+=A Combat between Love and Chastity.= 1·56 × 1·92 = 5 ft. 2 in. × 6 ft.
+4 in. [1567.]
+
+    _This picture was executed for Isabella d'Este, Duchess of Mantua,
+    and at a later time belonged to Cardinal Richelieu._
+
+=Apollo and Marsyas.= 0·39 × 0·29 = 1 ft. 3 in. × 11 in. [1509.]
+
+    This picture is known under the designation of the Raphael of Morris
+    Moore, from the name of the collector who was the first to
+    definitely attribute its origin to Raphael.
+
+    Morelli attributes it to Perugino. See Chapter VI.
+
+    _It was purchased by the Louvre in 1883._
+
+
+ROUEN, NEW MUSEUM.
+
+=Three Small Pictures=, forming the predella of a large altar-piece
+formerly at San Pietro in Perugia, and painted for the church in 1495.
+They represent the "Adoration of the Magi," "The Baptism," and "The
+Resurrection." (472, 3, 4.) The centre piece of the altar-piece is at
+Lyons, five of the side panels of saints are still at S. Pietro,
+Perugia, _in situ_, and the three remaining side panels in the Vatican.
+The lunette is at St. Gervais in Paris.
+
+    _Given by the State to Rouen in 1803._
+
+
+TARBES (PYRENÉES), PICTURE GALLERY.
+
+=Saint Lawrence.= Life size. Panel.
+
+=Virgin and Child.= Small panel.
+
+
+TOULOUSE, PICTURE GALLERY.
+
+=St. John the Evangelist and St. Augustine.=
+
+    Probably from St. Agostino, Perugia.
+
+    _See Caen, Lyons, Nantes, and Grenoble for others._
+
+
+GERMANY.
+
+
+ALTENBERG, LINDENAU COLLECTION.
+
+C. and C. describe a picture of "St. Helen," and one of "St. Anthony of
+Padua," probably sides of the altar-piece at SS. Annunziata de Servi in
+Florence.
+
+
+DRESDEN, ROYAL PICTURE GALLERY.
+
+=St. Crispin.= 0·36 × 0·25 = 1 ft. 2 in. × 10 in. [22.]
+
+    A fragment on panel.
+
+
+FRANKFORT, STAEDEL GALLERY.
+
+=Virgin and Child with St. John.= 0·68 × 0·52 = 2 ft. 3 in. × 1 ft. 8
+in. [16.]
+
+    This picture very closely resembles "The Madonna and Child" at the
+    Borghese Gallery, Rome, also the one at Munich, and also the one in
+    the Louvre, but neither are replicas one of the other, and each
+    differs in important details.
+
+    The groups at Frankfort, Rome, and Munich are evidently, however,
+    painted for the face of the Madonna from the same model.
+
+    All four I consider to be genuine but late works.
+
+    _Bought in 1832 in Munich._
+
+
+LEIPZIG, MUSEUM.
+
+=The Archangel St. Michael.=
+
+    The angel is standing upon the dragon whom he has just killed with a
+    great sword. The landscape at the back appears to be the work of the
+    master, but the rest of the picture is school work.
+
+
+MEININGEN, DUCAL PALACE.
+
+M. Berenson states that there are in this collection a "St. John
+Baptist," and a "St. John Evangelist," by Perugino; but I have not seen
+them.
+
+
+MUNICH, OLD PINACOTHEK.
+
+=Vision of St. Bernard.= Panel. 1·73 × 1·65 = 5 ft 9 in. × 5 ft. 6 in.
+[1034.]
+
+    _Formerly in the Nasi Chapel of the Church of St. Spirito, in
+    Florence. Acquired for King Ludwig I. in 1829 or 1830 from the House
+    of Capponi in Florence. There is a study for it in the Uffizi 252,
+    1115._
+
+    Lippo Lippi, Filippino, and Fra Bartolomeo all took the idea from
+    this picture.
+
+=The Virgin adoring the Child.= Panel. 1·95 × 1·56 = 6 ft. 6 in. × 5 ft.
+2 in. [1035.]
+
+    The Virgin is standing with clasped hands. The Child is on the
+    ground before her. On the left is St. John the Divine, on the right
+    St. Nicholas.
+
+    _This picture was taken from Venice to London, thence it came into
+    the possession of Mr. Henry of Paris, where, in 1815, it was bought
+    by Von Dillis for 18,000 francs._
+
+    Morelli says this is late and superficial in conception, drawing,
+    and execution.
+
+=Madonna and Child.= Panel. 0·83 × 0·64 = 2 ft. 9 in. × 2 ft. 1 in.
+[1036.]
+
+    The Virgin is seated, and the divine Child, who is nude, is upon her
+    knees.
+
+    _Acquired in Florence in 1831 by King Ludwig I., and by the State
+    from the King in 1850._
+
+    _See Frankfort._
+
+    Morelli says this is feeble and overcleaned.
+
+=The Baptism of Christ.= 0·30 × 0·30 = 1 ft. × 1 ft. [1037.]
+
+    The Saviour stands in the shallow water with St. John, who holds his
+    cross in his left hand and in his right the baptismal shell. Two
+    angels stand near by.
+
+=The Resurrection.= 0·30 × 0·40 = 1 ft. × 1 ft. 4 in. [1038.]
+
+    The Saviour stands by the tomb, near which two watchers are asleep;
+    a third is running away.
+
+    _Two predella pictures from the estate of Inghirami in Volterra, and
+    sold to the Crown Prince in 1818._
+
+    Morelli unites with C. and C. in ascribing them to Perugino.
+
+
+STRASSBURG.
+
+There was at one time in the Picture Gallery, a portion of the great
+altar-piece of 1521 painted for the church of St. Agostino, in Perugia,
+but it was destroyed in the conflagration of August 25th, 1870.
+
+    It represented the Madonna, but was at one time labelled as St.
+    Apollonia. It was opposite to the archangel in the original
+    altar-piece, and was a tondo.
+
+
+STUTTGART, ROYAL MUSEUM.
+
+=The Nativity.= 87 × 87. [236.]
+
+    Signed: =PETRVS PERRVSINVS.=
+
+
+ITALY.
+
+
+CHURCH OF ST. MARY OF THE ANGELS, ASSISI (near).
+
+A fragment of a =Crucifixion= resembling No. 57 in the Accademia. The
+upper part was destroyed in 1700 during the demolition of the old choir,
+the lower part was restored by Castellani in 1830.
+
+    It is on the Portiuncula on the outside of the east wall.
+
+
+ASCOLI.
+
+Eastlake states that in a private collection at Ascoli is a "Virgin and
+Child surrounded by saints," brought from Mentone, near Città di
+Castello, the upper part of which is in gold with reliefs of angels. If
+this is so it is quite different to anything else of Perugino's work.
+
+
+BETTONA, CHURCH OF THE MINORITES.
+
+A votive portrait, commissioned by a Perugian captain called Boto da
+Maraglia, who was taken prisoner by the French, but eventually released.
+6·3 × 4·6 = 2 ft. 1 in. × 1 ft. 6 in.
+
+    It is in distemper on canvas, and Boto, in full armour, is kneeling
+    and looking up to St. Anthony, who holds in one hand a book, and in
+    the other the fire.
+
+    The inscription is as follows: =BOTO DE MARAGLIA DE PEROGA QVANDO FO
+    PREGIONE DE FRANCIOSE CHE FO ADI XI DE FEBRAIO MDXII PETRVS PINXIT
+    DE CASTRO PLEBIS.=
+
+In the same church is a =Madonna between St. Manno and St. Jerome=, with
+male and female patrons under her cloak, and with angels above. 6·3 ×
+4·6 = 2 ft. 1 in. × 1 ft. 6 in.
+
+
+BOLOGNA, PINACOTECA.
+
+=The Assumption.= Circa, 1496.
+
+    Signed: =PETRVS PERVGINVS PINXIT.=
+
+
+BOLOGNA, CHURCH OF ST. MARTINO MAGGIORE.
+
+=The Virgin in Glory.=
+
+    The Virgin is in the sky, standing, a child-angel is on either side,
+    and around are cherub heads, while on either side are two kneeling
+    angels. Below are the apostles grouped around the empty tomb. There
+    are two trees, one on either side of the picture, clearly defined
+    against the sky.
