Chapter 10 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.)

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 10? × 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 MAGNIFIC?ETIA TVA SVP CELOS D?S; and on Jeremiah C?LVM SEDES MEA, TERRA AVT?E SCABELLV? PEDV? 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 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. [1566A.]

This picture was obtained in 1896 from the Sciarra Colonna Gallery.

It is inscribed: SAGITT?E TVE? INFIXE? 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 lavde? tercentv?m avreis alq hvjvs templi Bono centv? 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 Arimath?a 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 Arimath?a, 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 PR?STAS DEA DIC AGE PR?STO

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, Cum?an, 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 1496 Sta. Maria Maddalena 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. Dated Città della Pieve

1518 Martyrdom of St. Sebastian. Dated Pinacoteca, Perugia, Sala x. 2

1521 Additions made to Raphael's unfinished fresco. Dated S. Severo, Perugia

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 HANFST?NGL

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

* * *

FOOTNOTES

[A] Mariotti, "Lettere Pittoriche Perugine," 1788, v. 121.

[B] "Storia della Pittura," A. Lupattelli. Foligno, 1895.

[C] "Italian Painters," ii. 107.

[D] Eastlake, however, refers to a picture painted for Luca degli' Albizzi for which the artist was paid 100 gold crowns. At this time, it was, he says, in the Palazzo Albizzi, and he says it was executed prior to 1478, as in that year Luca, who was in the Pozzi conspiracy, was exiled for twenty-five years. This picture cannot now be traced.

[E] "Central Italian Painters of the Renaissance," 96.

[F] Mariotti, p. 150.

[G] In 1491 the incomplete picture begun by Galeotto turned up. It had been at his father's house, and quite overlooked; but in that year the heirs of Galeotto's father found it and sent it to the Priori, together with a number of colours that had been prepared for it. For three years the incomplete picture stood in the Priori's room, silently reminding them of Galeotto; but no further progress in the negotiation was made till 1495.

[H] Magazine of Art, April 1899.

[I] "The Book of the Art of Cennino Cennini" (Geo. Allen), 1889.

[J] "The Pigments and Vehicles of the Old Masters." Society of Arts, 1892.

[K] Vide Gaye ii. 69; and Morelli [1883], 287.

[L] Orsini, "Vita dell' egregio pittore Pietro Perugino," 1804, 140.

[M] Murray, 1899, 253.

[N] In this same year 1510, Perugino painted a "Virgin and Child between St. Peter and St. Paul," for Agostino Spinola of Savona, Bishop of Perugia.

[O] A letter dated 30th March 1512, and written from Città della Pieve, already mentioned, is in existence, and proves not only his presence in the town in that year but that the St. Agostino altar-piece was at that time in hand, although not finished till 1521.