Pietro Vannucci, called Perugino

ry 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 th

ement 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 sc

cular, 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

rom 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 in

nham 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

and each page the work of some great artist at his very best. There are also bord

ino page

PRVSINV

tened to an upright pillar of wood

oes, and a blue vest and a brown drapery around his waist; the other, who is barehead

e 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.

ouring of the angels' wings, and the shape of the clouds, all are charact

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

oto] [Peru

M OF ST. SEB

the Cerqueto fresco is far more robust in its delineation, more Signorellesque in its muscular power th

es 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

tion in accepting it as a genuine work of Perugino, and the very folds of the drapery, when c

e readiness with which Perugino used over and over again the same theme, treated in the same manner, varying each representatio

F THE WORKS

IA-HU

PICTURE

. Panel. 0·29 × 0·22

the head of Our Lord, who stands with His feet in

cene in the cathedral at Città de

of the Archduke Si

. 0·30 × 0·23 = 1

is right hand he holds a stone, by his side i

same co

× 1·44 = 6 ft. 2 in. × 4

n her knees. On the right stand St. Jerome and St. Pe

SBITER JOHANNES CHRISTOFERI DET

sed in

0·85 × 0·62 = 2 ft.

ees, is in the act of imparting a benedicti

signed: PETRVS

STEIN G

ivi

ine Child, who is seated upon a sack and supp

embles the pictu

LG

ROYAL PICT

ohn. Oval, 0·69 × 0·60 =

ch and holds on her knees the infant

i in Florence. It was sold in 1850 to M. P. Vellati of Rome, and from

ISH

NATIONAL

. John. Panel. 2 ft. 2

he Madonna, who is by His side, and playing with a lock of her hair. St. John s

obtained by the late Mr. Beckford in Perugia,

e of the Virgin is insc

ild. Panel; centre 2·1 × 4·2. Si

nscribed below: PET

were originally in

sa by one of the Melzi family in 1786, and bough

and two Saints. Panel

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 cha

erugia, leaving the frame in situ, in which at the same time was inserted

r the National Gallery from

r Lord. Panel, 1·

d of the Saviour, who stands with His feet in the river. Two angels kneel to the right a

cannot accept as a work of Perugino. It i

Rome in 18

rds. Fresco transferred to

is a shed surrounded by a fence, within which cattle are lying. On the right and left kneel the Holy Virgin

rch at Fontignano in 1843, and is sa

seum in 1862 from Mr. W. B. Spence of Flore

SH MU

of Tobias and the An

earded Saint or Prophet.

a Virgin

angel playing

t kneeling with claspe

there is embroidery on her ro

n Adoration

for a

no which I cannot accept, and one in the Mal

CHURCH,

presenting the Deposition of Ou

of an

ng for the St. Seb

d Tobias, in the picture No.

CASTLE C

Disciple, in the Mount of Olives

awing in

f two Sleeping Disciple

awing in

f a Fem

ightened

re of St. Michael, in the pictur

f a Fem

ted to

ne Chapel in the Vatican of the D

Esq., QUEEN

nel. 10 × 17. Old Ma

his left hand. Around, four soldiers, three sleeping

Dudley Co

LFORD, C.I.E., D

Child. Pane

g the divine Child, who is

ANTAGE

e. Two Panels each. 17 × 7.

St. Jerome stands erect with a stone

n alta

DY, Es

rayer. Pan

t to the left wi

T DUNSTAN'S, REG

nel. 13 × 11. Old Ma

he divine Child on her knees, a

SURREY HOUSE,

Saint. Pan

lack dress wit

F DUDLEY'S

× 18, Nos. 146, 147, 148, 154, 155, representing "The Nativity," "The Baptism,"

o. 154 now belongs to Mr. F. A. White

LOWE, Esq., LO

ints. Canvas. 47 × 45. O

, who is nude, erect on her knees. His righ

behind him St. Nicolas of Tolenteno. On the

s pupils. The identical picture, executed in fresco, is to be foun

Palazzo Darino at Milan, and was bough

T ONE TIME

belonging to Lord Taunton, and originally in Venice

erome and St. Peter," once at Manchester, originally

AN

, PICTUR

ith S. Jerome and four Angel

ver been ph

EUM, HOTE

. 0·90 × 07·4 = 3 ft

e great altar-piece at St. Agostino, in Perugia; others at Nante

lion is close by, and on a tree in the c

NTI

an Old Man with a bear

BLE,

om the great altar-piece painte

antes, and Toulous

PICTURE

ollection of Old Mast

Magi, from the picture in the Mus

aint on pre

E GALLERY, HO

Asce

The lunette belonging to it is in St. Gervais, Paris, the predella at Rouen; a

ward Him pointing upward with both hands. There are angels playing on instruments on either side of

