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.
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.
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.
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.
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 byHisside, 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 divine Child stands erect on a stone balustrade supported by the hands of the Madonna, who is byHisside, 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 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 framein 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.
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 framein 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.SeeChapter 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.
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.
SeeChapter 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.
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.
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.
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 theDeposition of Our Lord, in the Pitti Gallery 164.
A Study of an Archer.
A bistre pen drawing for the St. Sebastian at Panicale.
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.
A pen drawing in bistre.
Study for the figures of two Sleeping Disciplesfor the same picture.
A pen drawing in bistre.
A pen drawing in bistre.
Study of a Female Head.
Bistre heightened with white.
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.
Attributed to Perugino.
Study for the Frescoin 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
BORDEAUX, PICTURE GALLERY.
Virgin and Child enthroned with S. Jerome and four Angels, from St. Agostino, Perugia.
This has never been photographed.
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.
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.
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.
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.
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.
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.
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 wordsELEVATA E MAGNIFIC͞ETIA TVA SVP CELOS D͞S; and on JeremiahCŒLVM SEDES MEA, TERRA AVT͞E SCABELLV̄ PEDV̄ MEORVM.Probably from St. Agostino, Perugia.See Caen, Lyons, Toulouse, and Grenoble for others.
Each picture has an inscription on it. On Isaiah are the wordsELEVATA E MAGNIFIC͞ETIA TVA SVP CELOS D͞S; and on JeremiahCŒLVM 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 PERVSIN with a small s sitting abovePINXIT.From the gallery of the Count de Brissac, and given to the Gallery of Nantes by the State in 1803.
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 PERVSIN with a small s sitting abovePINXIT.
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 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.
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.
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.
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.
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. SeeChapter VI.It was purchased by the Louvre in 1883.
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. SeeChapter 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.
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.
Probably from St. Agostino, Perugia.
See Caen, Lyons, Nantes, and Grenoble for others.
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.
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.
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.
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.
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.
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 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 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.
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.
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.
Signed:PETRVS PERRVSINVS.
CHURCH OF ST. MARY OF THE ANGELS, ASSISI (near).
A fragment of aCrucifixionresembling 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.
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.
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 aMadonna 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.
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.
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 page41.
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 page41.
There is aStudyfor 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 capellaA.D.Maria Madalena perC.H.da peste gi usci liberare Cavandoli da le HoscieDtal pena cusigli piaccia cuqHVoperare che mi e semp ne abbia ad scampare e tutti qlliC.H.in leiANdevotionADlaude di Dio quisto sermone Petrus Perusinus pinxitMCCCCLXXVIII.
The inscription recorded by Orsini ("Vita di P.P." p. 204) is as follows:
S popul de Cerqueto a fatta fare questa capellaA.D.Maria Madalena perC.H.da peste gi usci liberare Cavandoli da le HoscieDtal pena cusigli piaccia cuqHVoperare che mi e semp ne abbia ad scampare e tutti qlliC.H.in leiANdevotionADlaude di Dio quisto sermone Petrus Perusinus pinxitMCCCCLXXVIII.
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.
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.
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.
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.
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 aDescent 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 dmiMDXVIIPetr P P.
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 dmiMDXVIIPetr 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.
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.
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
Frescoesare 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 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 alqD with a circle in the centrehvjvs templi Bono centv̄ svperaditis hanc solerti cvra fieri demandavit Matteo de Martinotiis fidei commissario procvranti mcccc 97 petrvs pervsinvs pinxit.
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 alqD with a circle in the centrehvjvs 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 beDEO ET BEATO JOANNI BATTISTAE SACRVM PIETATE JOANNIS BAPTISTE. The date which originally followed the inscription cannot be read.
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 beDEO 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."
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.
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 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.
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 wordsTIMETE 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).
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 wordsTIMETE 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.
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 thePietàin 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.
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.
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.
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.
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.
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 of1115.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.