Great Masters in Painting: Perugino Part 2

_Alinari photo_] [_Vatican, Rome_

THE MADONNA ENTHRONED, WITH FOUR SAINTS]

Perugino at last set to work, and the beautiful altar-piece now in the Vatican is the result. There is the Madonna and Child on the throne, and near by there are the four great saints. The picture is exquisitely beautiful, full of Perugino's special charm, and bearing marks of the Piero della Francesca influence in the arches that support the canopy, while below the feet of the Madonna, to make quite clear as to who painted the picture, is the signature in somewhat remarkable form:

HOC PETRUS DE CHASTRO PLEBIS PINXIT.

Inasmuch as consideration of this finished picture brings our chronological survey up to 1495, it will be desirable for us to retrace our steps to the time that Perugino spent in Florence.

Vasari records many works executed in that city, but his chronology is so perplexing that it is difficult to say whether they were all executed at the time to which we refer, or later in the artist's career.

Probably the frescoes in the Convent of the Frati-Gesuati beyond the Pinti Gale, a house that was destroyed in the siege of Florence in 1529, were early works, inasmuch as the panel pictures that were saved from the church, and which now rest in the Accademia, were painted in 1492-93.

There were, however, as already mentioned, three pictures on panel executed for the same convent, and these, fortunately, are still in existence. They were carried, at the time of the siege, to the gate of San Pier Gattolini, where the monks were provided with a refuge in the church and convent of San Giovannino, now known as La Calza. These three pictures are the "Crucifixion," now in La Calza, the "Pieta," in the Accademia, dated 1493, and the "Christ in the Garden," also in the Accademia. Of these three early pictures the one in La Calza is in some ways the most interesting. It is a very puzzling picture. Vasari describes it so clearly that there is no possibility of error as to the picture he names. He speaks of the "infinite care" with which it is executed. He refers to its being carried for safety to the church, where it still rests, and he mentions its condition as injured by numerous cracks, but the difficulty is that, while much of the picture is distinctly Peruginesque, three of the figures might have been painted by Luca Signorelli, so great a resemblance in general characteristics do they bear to his work. Crowe and Cavalcaselle hesitate to ascribe it to either master, inclining more to the view that Raffaelino del Garbo may have painted it, but with this last ascription I cannot at all agree. The composition is that of Perugino, the open air effect and the distance, the single detached trees and the high rocks are all Umbrian.

The draperies of the four standing figures and of the Christ have the distinctive folds that are so thoroughly characteristic of our painter, and the borders to the garments are equally noteworthy. The att.i.tude of St. Francis and of S. Giovanni Columbini are thoroughly in accordance with Perugino's methods, but when we turn to St. Jerome and St. John Baptist the case is very different. In these figures the fierce strength and muscular development is foreign to Perugino's ordinary work, and he appears to have been painting under Signorelli's influence, and even endeavouring to introduce into faces and limbs the virile power and movement of Signorelli, which at that time was specially attractive to him. The figure of the Magdalen (strangely termed by Crowe and Cavalcaselle the best figure in the picture) is, I consider, a much later addition by quite another hand. The picture composes perfectly without it, and a very close inspection convinced me that it was not originally in the design, and that the draperies of S. Giovanni Columbini can be traced through the draperies of the Magdalen. In no way does the Magdalen recall Perugino. The att.i.tude is not his; the draperies have entirely different folds; the hands are quite different in their structure; and the hair is painted with entirely altered technique.

[Ill.u.s.tration:

_Alinari photo_] [_La Calza, Florence_

THE CRUCIFIXION]

I look upon this La Calza "Crucifixion" as one of the earliest, if not the very first of Perugino's works in Florence that survives.

In the Accademia (two pictures) we are on quite different ground. Here can be seen the hand of Perugino in every part and the wonderful power of s.p.a.ce composition can be realised to the full. The receding arches in the "Pieta," bespeaking the influence of Piero della Francesca, the exquisite landscape in the background, the curious aloofness of each figure, and the delicate chain of sympathy that binds them all together, the tender sorrowful face of the Madonna seated in the midst bearing on her knees the dead body of her Son, all of Perugino's best.