rench Government and confi

ulanus a

m St. Agosti

es, and Grenob

S, PICTUR

, or the Infant Saviou

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, inc

ure belongs to the Duke of Northu

PICTURE

lar pictures. 1·27 diam. =

ords ELEVATA E MAGNIFIC?ETIA TVA SVP CELOS D?S; and on Jer

m St. Agosti

Toulouse, and Gre

·6 × 1·18 = 5 ft. 4 in

g and adoring the divine Child, who is on a pillow o

damaged, and only read

Brissac, and given to the Galle

THE L

nel, circular. 1·51

her right. Behind are two angels, with clasped hands in adoration. The dress of the Virgin is cut square at the nec

n passed to the King of Holland, from who

0 × 0·66 = 2 ft. 8 ×

rgin is St. Joseph, and on the other St. Catherine of Alexandria. The faces of the Virgin and St. Catherine closely re

is XVIII. Purchas

n that picture St. Agnes is d

Fran

r. 1·02 diam. = 3

the hilt of his sword, and his left hand res

astian.

ned in 1896 from the S

SAGITT?E TVE? I

hastity. 1·56 × 1·92 = 5 ft

d'Este, Duchess of Mantua, and at a lat

0·39 × 0·29 = 1 ft.

l of Morris Moore, from the name of the collector who was

es it to Perugin

sed by the Lo

NEW M

nt 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

State to Ro

ENéES), PIC

nce. Life s

Child. Sm

, PICTUR

vangelist and

m St. Agosti

Nantes, and Gre

RM

LINDENAU

e of "St. Anthony of Padua," probably sides of the

OYAL PICTU

× 0·25 = 1 ft. 2

ment o

, STAEDEL

John. 0·68 × 0·52 = 2 ft

Gallery, Rome, also the one at Munich, and also the one in the Louvre, but n

h are evidently, however, painted for th

der to be genuin

n 1832 i

IG, M

angel St

ith a great sword. The landscape at the back appears to be the

N, DUCAL

ction a "St. John Baptist," and a "St. John Eva

OLD PI

nel. 1·73 × 1·65 = 5 ft 9

ce. Acquired for King Ludwig I. in 1829 or 1830 from the House of C

d Fra Bartolomeo all took

. Panel. 1·95 × 1·56 = 6 ft.

hild is on the ground before her. On the left is

came into the possession of Mr. Henry of Paris, where,

and superficial in concept

. 0·83 × 0·64 = 2 ft. 9

the divine Child, who is

by King Ludwig I., and by the

Fran

his is feeble

st. 0·30 × 0·30 = 1

hn, who holds his cross in his left hand and in his

·30 × 0·40 = 1 ft.

, near which two watchers are

tate of Inghirami in Volterra, an

C. and C. in ascribi

ASS

altar-piece of 1521 painted for the church of St. Agostino, in Peru

elled as St. Apollonia. It was opposite to the arch

T, ROYAL

ity. 87 ×

PETRVS P

AL

RY OF THE ANGELS

The upper part was destroyed in 1700 during the demolition of

ncula on the outsid

CO

saints," brought from Mentone, near Città di Castello, the upper part of which is in gold wi

URCH OF THE

d Boto da Maraglia, who was taken prisoner by the French, b

our, is kneeling and looking up to St. Anthony, who

PEROGA QVANDO FO PREGIONE DE FRANCIOSE CHE FO ADI

Jerome, with male and female patrons under her cloak, an

A, PIN

ption. Ci

TRVS PERVG

CH OF ST. MAR

rgin i

s, while on either side are two kneeling angels. Below are the apostles grouped around the empt

EPOLCRO, TH

nsion of

ot Simone de' Graziani, and conveyed to the cathedral at heavy cost on the backs of por

e apostles in this pictur

OF STA. MARIA D

oly F

QUE

f San Se

by Orsini ("Vita di P.P

Cavandoli da le Hoscie D tal pena cusigli piaccia cuq HV operare che mi e semp ne abbia ad scampare e

IEVE, SANTA M

About

t 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 c

is inscribed

IEVE, CHURCH

thony.

