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.
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 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:
NE FACIAS QVAE MOX FACTA DOLERE QUEAS
SCRUTARI VERVM DOCEO CAUSASQVE LATENTES
ET PER ME POTERIT NIL NISI RITE GERI.
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:
"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
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.
"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:
MAGNA SATIS FVERINT TRES DOCVMENTA VIRI
NIL EGO PRO PATRIA TIMEO CHARISQVE PROPINQVIS
QVAEQVE ALIOS TERRET MORS MIHI GRATA VENIT.
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:
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,
"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:
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.
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.
REGINA IN CELIS TV QVOQVE SOLA MANES.
VERONA, MUSEO CIVICO.
The Madonna adoring the Christ. [120.]
The Virgin is standing in the centre of the picture with clasped hands and in front of a stone balustrade. On either side are kneeling angels. The one on the right holds the divine Child, whom the Virgin is adoring, the other rests her hands on the shoulders of St. John Baptist, who is also adoring the Christ. In the background is the usual landscape which appears to be undoubtedly the work of Perugino, and probably also the figure of the Virgin; but the angels and children are school work.
The Adoration of the Magi. [95.]
CHRONOLOGICAL LIST OF PICTURES
INDEX
- Adoration of the Magi, The (Rouen), 43, 130;
- Adoration of the Shepherds, The (Nat. Gallery), 110, 123
- Albani, Cardinal Giovanni Girolamo, 115
- Albani MS., The, 115
- Albani altar-piece, The, 29, 153, ill. 28
- Albizzi, Luca degli', picture painted by Perugino for, 11
- Annunciation, The (Villa Albani), 29, 153;
- Antonello da Messina, his influence on Perugino, 39
- Apollo and Marsyas (Louvre), 62, 130
- Arcimboldo, Guido, Archbishop of Milan, 40
- Ashburnham, Lord, and the Albani MS., 117
- Ascension, The (Lyons), 41, 42, 55, 96, 128;
- Assumption, The (Accademia), 64, 83, 84, 139, ill. 82;
- Baccio d'Agnolo, 87, 90
- Baldassare, Abbot, portrait of, 84, 113, 139, ill. 84
- Balsams, action of on colours, 36, 37
- Baptism of Christ, The (Rouen), 16, 17, 44, 130, ill. 18;
- Baptism of Christ, The, in the Sistine Chapel, probably by Pinturicchio, 16
- Bellini, Giovanni, his influence on Perugino, 39
- Berenson, Mr. B. on Perugino, 2, 9;
- Bettona, Perugino's pictures at, 103, 104, 134
- Bolleti, Signor Guiseppe, 91
- Bonfigli, his influence on Perugino, 2, 3
- Boto da Maraglia, votive picture at Bettona, commissioned by, 103
- Cambio, The, at Perugia, Perugino's decoration of, 74-82, 149-151
- Canova, 54, 55
- Ceccheti, Signor Andrea, 91
- Celandro, Santi di Polonio del, 21, 22
- Cennini, Cennino, The "Trattato" of, 34
- Certosa altar-piece, The, 67, 122, ill. 68
- Cesarei, Mayor of Perugia, 51, 56
- Christ giving the Keys to St. Peter, 13, 151, ill. 14
- Christ in the Garden (Accademia), 24, 26, 139, ill. 26
- Città della Pieve, Perugino's birthplace, 1;
