Pietro Vannucci, called Perugino

ent. It is quite clear that in that year Perugino was in Venice,[K] and it is more natural to believe that he painted the picture in Cremona itself. The picture is one of great beauty, but is singul

ted to the recent influence of the works o

n one side, St. Augustine on the other of the central figures. It is signed 1494, and

The Duke Lorenzo at once decided to employ Perugino, and wrote to his friend Guido Arcimboldo, Archbishop of Milan, who was then in Venice, begging him to inquire about Perugino, and, if possible, engage him. The Archbishop replied on June 14th to say that Perugino had left Venice. Unable to secure his services himself at that time, the Duke recommended Perugino to the monks of the Certosa at Pavia, and commissioned a great altar-piece fro

mentioned,-the great "Entombment" in the Pitti Palace, the "Ascension" altar-piece for San Pietro, Perugia, the portrait of Francesco delle Oper

] [Uffizi Pal

RANCESCO DELL

iven in the next chapter, and it will suffice here to state that the centre part is at Lyons, the lunette at St. Gervais, Paris, the predella in three panels at Rouen, and the surrounding saints divided, three in the Vatican Gallery and five in

cture for S. Pietro, naming it almost at the close of his biographical notes on the artist; and of this picture he says: "The whole of it is replete with evidences of thought and care, insomuch that it is one of the best paintings in oil executed by

and still shows signs of two vertical splits in the panel; but, despite all these injuries, the Borgo picture is,

mandorla at Borgo are painted with exquisite detail, every little scale and feather being carefully represented; these details are almost entirely absent in the Lyons picture, where the wings of the cherubs appear to be hurriedly painted and lacking altogether in finish. There is far greater sweetness in the faces at Borgo, especially those of the Redeemer, the Virgin, St. Peter, and St. Paul, than at Lyons, where all the

eecy clouds, rise the cherub faces: at Lyons it is a flat band of heavy colour, the clouds are woolly and thick, and t

to] [Borgo

ENSION

theory, I know, and it is one that will probably not meet with universal acceptance, but a careful comparison of the pictures leads me to a clear opinion in the matter. With regard to the pilaster saints the case is different. Those at the Vatican are all genuine work of the master and are extremely fine, and the same may be said of three of the five at Perugia, but two of them are not entirely Perugino's work, and bear traces of a pupil's hand. The three predella pictures on the other hand, which are at Rouen, are charming examples of the master's work, and are bathed in that wonderful golden sunlight which is so di

o question as to the date of the S. Pietro altar-piece, as the original contract for painting it is still in existence and appears in full in Orsini.[L] It is dated 8th March 1496, and recites how the abbot and chapter of the monastery gave out on contract to Perugino the picture of the High Altar for the price of 500 gold ducats. The Borgo picture was therefore, I contend, a little earlier, but perhaps only a year in advance of the other. The picture of Francesco delle Opere belongs to this same period, but as in t

[Pitti Pala

MENT OF CH

e looseness of death. The mourners around are full of tender pity, while the grief of the Virgin is too great for words, and evinces itself in the look of deep affection that fills that wonderful face. Each figure is, however, distinct, self-centred, and enfolded in its own grief. It is only the fact that each one is thinking of the great central figur

hard and uninteresting. Another large pen drawing for this picture exists, and is in Christ Church, Oxford. By some critics it is not accepted as a work of Perugino's. It is ascribed to one of his pupils, or to a later man altogether, especially because several of the faces are hard and unimpressive. Let, however, the drapery be closely examined, and the curious formation with dark hollows and oval curves will be recognised at once. The large projecting great toe, and the manner in which it sets away from the oth

that a rich Florentine, Francesco del Pugliese, offered them three times the price that they had paid for it, as well as a replica from the