enediction. He is between St. Paul the Hermit and St. Marcellus (or Macarius), who

PIEVE, THE

igh Altar-Vi

l, and St. Gervasius, and the two Umbrian saints carry fla

513 Marchisino Cristophori M

CRISTOFERI VANVTII DE CA

eft-Baptism of Ch

over Our Lord's head. Two angels stand by

e, with St. John Baptist, St. John Divine, St. Domenic

PIEVE, ST. M

the Cross, in which the Madon

read something as follows: ..... esta hopera fero depengere la c

CIA

ption of

groups of the other disciples

o predella panels representing the "Ador

HURCH OF S

h St. James an

divine Child in her arms. On the left i

ibed: PETRVS PERVSINVS

RU

his place, but I was unable to find out where th

H OF STA. M

iation. (2

, 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 rea

and Child.

and holds the divine Child in her arms. Around are six saints, St. Jo

la "The Birth of the Virgin," "The Presentation," "Th

? tercentv?m avreis alq hvjvs templi Bono centv? svperaditis hanc solerti cvra fieri dema

URCH OF LA

of Christ.

ubs. The Holy Ghost is descending in the form of a dove. High above in the curve of the archway is the Eternal Father holding

ut appears to be DEO ET BEATO JOANNI BATTISTAE SACRVM PIETATE JOANNIS BA

THE PITT

0·47 × 0·35 = 1 ft. 6

dress is inscribed: "

sometimes called "T

and III. from Ma

to Leonarda da Vinci

this picture is th

ombment

d: PETRVS PERVSINVS

i, 255, 411, 412, 413, and a large study for

rist. Panel, 0·86 × 0·86 = 2 f

the divine Child, who is nude and seated upon a sack and supported by an angel. On the other

THE UFFI

re, a Florentine artist, a brother of the celebrate

en. He wears a cap on his head and is clothed in a loose soutane. In his hand i

ck: 1494 D'Luglio Pietro Perugino

ild with two S

hway. She has the divine Child on her knees. At her le

the throne reads: PETRVS PERV

d for the Church of Sa

udies in the Uffizi for

E, THE

esi, General of the Vallombr

are, Monk of Vallombros

Mount of Olive

onvent of the Ges

umption

of cherubs, who, in their arrangement, follow the lines of the mandorla. On either side are standing angels playing on musical i

an Giovanni Gualberto the founder, St

ed: PETRVS PERVSINV

was painted f

cifixio

ands The Virgin, on the oth

ery of St. Jero

ombment

ted (in about 1493), for t

from the C

he left. The Madonna, fainting, but supported by the holy women, is on the right, and in the centre at the foot

. Annunziata de Servi, at the expense of Jacopo Federighi, a Knight of M

win

ion from the Cross" in the Pitti Gallery. Silver pa

figures turni

r figure in picture in SS

Jerome

. Virgin

ure of a

hing in bistre touched up

igure o

An angel

Pen and ink.

igure o

Hea

rnard. Study for the p

on the reverse of it,

Study for the picture

s. For th

Two f

. Socrates. F

les. Study for the Assum

dy for the figure in

re, heightened with white on tinted paper. On the back of 252, 400, is a Christ on

Cumean Sibyl.

OUSE OF SANTA MARIA

very large fresco in thre

In the right division, St. John and St. Benedict. In the left, the Vi

the "Madonna," 251, 417; and for t

HURCH OF SS

nthroned between St. John Baptist and St. Francis, much

the St. Francis in

apel is an Assump

nded by angels and cherubs, while below on the ground th

ive of the apostles in

CHURCH O

rucif

around are St. Jerome, St. Francis, St. John

E, VIA

have done the landscape, but I doubt it; and the figures around the table I do not think are his at al

T. SPIRITO

ens

that this is from

ERA

Child with

is is by the master, th

LDI PEZZO

Panel. 0·29 × 0·2

s. On either side of her is an angel, one having clasped h

H OF ST. FRANCIS

Nati

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

NATIONAL

and Chil

in a rocky valley. On the left is a man on a white horse and three youthful companion

ES,

on. Said to

i says, by Cardinal Oliviero Caraffa, w

d other angels playing on instruments are around. Below are the apo

t seen th

RASIMENO, CHURCH

f St. Sebas

an arched Temple. Four archers are engaged in shooting arrows at the Saint. The Eternal Father a

