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.
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 magnific͞etia tva svp celos d͞s; and on Jeremiah cœlvm sedes mea, terra avt͞e scabellv̄ pedv̄ 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 N with a small s sitting above 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: sagitt͞e tvē infixē 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.
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 lavdē tercentv͞m avreis alq D with a circle in the centre hvjvs templi Bono centv̄ 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.”
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.
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.]