+
+
+BORGO SAN SEPOLCRO, THE CATHEDRAL.
+
+=The Ascension of Christ.=
+
+    _This picture, according to Vasari, was painted in Florence, and
+    commissioned by the Abbot Simone de' Graziani, and conveyed to the
+    cathedral at heavy cost on the backs of porters. There is a similar
+    picture at Lyons very closely resembling this one._ See page 41.
+
+There is a =Study= for three apostles in this picture in the Uffizi
+[251, 406.]
+
+
+CANTIANO, CHURCH OF STA. MARIA DELLA COLLEGIATA.
+
+=The Holy Family.=
+
+
+CERQUETO.
+
+=Figure of San Sebastian.=
+
+    The inscription recorded by Orsini ("Vita di P.P." p. 204) is as
+    follows:
+
+    S popul de Cerqueto a fatta fare questa capella =A.D.= Maria
+    Madalena per =C.H.= 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 =C.H.= in lei =AN= devotion =AD= laude di
+    Dio quisto sermone Petrus Perusinus pinxit =MCCCCLXXVIII=.
+
+
+CITTÀ DELLA PIEVE, SANTA MARIA DE BIANCA.
+
+=Fresco.= About 18 × 18.
+
+    The Madonna is seated on a throne under the usual open-roofed
+    canopy, and bears the Infant Christ on her knees. Behind her are the
+    cattle, and at her side St. Joseph with his staff. Two of the kings
+    are kneeling and presenting their gifts. The third is bringing his
+    in. Around are their companions and attendants, and in the
+    background their retinue of horsemen. There is an angel flying
+    toward the canopy, and below it is the star.
+
+    The picture is inscribed: =A.D. MDIIIJ.=
+
+
+CITTÀ DELLA PIEVE, CHURCH OF ST. PETER.
+
+=St. Anthony.= Fresco.
+
+    St. Anthony seated on a throne, one hand resting on a staff, the
+    other raised in benediction. He is between St. Paul the Hermit and
+    St. Marcellus (or Macarius), who stand beside him. High up above is
+    the Eternal Father within a mandorla of cherubs.
+
+
+CITTÀ DELLA PIEVE, THE CATHEDRAL.
+
+Behind the High Altar--=Virgin in Glory=.
+
+    The Madonna is adored by St. Protasius, St. Peter, St. Paul, and St.
+    Gervasius, and the two Umbrian saints carry flags in their hands
+    which bear the arms of Città della Pieve.
+
+    _The picture was ordered in 1513 Marchisino Cristophori Mansii,
+    prior of St. Gervasio._
+
+    It is inscribed: =PETRVS CRISTOFERI VANVTII DE CASTRO PLEBIS PINXIT
+    MDXIII.=
+
+First chapel on left--=Baptism of Christ by St. John=.
+
+    St. John is pouring the water from a shell over Our Lord's head. Two
+    angels stand by, and above is the Dove of the Holy Spirit.
+
+Right of High Altar--=Virgin and Child seated on a throne, with St. John
+Baptist, St. John Divine, St. Domenic, and St. Francis.= (Dated 1513.)
+Two angels are above.
+
+
+CITTÀ DELLA PIEVE, ST. MARIA DE SERVI.
+
+A fragment of a =Descent from the Cross=, in which the Madonna is
+supported by two Maries.
+
+    It is dated 1517. The inscription is much mutilated, and seems to
+    read something as follows: ..... esta hopera fero depengere la
+    campagnia della S .... Cossi dicta in li anno dmi =MDXVII= Petr P P.
+
+
+CORCIANO.
+
+=The Assumption of the Virgin.=
+
+    St. Thomas is below between two groups of the other disciples
+    receiving the girdle of Our Lady.
+
+In the Sacristy of the Church are the two predella panels representing
+the "Adoration of the Magi" and "The Annunciation."
+
+
+CREMONA, CHURCH OF ST. AGOSTINO.
+
+=The Virgin with St. James and St. Augustine.=
+
+    The Virgin is on a throne, and holds the divine Child in her arms.
+    On the left is St. James, on the right St. Augustine.
+
+    On the throne is inscribed: =PETRVS PERVSINVS PINXIT
+    MCCCCLXXXXIIII.=
+
+
+DERUTA
+
+=Frescoes= are attributed to Pietro by Orsini at this place, but I was
+unable to find out where they are, and think that they must have
+disappeared.
+
+
+FANO, CHURCH OF STA. MARIA NUOVA.
+
+=The Annunciation.= (2nd chapel.)
+
+    The angel, holding the lily, is kneeling before Our Lady, who turns
+    to leave him and with uplifted hands expresses bewilderment at his
+    message. Above, the Eternal Father, seated within a circle of
+    cherubs, looks down in love upon the Madonna. The Holy Ghost as a
+    dove is flying toward the Virgin. The inscription is much mutilated
+    and reads as follows: =S.A.T. .... CALE .... TTI QVE PATRVI OLIM PON
+    .... ENERII HAC TABVLA ER .. GI IN .... OHC .... TVRA A .... VII
+    MCCCC .... III PETRVS DE C .... TRO PL. ....=.
+
+=The Virgin and Child.= (3rd chapel.)
+
+    Our Lady is seated on a throne in the midst under a vaulted portico,
+    and holds the divine Child in her arms. Around are six saints, St.
+    John, St. Francis, St. Peter, St. Paul, St. Mary Magdalen, and a
+    bishop.
+
+    The lunette represents "The Resurrection," the predella "The Birth
+    of the Virgin," "The Presentation," "The Marriage," "The
+    Annunciation," and "The Assumption."
+
+    A mutilated inscription on the throne reads: =dvrantis phanen ad
+    intemerate Virginis lavdē tercentv͞m avreis alq [D] hvjvs
+    templi Bono centv̄ svperaditis hanc solerti cvra fieri demandavit
+    Matteo de Martinotiis fidei commissario procvranti mcccc 97 petrvs
+    pervsinvs pinxit.=
+
+
+FOLIGNO, CHURCH OF LA NUNZIATELLA.
+
+=The Baptism of Christ.= Circa 1507.
+
+    Our Lord is being baptised by St. John. Four angels stand around
+    watching, and in the air are two other angels and seven cherubs. The
+    Holy Ghost is descending in the form of a dove. High above in the
+    curve of the archway is the Eternal Father holding the globe in one
+    hand and with the other upraised in benediction. On either side are
+    kneeling angels, and around are cherubs.
+
+    The inscription between the picture and its lunette is hardly
+    visible, but appears to be =DEO ET BEATO JOANNI BATTISTAE SACRVM
+    PIETATE JOANNIS BAPTISTE=. The date which originally followed the
+    inscription cannot be read.
+
+
+FLORENCE, THE PITTI PALACE.
+
+=Mary Magdalen.= Panel, 0·47 × 0·35 = 1 ft. 6 in. × 1 ft. 2 in. [42.]
+
+    On the ornament of the dress is inscribed: "Santa Maria Maddalena."
+
+=Portrait of a Woman=, sometimes called "=The Nun=." Panel. [140.]
+
+    _Bought by Ferdinand III. from Marquis Niccoloni._
+
+    It has been attributed to Leonarda da Vinci and to Piero di Cosimo.
+
+    Morelli says that this picture is the work of Perugino.
+
+=The Entombment.= [164.]
+
+    The picture is signed: =PETRVS PERVSINVS PINXIT AD MCCCCLXXXXV.=
+
+    There are three studies for this in the Uffizi, 255, 411, 412, 413,
+    and a large study for the complete picture at Christ Church, Oxford.
+
+=The Adoration of the Infant Christ.= Panel, 0·86 × 0·86 = 2 ft. 10 in.
+× 2 ft. 10 in. [219.]
+
+    In the centre of the picture is Our Lady on her knees with clasped
+    hands in the act of adoring the divine Child, who is nude and seated
+    upon a sack and supported by an angel. On the other of the Virgin is
+    the child St. John, kneeling on one knee and also in adoration of
+    the Christ.
+
+
+FLORENCE, THE UFFIZI PALACE.
+
+=Portrait=, believed to represent Francesco delle Opere, a Florentine
+artist, a brother of the celebrated Giovanni Corniole. He died in Venice
+1496. [287.]
