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 lavd[=e] tercent[=vm] avreis alq [D] hvjvs templi Bono cent[=v] 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
THE RIVERSIDE PRESS LIMITED, EDINBURGH
NOTICE.
PHOTOGRAPHS of most of the works mentioned in this volume are to be obtained in various sizes from
*W. A. MANSELL & Co.*
Art Photograph Publishers and Dealers,
405, OXFORD STREET, LONDON, W.
16, PALL MALL EAST, S.W.
=Permanent Carbon Prints, Permanent Prints, Photogravures, from most of the Pictures in the=
Galleries
=at=
LONDON. =National Gallery.= =Tate Gallery.= =Dulwich Gallery.= EDINBURGH. GLASGOW. BRUSSELS. MILAN. VENICE. MUNICH. BERLIN. DRESDEN. VIENNA. =Liechtenstein.= =Belvedere.= =Czernin.= AMSTERDAM. Hague, Haarlem. CASSEL.
=Etc., Etc.=
Royal Collections
=AT=
BUCKINGHAM PALACE. WINDSOR CASTLE.
Private Collections
=of=
=The Duke of Devonshire.= =The Earl Spencer.= =The Earl of Northbrook.=
_ART BOOKS--ART ALBUMS--ARTISTIC FRAMING_
* * * * *
FRANZ HANFSTÆNGL 16, PALL MALL EAST, S.W.
* * * * *
Lists and Prospectuses Free. Catalogues, One Shilling.
The Art Reproduction Co. Ltd.
3 and 4, PLOUGH COURT
FETTER LANE, LONDON, E.C.
For:
Line Process Blocks Half-Tone Blocks on Zinc and Copper Photogravure Plates Copperplate Printing Fine Art Printing Artistic Advertising Catalogues, Price Lists etc.
Write for Specimens and Estimates
Telegraphic Address "PERQUISITE," LONDON
National Telephone 890 HOLBORN