[Ill.u.s.tration:

_Alinari photo_] [_Accademia, Florence_

THE DEAD CHRIST]

The third picture, the "Christ in the Garden," is fuller still of the genius of s.p.a.ce composition. Far off are the hills that girdle the landscape, and the eye is carried on from one to the other, each step revealing new beauties, till in the extreme distance the sky and land melt into one another. In the immediate foreground are the three disciples sound asleep in the att.i.tudes that convince you of heavy slumber. In the centre of the picture is Our Lord kneeling on a hillock deeply engaged in prayer, and above is an angel flying toward Him bearing the chalice of sorrow. Below and still further removed from the eye of the spectator are groups of soldiers on the one hand and of priests and people on the other rapidly moving toward the central figure. Their proportions are finely adjusted to their distance and position, and there is an admirable sense of movement in all. Beyond them are the distant town, the hills, the country, and above, with its depth and arch and vastness, suggested in most subtle manner by the light fleecy clouds and by the very curves of the angel's figure and the movement of his wing rises the blue vault of the heaven.

[Ill.u.s.tration:

_Alinari Photo_] [_Accademia, Florence_

CHRIST IN THE GARDEN OF GETHSEMANE]

All the genius of Perugino exists in this picture. Later on there is a greater sweetness in some of the faces, there are more figures, there is a purer and more exquisitely sunny colouring, but in composition this early work contains all the characteristics of the master.

These two must be attributed, however, to a later period than the frescoes and La Calza picture already mentioned, which were for the same convent, and in the interval between painting the frescoes for the Gesuati and the La Calza picture and these two Accademia pictures, Perugino had declined a commission at Orvieto, and had been to Rome and painted there for Cardinal Giuliano della Rovere, afterwards Julius II.

Once more we must retrace our steps and tell the story of the Orvieto contract.

It is unnecessary to refer to the work done in Orvieto Cathedral by Beato Fra Angelico; but after his death the work remained unfinished, and the authorities of the cathedral could not find anyone who was prepared to complete the scheme of decoration and whose work appeared to them worthy of its place. Forty-four years had pa.s.sed away, and then Perugino visited Orvieto. He was asked to examine the chapel and give a price for its decoration. He did so; at 1500 gold ducats for the whole chapel, provided that scaffolding, lime, gold, and ultramarine were furnished to him. He agreed to use such subjects as were submitted to him, and to personally execute the hands and faces of all the figures.

His offer was not accepted in its entirety; but a contract was made for him to do the ceilings and s.p.a.ces above the capitals for 200 gold ducats, ten of which were paid him, on the understanding that he began the work in April 1490 and continued it through the whole of the following summer. Perugino, however, having secured the contract, was in no hurry to fulfil it, and as the question was being discussed in Florence as to the completion of the cathedral west front, he left Orvieto, and hurried on to Florence to compete in the proposed work.

The work in Florence, however, did not come off, and Perugino proceeded to Perugia and went on again to Rome. Here he commenced the work for his patron Cardinal Giuliano della Rovere, almost all of which has since perished, one notable picture only being left.

The artist seems to have dreaded lest the canons of Orvieto should demand his presence in their cathedral, and it is clear that they made strenuous efforts to lay hold of him.

The Cardinal, very desirous of retaining his services for himself, protected the artist, and when the Orvieto authorities determined to cancel the contract, he wrote to the Priori an exceedingly strong letter, telling them to await the convenience of the artist and himself.

This letter of June 2, 1492, was in reply to one sent to Perugino stating that the Priori would appoint some one else in his stead.

[Ill.u.s.tration:

_Anderson photo_] [_Villa Albani, Rome_

THE ALBANI ALTAR-PIECE, 1491]

The Cardinal reminded the authorities that they had promised, in reply to a previous letter from Perugino, to wait a few months, and he adds: "Now Maestro Pietro has stated that, contrary to your word, you intend to subst.i.tute for him another painter who shall do your work. This is indeed truly remarkable conduct. We laboured under the impression that you were to be compliant as best suits the love we have ever borne to your community. So we now again exhort and pray that you do reserve this place, which is his due, to Maestro Pietro, and refrain from molesting him for the short time during which he has to expedite our affairs."