+
+    The portrait is of a man with bushy hair. He has bright eyes, and is
+    clean shaven. He wears a cap on his head and is clothed in a loose
+    soutane. In his hand is a roll bearing these words =TIMETE DEVM=.
+    The background is an Umbrian landscape.
+
+    The picture is inscribed on the back: 1494 D'Luglio Pietro Perugino
+    Pinse Franco del Ope (delle Opere).
+
+=Madonna and Child with two Saints.= [1122.]
+
+    The Virgin is seated on a throne beneath a vaulted archway. She has
+    the divine Child on her knees. At her left stands St. Sebastian; on
+    the right St. John Baptist.
+
+    The inscription on the base of the throne reads: =PETRVS PERVSINVS
+    PINXIT AN MCCCCLXXXXIIJ.=
+
+    _The picture was painted for the Church of San Domenico at Fiesole._
+
+There are also three studies in the Uffizi for the =Pietà= in the Pitti.
+
+
+FLORENCE, THE ACADEMY.
+
+=Portrait of Don Biagio Milanesi=, General of the Vallombrosan Order.
+1499-1500. [17.]
+
+=Portrait of Don Baldassare=, Monk of Vallombrosa. 1499-1500. [17 bis.]
+
+=Christ on the Mount of Olives.= 1492-9. [53.]
+
+    _Painted for the Convent of the Gesuati, in Florence._
+
+=The Assumption.= [55.]
+
+    At the extreme top is the Eternal Father in a circle with adoring
+    angels. Below, in a mandorla, is Our Lady surrounded by a group of
+    cherubs, who, in their arrangement, follow the lines of the
+    mandorla. On either side are standing angels playing on musical
+    instruments, and below are flying angels and cherub faces. On the
+    ground as spectators of the mystery are four Vallombrosan saints:
+
+    Cardinal San Bernardo degli Uberti, San Giovanni Gualberto the
+    founder, St. Benedict, and the Archangel Michael.
+
+    The picture is signed: =PETRVS PERVSINVS PINXIT AD MCCCCC.=
+
+    _This picture was painted for Vallombrosa._
+
+=The Crucifixion.= [78.]
+
+    On one side of the cross stands The Virgin, on the other St. Jerome
+    with his lion.
+
+    _From the Monastery of St. Jerome in Florence._
+
+=The Entombment.= [56.]
+
+    _This picture was also painted (in about 1493), for the Convent of
+    the Gesuati._
+
+=The Descent from the Cross.= [57.]
+
+    The lower part of the picture is Perugino's work, and the
+    background. Nicodemus and Joseph of Arimathæa are on the left. The
+    Madonna, fainting, but supported by the holy women, is on the right,
+    and in the centre at the foot of the cross kneels Mary Magdalen. The
+    three nails are in the foreground placed on the clothes of one of
+    the men.
+
+    _This picture was begun in 1503 by Filippino Lippi for the brethren
+    of SS. Annunziata de Servi, at the expense of Jacopo Federighi, a
+    Knight of Malta. Upon Filippino's death in April 1504 it was
+    completed by Perugino._
+
+
+=Drawings.=
+
+Case 255. Nos 411, 412, 413. Study for the "Deposition from the
+                Cross" in the Pitti Gallery. Silver paint in bistre
+                touched up with white, on grey paper.
+
+     254.  407. Five figures turning to the right.
+
+           409. St Francis. Study for figure in picture in SS.
+                Annunziata. Pen and ink.
+
+           418. St. Jerome kneeling.
+
+     253. 1307. Virgin and Child.
+
+          1147. Figure of a young man.
+
+           402. Venus and Cupid. Etching in bistre touched up
+                in white for the Cambio.
+
+          1317. Figure of a monk.
+
+     252. 1320. An angel and a lily.
+
+           400. Pericles. Pen and ink. For the Cambio.
+
+          1435. Figure of a monk.
+
+           416. Head of
+
+          1115. Vision of St. Bernard. Study for the picture at
+                Munich, 1024.
+
+           408. St. Catherine; and on the reverse of it, Four Loves.
+                Pen and ink.
+
+           363. Madonna and Child. Study for the picture at
+                Perugia. Sala XI. 6.
+
+           401. Moses. For the Cambio.
+
+           511. Two figures.
+
+Case 251.  415. Socrates. For the Cambio.
+
+           405. Group of five Apostles. Study for the Assumption
+                at SS. Annunziata.
+
+           417. The Madonna. Study for the figure in Sta. Maria
+                dei Pazzi.
+
+           403. Three Apostles. Study for the Assumption at
+                Borgo San Sepolcro. Etched in bistre, heightened
+                with white on tinted paper. On the back of
+                252, 400, is a Christ on the Cross, in silver paint
+                on blue paper. Study for the Sta. Maria de
+                Pazzi picture.
+
+     256.  309. The Cumean Sibyl. For the Cambio.
+
+
+FLORENCE, CHAPTER-HOUSE OF SANTA MARIA MADDALENA DEI PAZZI.
+
+=The Crucifixion.= This is a very large fresco in three compartments.
+Circa 1496.
+
+    In the centre is Our Lord upon the Cross, with Mary Magdalen
+    kneeling. In the right division, St. John and St. Benedict. In the
+    left, the Virgin and St. Bernard. Each division is framed by an
+    archway of pillars.
+
+    There are studies in the Uffizi for the "Madonna," 251, 417; and for
+    the "Christ on the Cross," 252, 400.
+
+
+FLORENCE, CHURCH OF SS. ANNUNZIATA.
+
+In the fifth chapel on the left is a =Virgin and Child enthroned between
+St. John Baptist and St. Francis=, much of which was probably painted by
+the pupils of Perugino.
+
+    There is a study for the St. Francis in the Uffizi, 254, 409.
+
+In the seventh Chapel is an =Assumption of the Virgin.=
+
+    The Madonna is in a luminous mandorla of rays and surrounded by
+    angels and cherubs, while below on the ground the apostles and holy
+    women, who are gazing up into heaven.
+
+    There is a study for five of the apostles in the Uffizi, 257, 405.
+
+
+FLORENCE, CHURCH OF LA CALZA.
+
+=The Crucifixion.=
+
+    The Magdalen is at the foot of the cross, and around are St. Jerome,
+    St. Francis, St. John Baptist, and St. Giovanni Columbini of Siena.
+
+
+FLORENCE, VIA FAENZA.
+
+I am only prepared to accept the general idea of the =Cena di Foligno=
+as belonging to Perugino. He may have done the landscape, but I doubt
+it; and the figures around the table I do not think are his at all. Mr.
+Berenson, however, accepts part of this work as Perugino's, and dates it
+very early about 1490.
+
+
+FLORENCE, ST. SPIRITO WEST WINDOW.
+
+=Ascension.=
+
+    Mr. Berenson states that this is from a design by Perugino.
+
+
+MACERATA.
+
+=Madonna and Child with two Saints.=
+
+    Only a small part of this is by the master, the remainder is by
+    pupils.
+
+
+MILAN, POLDI PEZZOLI MUSEUM.
+
+=Madonna and Child.= Panel. 0·29 × 0·23 = 11 in. × 9 in.
+
+    The Virgin is seated, and has the divine Child on her knees. On
+    either side of her is an angel, one having clasped hands and the
+    other with its hands folded across its breast.
+
+
+MONTEFALCO, CHURCH OF ST. FRANCIS (NEW PINACOTECA).
+
+=The Nativity.=
+
+    Perugino's favourite structure with a pointed roof resting on four
+    columns occupies the centre of the picture; under it is the divine
+    Child lying upon the ground. The Madonna and St. Joseph are kneeling
+    on either side, and behind them are the shepherds and some cattle.
+    Above, in the curve of the arch, is depicted the Eternal Father
+    seated on the clouds within a mandorla of cherubs heads and on
+    either side are kneeling adoring angels.
+
+
+NAPLES, NATIONAL MUSEUM.
+
+=Madonna and Child.= [11.]
+
+    Our Lady is seated, and has the divine Child, who is nude, on her
+    knee. The scene is in a rocky valley. On the left is a man on a
+    white horse and three youthful companions, on the right a group of
+    five persons, two of whom hold golden cups in their hands.