- Coronation of the Virgin, The (Perugia, Pinacoteca), 87, 88, 96, 97, 144
- Costa, Lorenzo, his "Sposalizio," 60, 61
- Crucifixion, The (La Calza), 9, 24, 142, ill. 24;
- Crucifixion, The, by Raphael, 67
- Daru, Count, 50, 51, 52
- Denistoune, Mr., and the Albani MS., 115-117
- Denon, Baron, 51, 53
- Descent from the Cross (fragment, Città della Pieve), 105, 136
- Descent from the Cross, The, by Filippino Lippi, completed by Perugino, 95, 140, ill. 94
- Ducci, Agostino, 72
- Fancelli, Chiare, wife of Perugino, 140
- Federighi, Jacopo, 95
- Fiesole altar-piece, The, 31, 139, ill. 30
- Fiorenzo di Lorenzo, his influence on Perugino, 2, 4, 5
- Francesco delle Opere, portrait of, 40, 44, 80, 85, 138, ill. 40
- Herringham, Mrs., 34
- Holy Family, The (Cantiano), 69, 135
- Horne, Mr. Herbert, on Perugino's technique, 33
- Laurie, Dr. A. P., his Cantor Lectures, 36
- Leonardo da Vinci, 12
- Lippo, Filippino, his "Descent from the Cross," completed by Perugino, 95, 140
- Lippi, Lippo, his "Vision of St. Bernard," 63
- Lorenzo di Credi, 12, 95
- Lo Spagna, "The Sposalizio," attributed to, 59;
- other works by, 93
- Love and Chastity, 9, 62, 93, 94, 130
- Madonna and Child (Louvre), 19, 129;
- (Verona), 19, 154;
- (Vatican), 23, 40, 152, ill. 22;
- (Uffizi), 31, 139;
- (Vienna), 31, 121;
- (Cremona), 39, 137;
- (Nat. Gallery, from the Certosa altar-piece), 67, 122;
- (Fano), 69-71, 137;
- (Sinigaglia), 69, 154;
- (Perugia, Pinacoteca), 69, 71, 146, ill. 70;
- (Nat. Gallery, the Schiavone altar-piece), 99, 100, 123, ill. 100;
- (Bettona), 104, 134;
- (Città della Pieve), 104, 135;
- (Perugia, Duomo), 109, 147
- Masaccio, 12
- Maturanzio, Francesco, 77, 80
- Michel Angelo, choice of a site for his "David," 89;
- connection between Perugino and, 90
- Milan, Il Moro, Duke of, anxious to secure Perugino, 39, 40, 69
- Milanesi, Don Biagio, portrait of, 84, 113, 139, ill. 84
- Moses and Zipporah, probably not by Perugino, 16
- Nativity, The (Villa Albani), 29, 153;
- Napoleon, his seizure of Italian pictures, 48;
- admiration of Perugino's paintings, 50
- Niccolò da Foligno, his influence on Perugino, 2, 3, 11
- Panicale, Perugino's work at and connection with, 93, 99
- Perugia, story of Perugino's dealings with the Priori of, 20, 23;
- altar-piece painted for San Pietro, 40, 41, 55, 128, ill. 52;
- the pillage of Perugino's pictures from, 47-57;
- altar-piece painted for the magistrates' chapel, 33, 40, 47, 49, 152;
- altar-piece painted for St. Agostino, 56, 70, 87, 88, 106;
- decoration of the Cambio, 74-82, 149-151, ill. 76, 78;
- double altar-piece for San Francesco al Monte, 87;
- the Schiavone altar-piece, 99, 100;
- figures in San Severo, 107, ill. 106;
- other pictures at, 144-151
- Perugino, his birth, 1;
- early influences, 2-9;
- journey to Florence, 9;
- earliest works, 10, 11;
- figure of "San Sebastian" at Cerqueto, 11;
- "Christ giving the keys to St. Peter," 13, 16, 18;
- influence of Umbrian scenery on his work, 16;
- his other frescoes in the Sistine Chapel destroyed, 18;
- early pictures, 19-32;
- the Vatican "Madonna," 23;
- the La Calza "Crucifixion," 24, 26;
- commissioned to decorate Orvieto Cathedral, 27, 74;
