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قراءة كتاب Perugino
تنويه: تعرض هنا نبذة من اول ١٠ صفحات فقط من الكتاب الالكتروني، لقراءة الكتاب كاملا اضغط على الزر “اشتر الآن"
MASTERPIECES
IN COLOUR
EDITED BY
T. LEMAN HARE
PIETRO PERUGINO
(1446-1524)
(In the National Gallery, London)
Perugino
BY SELWYN BRINTON, M.A.
ILLUSTRATED WITH EIGHT
REPRODUCTIONS IN COLOUR
IN SEMPITERNUM
LONDON: T. C. & E. C. JACK
NEW YORK: FREDERICK A. STOKES CO.
LIST OF ILLUSTRATIONS
| Plate | ||
| I. | Virgin and Child with Adoring Angels | Frontispiece |
| In the National Gallery, London | ||
| Page | ||
| II. | St. Sebastian | 15 |
| In the Musée du Louvre, Paris | ||
| III. | The Deposition from the Cross | 25 |
| In the Pitti Palace, Florence | ||
| IV. | St. Mary Magdalen | 35 |
| In the Pitti Palace, Florence | ||
| V. | Virgin with Little St. John adoring the Infant Christ | 41 |
| In the Pitti Palace, Florence | ||
| VI. | Francesco delle Opere | 48 |
| In the Uffizi Gallery, Florence | ||
| VII. | The Dead Christ | 58 |
| In the Academy of Fine Arts, Florence | ||
| VIII. | Virgin and Child with Two Male Saints | 71 |
| In the National Gallery, London |
I
n considering the work of one of the greatest of the masters of the Renaissance, we have to go further back than the disputed question as to who was the first teacher of Pietro di Cristofano Vannucci—surnamed by his contemporaries "il Perugino," the Perugian—and to inquire into the more interesting story of his predecessors in that wonderful School of Umbria, on which his art puts, in a certain sense, the seal and completion.
In an earlier work on this subject I traced this school, in its first definite inception, to that grand old religious painter Niccolo da Foligno, whose art may be studied within his native city of Foligno—in his great altar-piece of the church of S. Niccolo—in Perugia, Paris, London, and his fine paintings in the Vatican Gallery at Rome; and in all these works I traced in Niccolo a great master, "archaic but strong in drawing and full of character, possessing just the qualities of the founder of a great school." But upon that school many influences were to stream in, and to affect its progress. The earlier art of Siena, the city of Mary Virgin, intensely emotional and religious in its character, the dignity of Duccio and the Lorenzetti, the grace and delicate beauty of Simone Memmi were among these. Close to Niccolo himself, in the hill-town of Montefalco, the Florentine, Benozzo Gozzoli, pupil of Fra Angelico, had been busied on picture stories from St. Francis' legend, which seem to find their continuation in the Perugian miracle pictures of Fiorenzo di Lorenzo; and yet nearer to Florence, in the Umbrian Borderland, that "King of Painting," Piero della Francesca, was to combine the Umbrian emotion with Florentine intellectualism.
These are the influences which were to stream upon the young Pietro as an eager and industrious student—some among them of course indirectly, but others no doubt very directly and immediately. Vasari's account, which is still of first value save where it is opposed by stronger