Chapter X: Saint Sebastian (2)

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:

QUID GENERI HVMANO PRÆSTAS DEA DIC AGE PRÆSTO
NE FACIAS QVAE MOX FACTA DOLERE QUEAS
SCRUTARI VERVM DOCEO CAUSASQVE LATENTES
ET PER ME POTERIT NIL NISI RITE GERI.

SI TRIBVS HIS CVNCTOS SIMILES PIA NVMINA GIGNANT
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:

Thy gifts to man, Oh! Goddess, now relate.
"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

(Whereby the seeker may do all things well.)

"If the good gods make all men like these three,
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.

Speak, Goddess, where thy gift to man appears.
"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:

CEDERE CVNTA MEIS PULSA ET DISIECTA LACERTIS
MAGNA SATIS FVERINT TRES DOCVMENTA VIRI
NIL EGO PRO PATRIA TIMEO CHARISQVE PROPINQVIS
QVAEQVE ALIOS TERRET MORS MIHI GRATA VENIT.

DIC DEA QVAE TIBI VIS MORES REGO PECTORIS AESTVS
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:

Three heroes proof infallible have given
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,

Oh! Goddess, tell the secret of thy might.
"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:

All things beneath my hand in scattered ruin lie.
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.=

PERDITA SI FUERAT PINGENDI HIS RETULIT ARTEM;
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=.

TU SOLA IN TERRIS GENETRIX ET VIRGO FVISTI
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

1475 Certain frescoes in the great hall
of the Palazzo Publico. Mentioned
by Milanesi.

1478 Certain frescoes in a chapel at
Cerqueto, a castle in the diocese
of Perugia. Also mentioned by
Milanesi.

1480 "Christ delivering the keys to St.
Peter" in the Sistine Chapel in the
Vatican at Rome. Other frescoes
now destroyed.

1491 Altar-piece in the Villa Albani. Dated _Rome_

1493 Virgin and Child, from Fiesole. Dated _Uffizi, No. 1122_

Madonna and Saints. Dated _Vienna_

Pietà painted for the Gesuati _Accademia, 58_

1494 Madonna and Child. Dated _Sant' Agostino,
Cremona_

Portrait of Francesco _Uffizi, 287_

1495 Madonna and Child _Pinacoteca, Vatican_

The Entombment. Dated. _Pitti, 164_

The Ascension for San Pietro, Perugia _Centre at Lyons_
(A part is dated.) _Predella at Rouen_
Other parts at _St. Pietro and the
Vatican_

1496 Vision of S. Bernardo _Munich_

Crucifixion, begun in 1493, finished _Sta. Maria Maddalena
1496 dei Pazzi_

Virgin and Child at Bologna

Family of Sta. Anna _Marseilles_

1497 Altar-piece. Dated _Fano_

Virgin and Child. Dated _Pinacoteca, Perugia,
Sala xi. 6_

1498 Madonna with St. Bernard and St. Francis _Pinacoteca, Perugia,
xi. 14_

Altar-piece. Dated _Fano_

1499-1500 The frescoes in the Cambio _Perugia_

Two Monks in the Accademia _17 and 17 bis_

A Duke of Urbino _Vienna_

1500 The Assumption. Dated _Accademia, 55_

1502 Coronation of the Virgin _Pinacoteca, Perugia,
Sala viii. 24_

1504 Adoration of the Magi. Dated _Città della Pieve_

1505 St. Sebastian. Dated _Panicale_

Descent from the Cross, begun by Lippi _Accademia, 57_

1504 or 5 Love and Chastity _The Louvre, 1567_

Virgin and Child with two Saints _Munich, 1035_

1507 Virgin and Child with two Saints _National Gallery,
1075_

Ceiling in the Camera dell' Incendio _Vatican, Rome_

1510 Picture for San Francesco, Siena. _Hertz Coll., Rome_
Fragment now remains

Crucifixion. San Agostino _Siena_

1512 Votive picture. Dated _Bettona_

1513 Virgin in Glory. Dated _Città della Pieve_

1517 Descent from the Cross. A fragment. _Città della Pieve_
Dated

1518 Martyrdom of St. Sebastian. Dated _Pinacoteca, Perugia,
Sala x. 2_

1521 Additions made to Raphael's unfinished _S. Severo, Perugia_
fresco. Dated

Pietà. Dated _Spello_

Virgin and Child with Saints. Dated _Spello_

The Altar-Piece painted for St. Agostino
of Perugia, of which part is _in
situ_, and other parts are at Lyons,
Toulouse, Grenoble, and Nantes