- work for Cardinal Guiliano della Rovere, 27-29;
- the Villa Albani altar-piece, 29, 30;
- his technique, pigments, etc., 33-38;
- the Cremona altar-piece, 39;
- the "Ascension" altar-piece, 40-44;
- the "Entombment," 44-46;
- story of the pillage of his pictures from Perugia, 47-57;
- the "Sposalizio" attributed to Lo Spagna, 58-61;
- the "Apollo and Marsyas," 62;
- the "St. Bernard," 63;
- the "Family of St. Anne," 63-65;
- the "Crucifixion" at S. M. Maddalena dei Pazzi, 65-67;
- the Certosa altar-piece, 67-69;
- pictures at Fano, etc., 69-71;
- two "Madonnas" at Perugia, 71, 72;
- the St. Jerome "Crucifixion," 72, 73;
- residence in Florence, 74;
- decoration of the Cambio, 74-82;
- portrait of himself, 80, 85, ill. 78;
- Raphael his pupil, 81, 82;
- the Vallombrosa altar-piece, 83, 84;
- two portraits, 84, 85;
- civic duties in Perugia, 87;
- the double altar-piece for San Francesco al Monte, 87-89;
- connection with Michel Angelo, 90;
- the fresco at Città della Pieve, 90, 91;
- commission from Isabella d'Este, 93;
- the "Assumption" (SS. Annunziata), 95;
- repetition of figures in his pictures, 68, 96;
- retirement to Perugia, 97;
- the Schiavone altar-piece, 99, 100;
- frescoes in the Vatican, 101;
- works at Assisi, 102;
- Siena, 103;
- Bettona, 103, 104;
- Città della Pieve, 104, 105;
- Spello, 106;
- completion of Raphael's fresco in San Severo, Perugia, 107;
- works at Montefalco, and Trevi, 108;
- later pictures, 109, 110;
- death, 110;
- his burial-place unknown, 111;
- his wife, 112;
- his scholars, 112;
- characteristics, 112-114
- Piero della Francesca, his influence on Perugino, 3, 6, 26, 30
- Pietà (Accademia), 9, 24, 26, 140, ill. 26
- Pinturicchio, the "Baptism" in the Sistine Chapel by, 16, 18;
- Phillips, Mr. Claud, 63
- Portraits by Perugino, 40, 44, 80, 84, 85, 113
- Prophets and Sibyls (Cambio), 77, 82, 83, 151
- Raffaelino del Garbo, 25
- Raphael, his "Sposalizio," 59, 60, 81;
- "Raphael of Morris Moore," The, 62, 130
- Repetition of figures in Perugino's pictures, 68, 96
- Resurrection, The (Rouen), 43, 130;
- Roederer, Baron, 51, 53
- Rossi, Prof. Adam, 58, 81
- Rovere, Cardinal Guiliano della, Perugino's work for, 27, 28, 29
- St. Agostino altar-piece, The, 56, 70, 87, 88, 106, ill. 106
- St. Anne, Family of, 63, 64, 128, ill. Frontis.
- St. Anthony (Città della Pieve), 104, 135;
- San Bernardino of Siena, 71, 72
- St. Bernard, Vision of (Munich), 63, 132, ill. 62;
- study for, 63
- St. Francis of Assisi, 72, ill. 70
- Santi, Giovanni, lines referring, to Perugino, 12;
- story of his taking Raphael to Perugino, 81
- San Sebastian, Comparison of Perugino's various representations of, 118-120
- San Sebastian (Cerqueto), 11, 118, 135, ill. 10;
- Schiavone, Giovanni, altar-piece painted for, 99, 100, 123, ill. 100
- Signorelli, Luca, his influence on Perugino, 8, 9, 11, 25;
- his decorations in the cathedral at Orvieto, 29
- Sixtus IV., Pope, pictures by Perugino executed for, 10, 12
- Space composition, Mr. Berenson on, 13
- Spello, Perugino's pictures at, 106
- Sposalizio, The, attributed to Lo Spagna, 49, 58-61;
- St. John Baptist and Saints (Perugia, Pinacoteca), 106, 147