The Orvietans had, however, meantime, been in correspondence with Pinturicchio, but fearing to offend so great a dignitary as the Cardinal, they retained the chapel of S. Brizio for Perugino, giving Pinturicchio work in another part of the cathedral.

Perugino, however, never kept his promise, though it does not appear whether he returned to the Priori of Orvieto, the ten ducats they had advanced him, and eventually, as is well known, Luca Signorelli was employed to decorate the chapel in question.

As already mentioned, but one picture remains of the work done for the Cardinal at Rome. This is the wonderful altar-piece, dated 1491, now the property of Prince Torlonia, and to be seen in the Villa Albani.

It is in six compartments, and is a most beautiful work, full of brilliant colour. In the centre is "The Nativity," represented as having taken place beneath a sort of temple with open sides, its roof resting on a series of beautiful arches forming a centre and two aisles and springing from square pillars with rich capitals.

The three divisions above contain the "Annunciation" and "Crucifixion."

On either side of the cross are St. John the Divine and the Virgin, and at its foot kneels the Magdalen. If with this figure of Mary Magdalen is compared the similar one in the La Calza picture the difference will be apparent. There is a beauty and n.o.bility of face and a grace of posture wholly lacking in the La Calza picture, and the draperies, so sure a mark of Perugino's hand, are here as true to his method as in the Florence picture they are manifestly different. On one side of the lunette is a panel representing the Virgin kneeling beneath the open arcading of a temple, and on the opposite side a similar panel containing the Archangel Gabriel.

The altar-piece is full of the influence of Piero della Francesca, the fine drawing of the receding arches, the architectural details, the marble of the pavement and the proportion of all the figures mark in unmistakable form the teaching of the man of Arezzo, but beyond all this there is that marvellous charm of open air and composition in depth that is so marked in the best works of our Umbrian master. The lunette gives Perugino at his best in this period, and the distance, with its rocks, pools of water, cities, plains, and hills, is of fascinating beauty, and fills the spectator with amazement. The whole picture is bathed in a haze of golden colouring. The tones, in places almost jewel-like in their transparent brilliancy, are tender and expressive, and there is a serenity and quiet about the work that is quite wonderful and expressive of complete peace and masterful resignation. The picture is signed:

PETRVS DE PERVSIA PINXIT 1491.

Now for a while we return to Florence, picking up the threads that we dropped a few pages back.

[Ill.u.s.tration:

_Alinari photo_] [_Uffizi Palace, Florence_

THE FIESOLE ALTAR-PIECE, 1493]

In 1493 Perugino was balloted, so Orsini says, into the munic.i.p.al council at his native place, Citta della Pieve, for May and June, and is said to have served his time there, but in the same year he was painting at Florence, and, according to Mariotti, had a botega in that city and accepted many commissions. To this period belong two notable pictures, one in Florence and the other in Vienna. The face of the Virgin in each picture is identical, and the infant Christ in each is painted from the same model. The picture in the Uffizi was painted for San Domenico in Fiesole, and was the second altar-piece Perugino did for that church, the first, painted in 1488, having disappeared.

It represents the Virgin on a throne bearing the infant Christ on her knees. On one side stands St. Sebastian (to whom reference will be made later on) and on the other, St. John the Baptist. The group stands under the vaulted arching resting on square pillars, of which Perugino was so fond. In the distance is the customary landscape. The picture is signed:

PETRVS PERVSINVS PINXIT AN 1493.

The other work is at Vienna, and bears an inscription denoting the name of the priest who commissioned its execution.

The Blessed Virgin is on a throne in this picture also, but the group is enclosed by high stone walls only open to the sky. On one side stand St.

John the Baptist and St. Paul, on the other, St. Jerome and St. Peter.

The St. Jerome is the same face as appears in the Albani altar-piece of 1491, and the curious long white beard which he wears, and which hangs in two divisions, will be noticed many times in later works notably at Trevi and Montefalco, and const.i.tutes a mark of Perugino's own handiwork.