E CASTRO .... and on the fo

one of the archers at

RASIMENO, CHURCH

n and

of cherubs, and has four angels around her p

picture is

, CER

which the central one in the u

globe in one hand and giving the benediction with the

in the National Gallery, London, and copies

ino panel have now been ins

d chapel on the left, that

PINACOTEC

of the Virgin.

side being in this room and

ch of S. Fran

St. Mary Magdal

his lion, and in the Magdalen

hurch of S

ot at by two Archers; above are two an

ch of S. Fran

[Sala

standing and ext

XIII. No. 16, and the place is still empty which the Pietà filled.

of Christ. [

Holy Spirit as a dove within a circle of golden rays is in the heavens above atten

altar-piece i

seated and surround

for above

of St. John

of Cana in

ieces for above altar-pi

ion of the

f Christ in th

het Davi

het Dani

ame altar-piece. The rem

h of Chr

Agostino altar-piece, "The Baptism o

orenz

s the Bi

stanzo

tyr.

erome

ucy.

da Tolent

onica

ar-piece at St. Agostino, and are believed

e divine Child

ngel Gabr

d to have formed part

ifixio

te side of the pict

Lord is finely carved in w

ch of S. Fran

ames.

erome

the Sodality

guration. [

s. Moses and Elias kneel in the clouds, one on either side of the Christ. Below are the three discip

s originally in Santa Maria Nuova) represent "The Annunci

in and C

for it in the U

ed in

ile Confraternita di

of Consol

ng angels, and around are cherubs. Beneath, on the ground, kneel San Francesco and San Bernardino praying for the people

obile Confraternit

n and Chi

are kneeling San Niccolo and San Bernardino da Siena. On the ground St. Jerome, with his l

hurch of S

t and four othe

his left is St. Anthony of Padua and St. Sebastian, the latter being partly in armour and wearing a fan

e Divine. [

the Evang

uted to Perugino

t. A lunette. Fres

Joseph, and three shepherds, all kneeling in adoration. The usual wooden square

of the church of S.

IA, D

d Child a

in benediction, in her arms. On the left stands St. Sebastian holding an arrow, on

CHURCH OF

ord and many Saints, to which P

SQUE PINXIT A.D. MDV.; and below with the figures of SS. Scholastica, Jerome, John the Divine, Gregory, Boniface, and Martha: PETRVS DE CASTRO

rit. On either side and around Him are adoring angels, and near by, seated in two groups, are, on His right three saints

CHURCH OF

et

rimath?a, who is supporting it in sitting posture on the edge of the tomb. On e

rt of the great altar-

, Toulouse, Lyons, Nantes, S

UNNERY OF

her with SS. Se

Angels, the Virgin,

he Abbot, St. Anthony of Padua, St. Elizab

en signed: PETR

as the house is now

COLLEGIO

decorated

figures in groups of three, each group

mus, Socrates,

millus, Pitt

ius, Leonidas,

Pericles, C

nce and Justice, the virtues, illustrated by the philosophers,

ANO PR?STAS DEA

DOLERE QUEAS SCRUTARI VER

TERIT NIL NI

NCTOS SIMILES PI

IN ORBE MALI ME CVLTA AVGE

ERANT QVAE MO

enders these verses i

an, Oh! Goddes

ne, shall bring

uth lies hid, t

me thou may'st do

native, the las

eeker may do a

s make all men l

orld no wicke

ions grow in

ship antient p

on is very close to the original but is

where thy gift

pt to deeds that

l, secrets to

heaven's justic

de all men li

rime had c

word and pen t

me will fall

s of Fortitude and Temperance, the virtues specially il

EIS PULSA ET D

VMENTA VIRI NIL EGO PRO PATR

TERRET MORS MI

I VIS MORES REGO

O REDDO PARES ME SEQVERE ET

VALEAS VINCER

ation of these ve

proof infalli

all foes are b

for country n

error brings

l thy might. "

by tempering pa

e, thy fiery

ictory canst t

of these four

ell the secret

rt, its foaming

, the storms o

elf a greater s

rendering i

th my hand in sc

hree whose migh

loved ones,

others Foe, to

rom thy throne. "

uls and balance

self-conquest t

are that master

standing figures is clea

r is the portrait of Perugino with this ins

AT PINGENDI HIS

ENTA EST HACTE

esentations of The Trans

ction. On either side kneel Moses and Elias, and in the sky are the words: HIC EST FILIVS MEVS DI

