THE COLLEGIO DEL CAMBIO AND THE PINACOTECA
The Corso was on the left near the Fonte grand range of ancient
buildings, in which is the entrance to the chapel of the Cambio;
beside this is the Sala, adorned with Perugino's famous frescoes. A
little farther on is the richly-sculptured doorway of the Palazzo
Pubblico, and within this is the Pinacoteca, containing a very
interesting collection of art treasures. Here are marvellous frescoes
by Bonfigli; and pictures by him and by Piero della Francesca,
Fiorenzo di Lorenzo, and other famous old painters.
[Illustration: PERUGINO.]
It would be difficult to say too much in praise of the Sala del
Cambio: the harmony preserved throughout it, in the rich and artistic
decoration of its walls and ceiling, is most soothing, and adds
greatly to the enjoyment one feels in the beautiful little place. The
lower part of the walls is wainscotted with dark wood, inlaid with
tarsiatura by Domenico del Tasso; the doors have the date 1483. Near
the entrance is the raised throne for the judge; below this are desks
and seats for the money-changers, and these are exquisitely carved.
One account says that the intarsia designs were furnished by
Raffaelle; another tells us that Domenico del Tasso was both designer
and executor of this beautiful work. In the record of the agreement
between the authorities at Perugia and Pietro Vannucci the painter, he
writes, "My intention in the frescoes which cover the upper part of
the walls is to recommend the merchants and magistrates therein
assembled never to forsake the path of duty, but to remain faithful
to the dictates of wisdom, of natural reason, and of religion."
[Illustration: DOORWAY OF PALAZZO PUBBLICO]
Faith and Love are emphasised by two large frescoes facing the
entrance, the Transfiguration and the Adoration of the Magi; Hope of
an eternal future, by the prophets and sibyls on the wall to the
right.
On the left wall the frescoes depict moral qualities,--Justice and
Prudence, illustrated below by the figures of Fabius Maximus,
Socrates, Numa, Camillus, Pittacus, and Trajan.
On a lower level still is a portrait in oil of Perugino, painted by
himself; while the remaining half of the upper wall has figures
representing Courage and Temperance. Below them are Licinius Leonidas
and Horatius Cocles; Scipio Africanus, Pericles, and Cincinnatus.
There is not any attempt at grouping in these frescoes: the figures
stand severe and stately, as if they were on the look-out to rebuke
any cheating or covetous practices going on in the Hall below. It is
remarkable that the painter should have been accused of greed in the
pursuit of his calling, when he considered it necessary to call up on
the walls of the Sala so many witnesses to protest against the love of
money in others. The ceiling is divided into bays, on which are the
planets. In the centre is the sun, represented by Apollo in his
chariot; the spaces between are filled with ornament and figures, some
of which are attributed to Raffaelle.
On a bright morning, when the sun is pouring light and warmth into the
little Sala, the rich tone of these frescoes is marvellous, and, so
far as one can see, they have not greatly suffered by restoration.
In the adjoining Cappella del Cambio are some sibyls and children,
said to be Raffaelle's, but the work in these has evidently been much
retouched.
Perugino is at his best in the frescoes of the Sala; they form a
striking contrast to the monotony of style which, in spite of their
individual beauty, wearies one in his Perugian oil pictures. The
gallery devoted to his work upstairs in the Pinacoteca is, on the
whole, disappointing.
The pictures are calm and sweet and refined, but one longs for variety
of feeling; a few, however, show marked superiority over the rest. It
is very curious to remember that these peaceful saintly pictures were
painted when daily brawls were taking place in the city, even while
her chief Piazza streamed with the blood of nobles and Raspanti.
The most interesting Umbrian pictures are those, only a few, by a rare
and early painter, Fiorenzo di Lorenzo, who with Piero della
Francesca, from Borgo del Sepolcro, and Benedetto Bonfigli, had
established a school of art in Perugia. The lovely head of a Madonna
by this rarely found painter, Fiorenzo di Lorenzo, is over a doorway
in the Palazzo Pubblico, and upstairs in one of the galleries are two
very remarkable pictures, the Adoration of the Magi is especially
beautiful.
The three kings stand on the left,--one of them is said to be a
portrait, when young, of Perugino; on the ground, in the centre, lies
the Holy Child; the Blessed Virgin and St. Joseph kneel on either side
of Him. Opposite the magi are the ox, and a very wise-looking ass;
while a large group of angels fills up the background, and forms the
most interesting part of the picture; the angels are so altogether
original and graceful.
The painting of detail is marvellously finished, though the similarity
of faces and of costume make it probable that the same model was used
for most of the angels. They and smaller figures, the shepherds and
others, seen at the openings which reveal landscape on either side of
the stable, are singularly full of grace and charm. There is
admirable colour in all the pictures by this painter.
We find paintings by Niccolo Alunno of Foligno, another contemporary,
pictures too by some old Sienese masters; a room is filled with small
easel pictures by Fra Angelico. The student of early Italian art will
find in these galleries abundant material of a most interesting kind.
The pictures were formerly scattered in the various churches of
Perugia, for which they had been painted; the government has now
collected and placed them in the Pinacoteca.
One of the rooms leads on to a terrace. Here is a beautiful view over
the surrounding country. The old cicerone took much interest in
showing us where Siena and Orvieto and Rome lay, all three hidden
among ranges of blue hills.