+
+
+NAPLES, DUOMO.
+
+=The Assumption.= Said to be dated 1460.
+
+    This picture was commissioned, so Vasari says, by Cardinal Oliviero
+    Caraffa, who is represented kneeling to the left.
+
+    The Madonna is in a mandorla; two angels above are crowning her, and
+    other angels playing on instruments are around. Below are the
+    apostles and St. Paul, and to the left, the Cardinal with St.
+    Januarius.
+
+    I have not seen this picture.
+
+
+PANICALE, LAGO TRASIMENO, CHURCH OF ST. SEBASTIAN.
+
+=Martyrdom of St. Sebastian.= Fresco.
+
+    The saint is bound to a column which stands on a marble throne in
+    the centre of the pavement of an arched Temple. Four archers are
+    engaged in shooting arrows at the Saint. The Eternal Father appears
+    high above, seated within a circle of cherubs and having on either
+    side a kneeling angel.
+
+    On the pedestal is =P .... DE CASTRO ....= and on the four pillars
+    the date =A.D. MDV.=
+
+    There is a study for one of the archers at Christ Church, Oxford.
+
+
+PANICALE, LAGO TRASIMENO, CHURCH OF ST. AUGUSTINE.
+
+=Virgin and Child.=
+
+    The Madonna is in the sky within a mandorla of cherubs, and has four
+    angels around her playing on instruments. Below are two saints.
+
+    Much of this picture is by Lo Spagna.
+
+
+PAVIA, CERTOSA.
+
+A picture of six divisions of which the central one in the upper tier is
+alone by Perugino.
+
+    It represents the Eternal Father seated, holding the globe in one
+    hand and giving the benediction with the other. Cherub heads are all
+    around the seated figure.
+
+    The three panels in the lower tier are now in the National Gallery,
+    London, and copies take their places in the Certosa at Pavia.
+
+    On either side of the Perugino panel have now been inserted panels
+    by Borgognone.
+
+    The picture is in the second chapel on the left, that of St. Michael
+    the Archangel.
+
+
+PERUGIA, PINACOTECA VANNUCCI.
+
+=The Coronation of the Virgin.= [Sala VIII. 24.]
+
+    This is a double picture, one side being in this room and the
+    reverse in Sala X. No. 25.
+
+    _From the church of S. Francesco al Monte._
+
+=St. Jerome and St. Mary Magdalen.= [Sala X. 1.]
+
+    By the side of St. Jerome is his lion, and in the Magdalen's hand is
+    the cup of ointment.
+
+    _From the church of St. Agostino._
+
+=St. Sebastian bound to a column and shot at by two Archers=; above are
+two angels. Dated =A.D. MDXVIII.= [Sala X. 2.]
+
+    _From the church of S. Francesco al Prato._
+
+=Pietà.= [Sala X. 10.]
+
+    Our Lord crowned, standing and extending His hands.
+
+    This was originally in an altar-piece, the frame of which is in Sala
+    XIII. No. 16, and the place is still empty which the Pietà filled.
+    In the lower part of the frame a picture by Eusebio has been placed.
+
+=The Baptism of Christ.= [Sala X. 11.]
+
+    St. John stands by the side of Our Lord and is pouring the water
+    upon His head. The Holy Spirit as a dove within a circle of golden
+    rays is in the heavens above attended by cherubs and two adoring
+    angels. Two female saints are on the ground beneath.
+
+    _From the great altar-piece in St. Agostino._
+
+=The Eternal Father seated and surrounded by Cherubs.= [6.]
+
+    The lunette for above altar-piece.
+
+=The Preaching of St. John Baptist.= [7.]
+
+=The Marriage of Cana in Galilee.= [12.]
+
+    These are the predella pieces for above altar-piece and its opposite
+    face.
+
+=The Adoration of the Magi.= [21.]
+
+=The Offering of Christ in the Temple.= [16.]
+
+=The Prophet David.= [15.]
+
+=The Prophet Daniel.= [19.]
+
+    These were part of the same altar-piece. The remaining two are at
+    Nantes.
+
+=The Birth of Christ.= [20.]
+
+    This is the reverse side of the St. Agostino altar-piece, "The
+    Baptism of Christ" No. 11 being the other side.
+
+=San Lorenzo.= [8.]
+
+=St. Louis the Bishop.= [9.]
+
+=San Costanzo.= [13.]
+
+=A Martyr.= [14.]
+
+=St. Jerome.= [17.]
+
+=St. Lucy.= [18.]
+
+=San Nicola da Tolentino.= [22.]
+
+=St. Monica.= [23.]
+
+    These eight saints surrounded the same altar-piece at St. Agostino,
+    and are believed to have been at the corners on either side.
+
+=Madonna with the divine Child and Saint.= [24.]
+
+=The Archangel Gabriel.= [26.]
+
+    These are also believed to have formed part of the same altar-piece.
+
+=A Crucifixion.= [25.]
+
+    This was the opposite side of the picture in Sala X. No. 2.
+
+    The figure of the Crucified Lord is finely carved in wood and laid
+    upon the canvas.
+
+    _From the church of S. Francesco al Monte._
+
+=St. James.= [4.]
+
+=St. Jerome.= [5.]
+
+    _Deposited by the Sodality of St. Martin._
+
+=The Transfiguration.= [Sala XI. 2.]
+
+    Our Lord is above in the heavens, standing with hands extended, and
+    within a mandorla of cherub heads. Moses and Elias kneel in the
+    clouds, one on either side of the Christ. Below are the three
+    disciples gazing upwards and shielding their eyes with their hands
+    from the blinding splendour of the sight.
+
+    The three predella pictures to this altar-piece (which was
+    originally in Santa Maria Nuova) represent "The Annunciation," "The
+    Birth of Christ," and "The Baptism of Christ."
+
+=The Virgin and Child.= [6.]
+
+    There is a study for it in the Uffizi, 252, 363.
+
+    _Painted in 1497._
+
+    _Deposited by the Nobile Confraternita di San Pietro Martire._
+
+=The Virgin of Consolation.= [14.]
+
+    The Madonna is seated in the heavens, bearing the divine Child, who
+    is nude, erect on her knees. On either side are adoring angels, and
+    around are cherubs. Beneath, on the ground, kneel San Francesco and
+    San Bernardino praying for the people who stand in a great crowd in
+    the middle distance gazing up to the Madonna. In the extreme
+    distance is a view of Perugia.
+
+    _Deposited by the Nobile Confraternita della Giustizia._
+
+=The Virgin and Child.= [15.]
+
+    The Madonna is seated in the heavens and has three cherubs under her
+    feet. On either side are kneeling San Niccolo and San Bernardino da
+    Siena. On the ground St. Jerome, with his lion, and St. Sebastian
+    are also kneeling. In the distance is a view of the city of Perugia.
+
+    _From the church of S. Agostino._
+
+=St. John Baptist and four other Saints.= [16.]
+
+    St. John stands on a mound in the midst and holds his tall cross,
+    and with one hand points to heaven. On his left is St. Anthony of
+    Padua and St. Sebastian, the latter being partly in armour and
+    wearing a fantastic head-dress and holding an arrow daintily in one
+    hand. On the right are St. Jerome and St. Francis.
+
+=St. John the Divine.= [Sala XII. 4.]
+
+=St. Luke the Evangelist.= [8.]
+
+    These are _attributed_ to Perugino in the catalogue.
+
+=The Birth of Christ.= A lunette. Fresco. [Sala XIII. 51.]
+
+    The divine Child is on a cushion on the ground, and near by are the
+    Madonna, St. Joseph, and three shepherds, all kneeling in adoration.
+    The usual wooden square erection occupies the centre of the picture.
+    Some cattle are seen near at hand.
+
+    _From the east door of the church of S. Francesco al Monte._
+
+
+PERUGIA, DUOMO.
+
+=Virgin and Child and Saints.=
+
+    The Madonna is seated under a canopy and holds the divine Child, who
+    raises His hand in benediction, in her arms. On the left stands St.
+    Sebastian holding an arrow, on the right is a female saint kneeling,
+    and behind her stands St. Joseph with his staff.
+
+
+PERUGIA, CHURCH OF S. SEVERO.