lumns, are kneeling the Madonna, St. Joseph, and the shepherds. There are cattle nearby, and abo

and opposite to them the Persian, Cum?an, Libyan, Tyburtine, and Delphic sibyls. Above them, in

ceiling are medallions of the deities representing the sev

tes (251, 415), Pericles (252, 400), "Moses" (252, 401), "The Cumean Sibyl" (25

CAN, CAPPE

receivin

fizi, 252, 416, for one of

N, STANZA DE

II. ordered the destruction of all existing work in order that Raphael might

rubs, and surrounded with angels the Eternal F

ry, within a mandorla, and sur

d St. Paul, while above Him is the Eternal Father wi

Father between two saints and s

TICAN, P

el. 2·27 × 1·67 = 7 f

. 0·89 × 1·65 = 2 ft.

Child is nude, and stands erect on her knees. Around are four saints patrons of Perugia, S

bed: HOC PETRVS DE C

Town Hall at Perugia, for which it was

ia, and Benedict.

a book, and Santa Flavia is crowned and has her hands clasped. She and

"Ascension" removed from the Benedictine Chu

ILLA BO

× 0·69 = 3 ft. 7 in.

bound to a central column. He is pierced

5 × 0·37 = 1 ft. 6 in

olds the divine Child, who

Fran

VILLA

piece.

f the Divine Child," and "The Crucifixion." "The Nativity

the capitals, PETRVS DE PE

RCH OF ST.

rucif

Perugino was paid

ERY CHURCH OF STA.

d Child w

Around stand St. John Baptist, St. Louis of France, St. Francis

lica of the

H OF SANTA MA

et

alen, and on the right St. John. Above their heads are cherub faces floating in the air. From the canopy of the throne are suspended tw

d Child a

de on her knees. On her left stands St. Catherine, with wheel and palm, and on the

X SPEIS JOANNE BERNAR DELL

OF SANTA MARIA

ation of

ribed: PETRVS IN C

RIS GENETRIX E

LIS TV QVOQV

MUSEO

adoring the

olds 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

ion of the

CAL LIST O

great hall of the Palazzo P

Cerqueto, a castle in the diocese o

Peter" in the Sistine Chapel in the Vati

in the Villa Al

ld, from Fiesole. D

d Saints.

for the Gesuat

Child. Dated Sant

Francesco

nd Child Pinac

ent. Dated.

San Pietro, Peru

ated.) Prede

t St. Pietro

of S. Bern

93, finished 1496 Sta. M

d Child a

Sta. Anna

r-piece.

Dated Pinacoteca,

rnard and St. Francis Pi

iece. D

frescoes in th

the Accademia

of Urbi

mption. Dated

e Virgin Pinacoteca,

the Magi. Dated

bastian. Da

Cross, begun by L

and Chastity

d with two Sain

d with two Saints Na

amera dell' Ince

an Francesco, Sien

nt now

n. San Ago

picture. D

Glory. Dated Ci

Cross. A fragment. D

ebastian. Dated Pinacot

phael's unfinished fresco

Dated

ld with Saints

rugia, of which part is in situ, and other par

of the M

Saints. Dated St

of the Shepherds Na

N

ouen), 43, 130; (Città della

i), 1

hepherds, The (Nat

nal Giovanni

MS.,

piece, The, 2

', picture painted

illa Albani), 29, 15

ina, his influenc

arsyas (Louv

ido, Archbisho

ord, and the

55, 96, 128; (Borgo San Sepolc

, 83, 84, 139, ill. 82; (SS. An

es fo

d'Agnol

, portrait of, 84

ion of on co

uen), 16, 17, 44, 130, ill

no), 1

lla Pieve

n the Sistine Chapel, pro

i, his influence

erugino, 2, 9; on "sp

"Sposalizio" to

no's pictures a

Signor Gu

influence on

ive picture at Betton

ia, Perugino's decora

va,

Signor A

nti di Polon

ino, The "Tra

piece, The, 67

yor of Peru

Keys to St. Pete

en (Accademia), 24

birthplace, 1; fresco in Sta

and peo

y Perugino at, 1

, The (Perugia, Pinacote

o, his "Sposa

za), 9, 24, 142, ill. 24

Pazzi), 40, 63, 65-

es fo

, 72, 73, 1

coteca), 87, 8

i), 10

103, 153,

n, The, by

ount, 5

., and the Alb

Baron

ss (fragment, Città

by Filippino Lippi, completed

Agost

, 40, 44, 45, 138, ill.