Adoration of the Magi _Trevi_

1522 Virgin and Saints. Dated _St. Agnese, Perugia_

1523 The Adoration of the Shepherds _National Gallery
1441_

INDEX

_Adoration of the Magi, The_ (Rouen), 43, 130;
(Città della Pieve), 90, 91, 135, _ill._ 92;
(Trevi), 109, 154

_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;
(Fano), 69, 71, 137

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;
(Borgo San Sepolcro), 41, 42, 44, 96, 134, _ill._ 42

_Assumption, The_ (Accademia), 64, 83, 84, 139, _ill._ 82;
(SS. Annunziata), 83, 95, 96, 97, 141;
studies for, 98

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;
(Vienna), 19, 20, 121;
(Foligno), 100, 137;
(Città della Pieve), 104, 136

_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;
on "space composition," 13;
attributes, the "Sposalizio" to Lo Spagna, 59-61

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;
fresco in Sta. Maria de Bianca, 90, 91, 135;
the town and people, 92;
other pictures by Perugino at, 104, 105, 135, 136

_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;
(Villa Albani), 29, 153;
(S. M. Maddalena dei Pazzi), 40, 63, 65-67, 73, 141, _ill._ 66;
studies for, 67;
(Accademia), 72, 73, 140, _ill._ 72;
(Perugia, Pinacoteca), 87, 89, 146, _ill._ 88;
(Assisi), 102, 133;
(Siena), 103, 153, _ill._ 102

_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

_Entombment, The_ (Pitti), 40, 44, 45, 138, _ill._ 44;
studies for, 45-46

Este, Isabella d', and Perugino, 93

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

Galeotto, Pietro di Maestro, 20-22

Giovanni, The, Perugino's uncle and nephews, 87

Herringham, Mrs., 34

_Holy Family, The_ (Cantiano), 69, 135

Horne, Mr. Herbert, on Perugino's technique, 33

Julius II., Pope, 27, 88, 101

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;
(Cambio), 77, 151;
(Montefalco), 108, 142;
(Perugia, Pinacoteca), 104, 147

Napoleon, his seizure of Italian pictures, 48;
admiration of Perugino's paintings, 50

Niccolò da Foligno, his influence on Perugino, 2, 3, 11

Orvieto, story of Perugino's contract to decorate the cathedral at, 27-29;
finally refused, 74

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;
work in Orvieto Cathedral, 29;
the "Apollo and Marsyas," possibly by, 63

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;
his "Crucifixion," 67;
Perugino's pupil, 81, 82;
his decorations in the Camera dell' Incendio, 100;
fresco in San Severo, Perugia, added to by Perugino, 107

"Raphael of Morris Moore," The, 62, 130

Repetition of figures in Perugino's pictures, 68, 96

_Resurrection, The_ (Rouen), 43, 130;
(Vatican), 79, 85, 86, 152, _ill._ 86

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;
(Bettona), 103, 136

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;
(Panicale), 93, 99, 118, 143;
(Perugia), 118, 144, _ill._ 118;
with other saints (Perugia), 106, 149;
(Albani MS.), 117, 118

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;
compared with pictures by Raphael and Lorenzo Costa, 60, 61

_St. John Baptist and Saints_ (Perugia, Pinacoteca), 106, 147

Tempera painting, 33-36

Thompson, Mr. Henry Yates, 117, 118

Tiberio d' Assisi, 108, 109

Tinet, Napoleon's commissioner, 48, 49

Tofanelli, 51, 52

_Transfiguration, The_ (Cambio), 77, 78, 150;
(Perugia, Pinacoteca), 78, 109, 146;
(Sta. Maria Nuova), 79, 137

_Triumph of Religion, The_ (Cambio), 78

Ultramarine, story of Perugino's use of, 37

Umbria, The scenery of, 15, 16

Vallombrosa altar-piece, The, 64, 83, 84

Vannucci, John Battista, 111

Vannucci, Pietro, see Perugino

Verrocchio, his influence on Perugino doubtful, 9

_Virgin in Glory, The_ (Bologna), 63, 136, _ill._ 64

Vite, Timoteo, 61, 62, 81

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