+
+Raphael's first fresco of =Our Lord and many Saints=, to which Perugino
+made additions in 1521.
+
+    The inscriptions upon it are as follows: =RAPHAEL DE VRBINO DOM
+    OCTAVIANO STEPHANO VOLATERANO PRIORE SANCTAM TRINITATEM ANGELOS
+    ASTANTES SANCTOSQUE PINXIT A.D. MDV.=; and below with the figures of
+    SS. Scholastica, Jerome, John the Divine, Gregory, Boniface, and
+    Martha: =PETRVS DE CASTRO PLEBIS PERVSINVS TEMP. DOMINI SILVESTRI
+    STEPHANI VOLATERRANI A DEXTERIS ET SINISTRIS DIV. CHRISTOPHORAE
+    SANCTOS SANCTASQVE PINXIT A.D. MDXXI.=
+
+    In the upper part is the Eternal Father, and below is Our Lord
+    seated, and above His head the white dove of the Holy Spirit. On
+    either side and around Him are adoring angels, and near by, seated
+    in two groups, are, on His right three saints, SS. Maurus, Placidus,
+    and Benedict, and on His left three more saints, SS. Romualdus,
+    Benedict Martyr, and John Martyr.
+
+
+PERUGIA, CHURCH OF S. PIETRO.
+
+=Pietà.=
+
+    The dead body of Our Lord has just been lifted from the tomb by St.
+    Joseph of Arimathæa, who is supporting it in sitting posture on the
+    edge of the tomb. On either side are St. Mary Magdalen and Our Lady,
+    each holding one hand of Christ.
+
+    This was originally part of the great altar-piece of St. Agostino.
+
+    _For other parts see Grenoble, Toulouse, Lyons, Nantes, Strasburg,
+    and the Pinacoteca._
+
+
+PERUGIA, NUNNERY OF S. AGNESE.
+
+=The Eternal Father with SS. Sebastian and Rocu.=
+
+=Crucifixion, with two Angels, the Virgin, and St. John Baptist.=
+
+=The Virgin, with two Angels, St. Anthony the Abbot, St. Anthony of
+Padua, St. Elizabeth of Portugal, St. Elizabeth of Hungary.=
+
+    Said to have been signed: =PETRVS PINSIT 1522.=
+
+These cannot be seen as the house is now strictly cloistered.
+
+
+PERUGIA, COLLEGIO DEL CAMBIO.
+
+Entirely decorated in fresco.
+
+First and third picture. Twelve standing figures in groups of three,
+each group consisting of a Greek between two Romans.
+
+  1. Fabius Maximus, Socrates, Numa Pompilius.
+  2. Furius Camillus, Pittacus, Trajan.
+  3. Lucius Sicinius, Leonidas, Horatius Cocles.
+  4. Scipio, Pericles, Cincinnatus.
+
+    Above the first six figures are seated representations of Prudence
+    and Justice, the virtues, illustrated by the philosophers, and on
+    tablets carried by cherubs the following two inscriptions:
+
+    QUID GENERI HVMANO PRÆSTAS DEA DIC AGE PRÆSTO
+      NE FACIAS QVAE MOX FACTA DOLERE QUEAS
+    SCRUTARI VERVM DOCEO CAUSASQVE LATENTES
+      ET PER ME POTERIT NIL NISI RITE GERI.
+
+    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 RVVNT.
+
+The Rev. H. R. Ware renders these verses in English as follows:
+
+    Thy gifts to man, Oh! Goddess, now relate.
+    "To do, what done, shall bring no bitter fate;
+    I show where truth lies hid, the causes tell,
+    Which learned from me thou may'st do all things well."
+
+or, as an alternative, the last line may read
+
+    (Whereby the seeker may do all things well.)
+
+    "If the good gods make all men like these three,
+    In the wide world no wickedness would be.
+    By me the nations grow in war and peace,
+    Without my worship antient powers decrease."
+
+Another rendering by the Rev. T. C. Robson is very close to the original
+but is not as melodious and easy as Mr. Ware's.
+
+    Speak, Goddess, where thy gift to man appears.
+    "My gift to prompt to deeds that cause no tears.
+    Truth to unveil, secrets to learn I teach,
+    No slave of mine heaven's justice would impeach.
+    Had heaven made all men like these three
+    Evil and crime had ceased to be;
+    I guide both sword and pen to better ways,
+    Force without me will fall on evil days."
+
+    Above the second six figures are similar representations of
+    Fortitude and Temperance, the virtues specially illustrated by the
+    warriors and similar inscriptions thus:
+
+    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 VENIT.
+
+    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 ERIT.
+
+Mr. Ware's translation of these verses is very happy:
+
+    Three heroes proof infallible have given
+    That by my arms all foes are backward driven,
+    I have no fear for country nor for friends
+    The king of terror brings to me amends.
+    Goddess, reveal thy might. "I rule the life;
+    Heroes I train by tempering passion's strife:
+    Follow my rule, thy fiery heart restrain,
+    What greater victory canst thou ere attain."
+
+An alternative of these four lines would be,
+
+    Oh! Goddess, tell the secret of thy might.
+    "I rule the heart, its foaming tides I fight.
+    Follow my rule, the storms of passion bind;
+    So conquering self a greater self you'll find."
+
+Mr. Robson's rendering is as follows:
+
+    All things beneath my hand in scattered ruin lie.
+    Witness these three whose might can none deny.
+    My land, my loved ones, ever I defend,
+    And Death, to others Foe, to me is friend.
+    Speak, Goddess, from thy throne. "Manners my right.
+    To cool men's souls and balance passion's might.
+    With me as guide self-conquest thou shalt learn,
+    Who then will dare that master will to spurn."
+
+    The name of each of the standing figures is clearly recorded at his
+    feet.
+
+    Between these two great groups on a pilaster is the portrait of
+    Perugino with this inscription: =PETRVS PERVSINVS EGREGIVS PICTOR.=
+
+    PERDITA SI FUERAT PINGENDI HIS RETULIT ARTEM;
+      SI NUSQUAM INVENTA EST HACTENUS IPSE DEDIT.
+
+On the end wall are representations of =The Transfiguration and
+Nativity.=
+
+    In the former Our Lord is in the clouds in a mandorla of rays, and
+    His hands are raised in benediction. On either side kneel Moses and
+    Elias, and in the sky are the words: =HIC EST FILIVS MEVS DILECTVS.=
+    On the ground gazing up, but shading their faces from the glory, are
+    the three disciples.
+
+    In the "Nativity" the divine Child is on the ground, and around,
+    under a canopy raised on six columns, are kneeling the Madonna, St.
+    Joseph, and the shepherds. There are cattle nearby, and above, in
+    the heavens, three angels singing, and above their heads the words:
+    =GLORIA IN EXCELSIS DEO.=
+
+On the right wall is a =Group of Prophets and Sibyls=, Isaiah, Moses,
+Daniel, David, and Jeremiah, and opposite to them the Persian, Cumæan,
+Libyan, Tyburtine, and Delphic sibyls. Above them, in the clouds,
+surrounded by cherubs and adoring angels, is a representation of =The
+Eternal Father=.
+
+Near the door is a fine standing figure of =Cato=, and in the ceiling
+are medallions of the deities representing the seven planets set amidst
+a profusion of diversified arabesques.
+
+    There are studies in the Uffizi for several of the figures in the
+    Cambio: Socrates (251, 415), Pericles (252, 400), "Moses" (252,
+    401), "The Cumean Sibyl" (256, 309), "Venus and Cupid" (253, 402),
+    "The Infant Christ" (_verso_ of, 252, 401).
+
+
+ROME, VATICAN, CAPPELLA SISTINA.
+
+=St. Peter receiving the Keys.=
+
+    There is a study in the Uffizi, 252, 416, for one of the heads in
+    this fresco.
+
+
+ROME, VATICAN, STANZA DELL' INCENDIO.
+
+The =CEILING= painted by Perugino was spared by Raphael in 1508 when
+Pope Julius II. ordered the destruction of all existing work in order
+that Raphael might entirely complete the decoration. The ceiling is in
+four circular compartments.
+
+    The first represents, within a mandorla of cherubs, and surrounded
+    with angels the Eternal Father holding the globe and giving
+    benediction.