lla d', and

are, wife of

hi, Jac

piece, The, 31

o, his influence o

, portrait of, 40, 44

ietro di Ma

Perugino's uncl

gham,

The (Cantia

ert, on Perugin

., Pope,

P., his Canto

o da Vi

cent from the Cross," comp

is "Vision of S

di Credi

izio," attributed to,

stity, 9, 62

(Louvre), 19, 129;

23, 40, 1

i), 31

a), 31

na), 3

m the Certosa alta

, 69-7

glia),

coteca), 69, 7

iavone altar-piece), 9

na), 1

la Pieve),

, Duomo)

ccio

o, France

te for his "David," 89; conne

of, anxious to secure

io, portrait of, 8

ah, probably not

a Albani), 29, 153;

alco),

Pinacoteca

lian pictures, 48; admiratio

, his influence on

ntract to decorate the cathedra

's work at and con

the Priori of, 20, 23; altar-piece painte

Perugino's pict

the magistrates' chape

for St. Agostino,

Cambio, 74-82, 149

ce for San Franc

ne altar-pi

an Severo, 1

ctures a

irth, 1; early

to Flo

t works

Sebastian" at

he keys to St. P

brian scenery o

in the Sistine Ch

ictures

can "Mad

a "Crucifix

ecorate Orvieto C

al Guiliano del

bani altar-p

e, pigments,

na altar-

ion" altar-

ombment,

e of his pictures f

attributed to L

lo and Ma

. Berna

y of St. A

at S. M. Maddalena

a altar-pi

t Fano, et

as" at Peru

me "Crucifix

e in Flo

of the Ca

himself, 80,

his pupi

osa altar-pi

traits,

ies in Pe

ece for San Frances

with Michel

Città della

rom Isabella

ion" (SS. An

igures in his p

nt to Pe

ne altar-pi

in the Va

t Assis

na,

a, 103

la Pieve,

lo,

el's fresco in San

tefalco, and

ctures,

th,

-place unk

wife

holars

ristics,

a, his influence on

ia), 9, 24, 26

the Sistine Chapel by, 16, 18

nd Marsyas,"

s, Mr.

rugino, 40, 44,

byls (Cambio),

no del G

izio," 59, 60, 81; h

's pupil

in the Camera de

ro, Perugia, added

orris Moore,"

ures in Perugino'

n), 43, 130; (Vatican),

r, Baro

rof. Ada

iano della, Perugino'

iece, The, 56, 70, 8

y of, 63, 64, 1

ella Pieve), 104, 13

dino of Si

f (Munich), 63, 132,

of Assisi,

g, to Perugino, 12; story of hi

of Perugino's various re

11, 118, 135, ill. 10; (Pa

118, 144,

aints (Perug

MS.),

ltar-piece painted for

Perugino, 8, 9, 11, 25; his decorat

ictures by Perugino

ition, Mr. B

ugino's pic

gna, 49, 58-61; compared with picture

d Saints (Perugia,

painti

r. Henry Ya

' Assisi,

eon's commis

elli,

io), 77, 78, 150; (Perugia

ia Nuova)

eligion, The

tory of Perugi

e scenery

ltar-piece, T

John Bat

Pietro, se

influence on Per

The (Bologna),

moteo, 6

E PRESS LIMI

TI

mentioned in this volume are to

MANSEL

ph Publisher

XFORD

DON

MALL EA

nent Prints, Photogravures, fr

ler

ND

nal G

Gal

ch Ga

NBU

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SSE

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, Haa

SS

.,

Coll

GHAM P

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e Coll

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HANF

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uses Free. Catalog

eproducti

, PLOUG

ANE, LON

o

rocess

locks on Zi

ravure

plate

Art P

ic Adv

ues, Pr

t

pecimens an

aphic

ISITE,

al Tel

HO

TNO

ere Pittoriche Peru

ittura," A. Lupatte

an Painter

crowns. At this time, it was, he says, in the Palazzo Albizzi, and he says it was executed prior to 1478, as in th

an Painters of the

iotti,

rs 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

ne of Art,

Art of Cennino Cennin

hicles of the Old Master

i. 69; and More

' egregio pittore Piet

ray, 18

irgin and Child between St. Peter and St. Paul,"

ed, is in existence, and proves not only his presence in the town in that year but that