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 MAGNIFI[=CE]TIA TVA SVP CELOS [=DS]=; and on Jeremiah =C[OE]LVM SEDES MEA, TERRA AV[=TE] SCABELL[=V] PED[=V] 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: =SAGIT[=TE] TV[=E] INFIX[=E] 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