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 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 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
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