+
+    The second, the Saviour in glory, within a mandorla, and surrounded
+    with angels and cherubs.
+
+    The third, the Saviour surrounded by His apostles and St. Paul,
+    while above Him is the Eternal Father with angels, and at His feet
+    the Dove of the Holy Ghost.
+
+    The fourth depicts the Eternal Father between two saints and
+    surrounded by angels and cherubs.
+
+
+ROME, VATICAN, PINACOTECA.
+
+=The Resurrection.= Panel. 2·27 × 1·67 = 7 ft. 6 in. × 5 ft. 6 in.
+
+=The Madonna and Child.= 0·89 × 1·65 = 2 ft. 11 in. × 5 ft. 6 in.
+
+    The Virgin is seated on a magnificent canopied throne beneath a
+    vaulted archway. The divine Child is nude, and stands erect on her
+    knees. Around are four saints patrons of Perugia, St. Herculanus,
+    St. Constantius, St. Lawrence, and St. Louis of Toulouse, all richly
+    dressed.
+
+    The throne is inscribed: =HOC PETRVS DE CHASTRO PLEBIS PINXIT=
+
+    _This was originally in the chapel of the Town Hall at Perugia, for
+    which it was painted, and was carried to Paris in 1797._
+
+=SS. Placido, Flavia, and Benedict.= 0·31 × 0·26 each.
+
+    San Placido bears the Palm, San Benedetto the holy water, asperge,
+    and a book, and Santa Flavia is crowned and has her hands clasped.
+    She and San Placido were brother and sister and early disciples of
+    St. Benedict.
+
+    _From the pilasters forming the sides of the "Ascension" removed
+    from the Benedictine Church of S. Pietro in Perugia and now at
+    Lyons._
+
+
+ROME, VILLA BORGHESE.
+
+=St. Sebastian.= 1·09 × 0·69 = 3 ft. 7 in. × 2 ft. 3 in. [386.]
+
+    The saint stands under an open archway, bound to a central column.
+    He is pierced with five arrows, and is looking upwards.
+
+=Virgin and Child.= 0·45 × 0·37 = 1 ft. 6 in. × 1 ft. 2 in. [401.]
+
+    The Virgin is seated, and holds the divine Child, who is nude, erect
+    on her knees.
+
+    _See Frankfort._
+
+
+ROME, VILLA ALBANI.
+
+=Altar-piece.= [37.]
+
+    This is in six compartments representing the "Adoration of the
+    Divine Child," and "The Crucifixion." "The Nativity" is below. At
+    the sides are an angel and an Annunciation.
+
+    The picture is inscribed on the capitals, =PETRVS DE PERVSIA PINXIT
+    MCCVIIII PRIMO=.
+
+
+SIENA, CHURCH OF ST. AGOSTINO.
+
+=The Crucifixion.=
+
+    _For this picture Perugino was paid 200 golden ducats._
+
+
+SINIGAGLIA, MONASTERY CHURCH OF STA. MARIA DELLA GRAZIE.
+
+=Virgin and Child with Saints.=
+
+    The Virgin is on a throne, bearing the divine Child in her arms.
+    Around stand St. John Baptist, St. Louis of France, St. Francis, St.
+    Peter, St. Paul, and St. James (or St. John and St. Andrew).
+
+    _Almost a replica of the one at Fano._
+
+
+SPELLO, CHURCH OF SANTA MARIA MAGGIORE.
+
+=Pietà.=
+
+    Our Lady is seated on a throne, and holds the dead body of the
+    Christ in her arms and on her knees. On one side of her kneels Mary
+    Magdalen, and on the right St. John. Above their heads are cherub
+    faces floating in the air. From the canopy of the throne are
+    suspended two tablets bearing these words: =PETRVS DE CHASTRO PLEB
+    PINSIT AD MDXXI.=; and on the foot of the throne is inscribed:
+    =MICHAL AGELVS ANDINE=.
+
+=Virgin and Child and Saints.=
+
+    The Virgin is seated on a throne, holding the divine Child, who
+    stands erect and nude on her knees. On her left stands St.
+    Catherine, with wheel and palm, and on the right St. Blaise, in
+    episcopal habit, with mitre and crozier, holding the wool comb.
+
+    The throne is inscribed: =EX SPEIS JOANNE BERNAR DELLI AD MDXXI DIE
+    XXV APRILIS=.
+
+
+TREVI, CHURCH OF SANTA MARIA DELLE LACRIME.
+
+=The Adoration of the Magi.=
+
+    The throne is inscribed: =PETRVS IN CASTRO PLEBIS PINXIT=.
+
+    TU SOLA IN TERRIS GENETRIX ET VIRGO FVISTI
+      REGINA IN CELIS TV QVOQVE SOLA MANES.
+
+
+VERONA, MUSEO CIVICO.
+
+=The Madonna adoring the Christ.= [120.]
+
+    The Virgin is standing in the centre of the picture with clasped
+    hands and in front of a stone balustrade. On either side are
+    kneeling angels. The one on the right holds the divine Child, whom
+    the Virgin is adoring, the other rests her hands on the shoulders of
+    St. John Baptist, who is also adoring the Christ. In the background
+    is the usual landscape which appears to be undoubtedly the work of
+    Perugino, and probably also the figure of the Virgin; but the angels
+    and children are school work.
+
+=The Adoration of the Magi.= [95.]
+
+
+
+
+CHRONOLOGICAL LIST OF PICTURES
+
+
+1475      Certain frescoes in the great hall
+          of the Palazzo Publico. Mentioned
+          by Milanesi.
+
+1478      Certain frescoes in a chapel at
+          Cerqueto, a castle in the diocese
+          of Perugia. Also mentioned by
+          Milanesi.
+
+1480      "Christ delivering the keys to St.
+          Peter" in the Sistine Chapel in the
+          Vatican at Rome. Other frescoes
+          now destroyed.
+
+1491      Altar-piece in the Villa Albani. Dated    _Rome_
+
+1493      Virgin and Child, from Fiesole. Dated     _Uffizi, No. 1122_
+
+          Madonna and Saints. Dated                 _Vienna_
+
+          Pietà painted for the Gesuati             _Accademia, 58_
+
+1494      Madonna and Child. Dated                  _Sant' Agostino,
+                                                      Cremona_
+
+          Portrait of Francesco                     _Uffizi, 287_
+
+1495      Madonna and Child                         _Pinacoteca, Vatican_
+
+          The Entombment. Dated.                    _Pitti, 164_
+
+          The Ascension for San Pietro, Perugia     _Centre at Lyons_
+          (A part is dated.)                        _Predella at Rouen_
+          Other parts at                            _St. Pietro and the
+                                                      Vatican_
+
+1496      Vision of S. Bernardo                     _Munich_
+
+          Crucifixion, begun in 1493, finished      _Sta. Maria Maddalena
+            1496                                      dei Pazzi_
+
+          Virgin and Child at Bologna
+
+          Family of Sta. Anna                       _Marseilles_
+
+1497      Altar-piece. Dated                        _Fano_
+
+          Virgin and Child. Dated                   _Pinacoteca, Perugia,
+                                                      Sala xi. 6_
+
+1498      Madonna with St. Bernard and St. Francis  _Pinacoteca, Perugia,
+                                                      xi. 14_
+
+          Altar-piece. Dated                        _Fano_
+
+1499-1500 The frescoes in the Cambio                _Perugia_
+
+          Two Monks in the Accademia                _17 and 17 bis_
+
+          A Duke of Urbino                          _Vienna_
+
+1500      The Assumption. Dated                     _Accademia, 55_
+
+1502      Coronation of the Virgin                  _Pinacoteca, Perugia,
+                                                      Sala viii. 24_
+
+1504      Adoration of the Magi. Dated              _Città della Pieve_
+
+1505      St. Sebastian. Dated                      _Panicale_
+
+          Descent from the Cross, begun by Lippi    _Accademia, 57_
+
+1504 or 5 Love and Chastity                         _The Louvre, 1567_
+
+          Virgin and Child with two Saints          _Munich, 1035_
+
+1507      Virgin and Child with two Saints          _National Gallery,
+                                                      1075_
+
+          Ceiling in the Camera dell' Incendio      _Vatican, Rome_
+
+1510      Picture for San Francesco, Siena.         _Hertz Coll., Rome_
+            Fragment now remains
+
+          Crucifixion. San Agostino                 _Siena_
+
+1512      Votive picture. Dated                     _Bettona_
+
+1513      Virgin in Glory. Dated                    _Città della Pieve_
+
+1517      Descent from the Cross. A fragment.       _Città della Pieve_
+            Dated
+
+1518      Martyrdom of St. Sebastian. Dated         _Pinacoteca, Perugia,
+                                                      Sala x. 2_
+
+1521      Additions made to Raphael's unfinished    _S. Severo, Perugia_
+            fresco. Dated
+
+          Pietà. Dated                              _Spello_
+
+          Virgin and Child with Saints. Dated       _Spello_
+
+          The Altar-Piece painted for St. Agostino
+            of Perugia, of which part is _in
+            situ_, and other parts are at Lyons,
+            Toulouse, Grenoble, and Nantes
+
+          Adoration of the Magi                     _Trevi_
+
+1522      Virgin and Saints. Dated                  _St. Agnese, Perugia_
+
+1523      The Adoration of the Shepherds            _National Gallery
+                                                      1441_
+
+
+
+
+INDEX
+
+
+  _Adoration of the Magi, The_ (Rouen), 43, 130;
+    (Città della Pieve), 90, 91, 135, _ill._ 92;
+    (Trevi), 109, 154
+
+  _Adoration of the Shepherds, The_ (Nat. Gallery), 110, 123
+
+  Albani, Cardinal Giovanni Girolamo, 115
+
+  Albani MS., The, 115
+
+  Albani altar-piece, The, 29, 153, _ill._ 28
+
+  Albizzi, Luca degli', picture painted by Perugino for, 11
+
+  _Annunciation, The_ (Villa Albani), 29, 153;
+    (Fano), 69, 71, 137
+
+  Antonello da Messina, his influence on Perugino, 39
+
+  _Apollo and Marsyas_ (Louvre), 62, 130
+
+  Arcimboldo, Guido, Archbishop of Milan, 40
+
+  Ashburnham, Lord, and the Albani MS., 117
+
+  _Ascension, The_ (Lyons), 41, 42, 55, 96, 128;
+    (Borgo San Sepolcro), 41, 42, 44, 96, 134, _ill._ 42
+
+  _Assumption, The_ (Accademia), 64, 83, 84, 139, _ill._ 82;
+    (SS. Annunziata), 83, 95, 96, 97, 141;
+    studies for, 98
+
+
+  Baccio d'Agnolo, 87, 90
+
+  _Baldassare, Abbot_, portrait of, 84, 113, 139, _ill._ 84
+
+  Balsams, action of on colours, 36, 37
+
+  _Baptism of Christ, The_ (Rouen), 16, 17, 44, 130, _ill._ 18;
+    (Vienna), 19, 20, 121;
+    (Foligno), 100, 137;
+    (Città della Pieve), 104, 136
+
+  _Baptism of Christ, The_, in the Sistine Chapel,
+    probably by Pinturicchio, 16
+
+  Bellini, Giovanni, his influence on Perugino, 39
+
+  Berenson, Mr. B. on Perugino, 2, 9;
+    on "space composition," 13;
+    attributes, the "Sposalizio" to Lo Spagna, 59-61
+
+  Bettona, Perugino's pictures at, 103, 104, 134
+
+  Bolleti, Signor Guiseppe, 91
+
+  Bonfigli, his influence on Perugino, 2, 3
+
+  Boto da Maraglia, votive picture at Bettona, commissioned by, 103
+
+
+  Cambio, The, at Perugia, Perugino's decoration of, 74-82, 149-151
+
+  Canova, 54, 55
+
+  Ceccheti, Signor Andrea, 91
+
+  Celandro, Santi di Polonio del, 21, 22
+
+  Cennini, Cennino, The "Trattato" of, 34
+
+  Certosa altar-piece, The, 67, 122, _ill._ 68
+
+  Cesarei, Mayor of Perugia, 51, 56
+
+  _Christ giving the Keys to St. Peter_, 13, 151, _ill._ 14
+
+  _Christ in the Garden_ (Accademia), 24, 26, 139, _ill._ 26
+
+  Città della Pieve, Perugino's birthplace, 1;
+    fresco in Sta. Maria de Bianca, 90, 91, 135;
+    the town and people, 92;
+    other pictures by Perugino at, 104, 105, 135, 136
+
+  _Coronation of the Virgin, The_ (Perugia, Pinacoteca), 87, 88, 96, 97, 144
+
+  Costa, Lorenzo, his "Sposalizio," 60, 61
+
+  _Crucifixion, The_ (La Calza), 9, 24, 142, _ill._ 24;
+    (Villa Albani), 29, 153;
+    (S. M. Maddalena dei Pazzi), 40, 63, 65-67, 73, 141, _ill._ 66;
+    studies for, 67;
+    (Accademia), 72, 73, 140, _ill._ 72;
+    (Perugia, Pinacoteca), 87, 89, 146, _ill._ 88;
+    (Assisi), 102, 133;
+    (Siena), 103, 153, _ill._ 102
+
+  _Crucifixion, The_, by Raphael, 67
+
+
+  Daru, Count, 50, 51, 52
+
+  Denistoune, Mr., and the Albani MS., 115-117
+
+  Denon, Baron, 51, 53
+
+  _Descent from the Cross_ (fragment, Città della Pieve), 105, 136
+
+  _Descent from the Cross, The_, by Filippino Lippi,
+    completed by Perugino, 95, 140, _ill._ 94
+
+  Ducci, Agostino, 72
+
+
+  _Entombment, The_ (Pitti), 40, 44, 45, 138, _ill._ 44;
+    studies for, 45-46
+
+  Este, Isabella d', and Perugino, 93
+
+
+  Fancelli, Chiare, wife of Perugino, 140
+
+  Federighi, Jacopo, 95
+
+  Fiesole altar-piece, The, 31, 139, _ill._ 30
+
+  Fiorenzo di Lorenzo, his influence on Perugino, 2, 4, 5
+
+  _Francesco delle Opere_, portrait of, 40, 44, 80, 85, 138, _ill._ 40
+
+
+  Galeotto, Pietro di Maestro, 20-22
+
+  Giovanni, The, Perugino's uncle and nephews, 87
+
+
+  Herringham, Mrs., 34
+
+  _Holy Family, The_ (Cantiano), 69, 135
+
+  Horne, Mr. Herbert, on Perugino's technique, 33
+
+
+  Julius II., Pope, 27, 88, 101
+
+
+  Laurie, Dr. A. P., his Cantor Lectures, 36
+
+  Leonardo da Vinci, 12
+
+  Lippo, Filippino, his "Descent from the Cross,"
+    completed by Perugino, 95, 140
+
+  Lippi, Lippo, his "Vision of St. Bernard," 63
+
+  Lorenzo di Credi, 12, 95
+
+  Lo Spagna, "The Sposalizio," attributed to, 59;
+    other works by, 93
+
+  _Love and Chastity_, 9, 62, 93, 94, 130
+
+
+  _Madonna and Child_ (Louvre), 19, 129;
+    (Verona), 19, 154;
+    (Vatican), 23, 40, 152, _ill._ 22;
+    (Uffizi), 31, 139;
+    (Vienna), 31, 121;
+    (Cremona), 39, 137;
+    (Nat. Gallery, from the Certosa altar-piece), 67, 122;
+    (Fano), 69-71, 137;
+    (Sinigaglia), 69, 154;
+    (Perugia, Pinacoteca), 69, 71, 146, _ill._ 70;
+    (Nat. Gallery, the Schiavone altar-piece), 99, 100, 123, _ill._ 100;
+    (Bettona), 104, 134;
+    (Città della Pieve), 104, 135;
+    (Perugia, Duomo), 109, 147
+
+  Masaccio, 12
+
+  Maturanzio, Francesco, 77, 80
+
+  Michel Angelo, choice of a site for his "David," 89;
+    connection between Perugino and, 90
+
+  Milan, Il Moro, Duke of, anxious to secure Perugino, 39, 40, 69
+
+  _Milanesi, Don Biagio_, portrait of, 84, 113, 139, _ill._ 84
+
+  _Moses and Zipporah_, probably not by Perugino, 16
+
+
+  _Nativity, The_ (Villa Albani), 29, 153;
+    (Cambio), 77, 151;
+    (Montefalco), 108, 142;
+    (Perugia, Pinacoteca), 104, 147
+
+  Napoleon, his seizure of Italian pictures, 48;
+    admiration of Perugino's paintings, 50
+
+  Niccolò da Foligno, his influence on Perugino, 2, 3, 11
+
+
+  Orvieto, story of Perugino's contract to decorate the cathedral at, 27-29;
+    finally refused, 74
+
+
+  Panicale, Perugino's work at and connection with, 93, 99
+
+  Perugia, story of Perugino's dealings with the Priori of, 20, 23;
+    altar-piece painted for San Pietro, 40, 41, 55, 128, _ill._ 52;
+    the pillage of Perugino's pictures from, 47-57;
+    altar-piece painted for the magistrates' chapel, 33, 40, 47, 49, 152;
+    altar-piece painted for St. Agostino, 56, 70, 87, 88, 106;
+    decoration of the Cambio, 74-82, 149-151, _ill._ 76, 78;
+    double altar-piece for San Francesco al Monte, 87;
+    the Schiavone altar-piece, 99, 100;
+    figures in San Severo, 107, _ill._ 106;
+    other pictures at, 144-151
+
+  Perugino, his birth, 1;
+    early influences, 2-9;
+    journey to Florence, 9;
+    earliest works, 10, 11;
+    figure of "San Sebastian" at Cerqueto, 11;
+    "Christ giving the keys to St. Peter," 13, 16, 18;
+    influence of Umbrian scenery on his work, 16;
+    his other frescoes in the Sistine Chapel destroyed, 18;
+    early pictures, 19-32;
+    the Vatican "Madonna," 23;
+    the La Calza "Crucifixion," 24, 26;
+    commissioned to decorate Orvieto Cathedral, 27, 74;
+    work for Cardinal Guiliano della Rovere, 27-29;
+    the Villa Albani altar-piece, 29, 30;
+    his technique, pigments, etc., 33-38;
+    the Cremona altar-piece, 39;
+    the "Ascension" altar-piece, 40-44;
+    the "Entombment," 44-46;
+    story of the pillage of his pictures from Perugia, 47-57;
+    the "Sposalizio" attributed to Lo Spagna, 58-61;
+    the "Apollo and Marsyas," 62;
+    the "St. Bernard," 63;
+    the "Family of St. Anne," 63-65;
+    the "Crucifixion" at S. M. Maddalena dei Pazzi, 65-67;
+    the Certosa altar-piece, 67-69;
+    pictures at Fano, etc., 69-71;
+    two "Madonnas" at Perugia, 71, 72;
+    the St. Jerome "Crucifixion," 72, 73;
+    residence in Florence, 74;
+    decoration of the Cambio, 74-82;
+    portrait of himself, 80, 85, _ill._ 78;
+    Raphael his pupil, 81, 82;
+    the Vallombrosa altar-piece, 83, 84;
+    two portraits, 84, 85;
+    civic duties in Perugia, 87;
+    the double altar-piece for San Francesco al Monte, 87-89;
+    connection with Michel Angelo, 90;
+    the fresco at Città della Pieve, 90, 91;
+    commission from Isabella d'Este, 93;
+    the "Assumption" (SS. Annunziata), 95;
+    repetition of figures in his pictures, 68, 96;
+    retirement to Perugia, 97;
+    the Schiavone altar-piece, 99, 100;
+    frescoes in the Vatican, 101;
+    works at Assisi, 102;
+    Siena, 103;
+    Bettona, 103, 104;
+    Città della Pieve, 104, 105;
+    Spello, 106;
+    completion of Raphael's fresco in San Severo, Perugia, 107;
+    works at Montefalco, and Trevi, 108;
+    later pictures, 109, 110;
+    death, 110;
+    his burial-place unknown, 111;
+    his wife, 112;
+    his scholars, 112;
+    characteristics, 112-114
+
+  Piero della Francesca, his influence on Perugino, 3, 6, 26, 30
+
+  _Pietà_ (Accademia), 9, 24, 26, 140, _ill._ 26
+
+  Pinturicchio, the "Baptism" in the Sistine Chapel by, 16, 18;
+    work in Orvieto Cathedral, 29;
+    the "Apollo and Marsyas," possibly by, 63
+
+  Phillips, Mr. Claud, 63
+
+  Portraits by Perugino, 40, 44, 80, 84, 85, 113
+
+  _Prophets and Sibyls_ (Cambio), 77, 82, 83, 151
+
+
+  Raffaelino del Garbo, 25
+
+  Raphael, his "Sposalizio," 59, 60, 81;
+    his "Crucifixion," 67;
+    Perugino's pupil, 81, 82;
+    his decorations in the Camera dell' Incendio, 100;
+    fresco in San Severo, Perugia, added to by Perugino, 107
+
+  "Raphael of Morris Moore," The, 62, 130
+
+  Repetition of figures in Perugino's pictures, 68, 96
+
+  _Resurrection, The_ (Rouen), 43, 130;
+    (Vatican), 79, 85, 86, 152, _ill._ 86
+
+  Roederer, Baron, 51, 53
+
+  Rossi, Prof. Adam, 58, 81
+
+  Rovere, Cardinal Guiliano della, Perugino's work for, 27, 28, 29
+
+
+  St. Agostino altar-piece, The, 56, 70, 87, 88, 106, _ill._ 106
+
+  _St. Anne, Family of_, 63, 64, 128, _ill._ _Frontis._
+
+  _St. Anthony_ (Città della Pieve), 104, 135;
+    (Bettona), 103, 136
+
+  San Bernardino of Siena, 71, 72
+
+  _St. Bernard, Vision of_ (Munich), 63, 132, _ill._ 62;
+    study for, 63
+
+  _St. Francis of Assisi_, 72, _ill._ 70
+
+  Santi, Giovanni, lines referring, to Perugino, 12;
+    story of his taking Raphael to Perugino, 81
+
+  San Sebastian, Comparison of Perugino's various representations of, 118-120
+
+  _San Sebastian_ (Cerqueto), 11, 118, 135, _ill._ 10;
+    (Panicale), 93, 99, 118, 143;
+    (Perugia), 118, 144, _ill._ 118;
+    with other saints (Perugia), 106, 149;
+    (Albani MS.), 117, 118
+
+  Schiavone, Giovanni, altar-piece painted for, 99, 100, 123, _ill._ 100
+
+  Signorelli, Luca, his influence on Perugino, 8, 9, 11, 25;
+    his decorations in the cathedral at Orvieto, 29
+
+  Sixtus IV., Pope, pictures by Perugino executed for, 10, 12
+
+  Space composition, Mr. Berenson on, 13
+
+  Spello, Perugino's pictures at, 106
+
+  _Sposalizio, The_, attributed to Lo Spagna, 49, 58-61;
+    compared with pictures by Raphael and Lorenzo Costa, 60, 61
+
+  _St. John Baptist and Saints_ (Perugia, Pinacoteca), 106, 147
+
+
+  Tempera painting, 33-36
+
+  Thompson, Mr. Henry Yates, 117, 118
+
+  Tiberio d' Assisi, 108, 109
+
+  Tinet, Napoleon's commissioner, 48, 49
+
+  Tofanelli, 51, 52
+
+  _Transfiguration, The_ (Cambio), 77, 78, 150;
+    (Perugia, Pinacoteca), 78, 109, 146;
+    (Sta. Maria Nuova), 79, 137
+
+  _Triumph of Religion, The_ (Cambio), 78
+
+
+  Ultramarine, story of Perugino's use of, 37
+
+  Umbria, The scenery of, 15, 16
+
+
+  Vallombrosa altar-piece, The, 64, 83, 84
+
+  Vannucci, John Battista, 111
+
+  Vannucci, Pietro, see Perugino
+
+  Verrocchio, his influence on Perugino doubtful, 9
+
+  _Virgin in Glory, The_ (Bologna), 63, 136, _ill._ 64
+
+  Vite, Timoteo, 61, 62, 81
+
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