PERUGINO
THE GREAT MASTERS IN PAINTING AND SCULPTURE.
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BERNARDINO LUINI. By George C. Williamson, Litt.D., Editor of the Series.
VELASQUEZ. By R. A. M. Stevenson.
ANDREA DEL SARTO. By H. Guinness.
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In preparation
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GIORGIONE. By Herbert Cook, M.A.
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Private photo. Marseilles.
PIETRO VANNUCCI
CALLED
PERUGINO
BY
GEORGE C. WILLIAMSON, LITT.D.
AUTHOR OF
"JOHN RUSSELL, R.A.," "RICHARD COSWAY, R.A., AND HIS WIFE AND PUPILS," "PORTRAIT MINIATURES," "BERNARDINO LUINI," ETC.
LONDON
GEORGE BELL & SONS
1900
PREFACE
The following pages contain what is, I believe, the only full account of the life and works of Perugino in the English language. It is based upon a careful examination of almost every one of his works to be found in Europe, and upon a critical study of their characteristics. The labours of other investigators have, however, been laid under contribution, and I am especially indebted to the works of Crowe and Cavalcaselle, Morelli, Mariotti, Orsini, and Vasari, and also to the works and advice of Mr. Bernhard Berenson, Mrs. Herringham, and Dr. Laurie, and to the writings and researches of M. Broussolle. To the Archbishop of Trebizond (Monsignore Stonor) I am most grateful for obtaining permission for me to study the Albani altar-piece, and to Prince Torlonia for kindly granting my request, and also to His Excellency Lord Currie for constant and never-failing aid in regard to all the other Italian galleries. Signor Cecchetti has helped me to obtain good photographs of the pictures in and near to Città della Pieve, Miss Fearon has kindly re-measured some of the Italian pictures for me, and the Rev. H. R. Ware, and the Rev. T. C Robson, have given me much help in rendering the Latin verse of Perugino into English verse. To each and all of these I offer my hearty thanks. I have also to thank the Directors of the Vatican and Perugia galleries for special facilities afforded me; Mr. Murray for permission to quote from his handbooks, and the photographers for the use of their photographs, and finally to beg that if by chance I have made use of other material without the fullest acknowledgment, the omission may be forgiven me inasmuch as I have endeavoured to avoid so serious a fault. My own divergences from the accepted views will be found fully recorded in these pages, and are in every case founded upon personal study, and for them I alone am responsible.
G. C. W.
CONTENTS
LIST OF ILLUSTRATIONS
BIBLIOGRAPHY
Austin, Alfred. "Notes made in Perugia." (An article.)
Bell, N. "Tourists' Art Guide to Europe." London, 1893.
Bonacci Brunamonti. "Pietro Perugino" in "Rivista Contemperanea," i. 1889. Fasc. 2.
Brachirolli. "Notizie e documenti inediti intorno a Pietro Vannucci." Perugia, 1874.
Burckhardt. "Art Guide to Painting in Italy." London, 1879.
Bryan. "Dictionary of Painters." London, 1893.
Berenson, B. "Central Italian Painters." London, 1897.
Broussolle, J. C. "Pèlerinages Ombriens." Paris, 1896.
Cennino Cennini. "Trattato della Pittura." Italian, sixteenth century.
"Cennino Cennini, The Book of the Art of." Translated by Mrs. Herringham. London, 1899.
Crowe and
Church, A. H. "Cantor Lectures on Colours." London, 1890.
Eastlake, Sir C. "History of Painting."
Gaye. "Carteggio."
Galetti, G. "Lo Stile di Pietro Perugino e l'indirizzo dell' Arte Moderna." Bologna, 1887.
"Gazette des Beaux Arts."
Hare, A. "Cities of Central Italy." London, 1876.
Heaton, Mrs. "History of Painting." London, 1873.
Hoefer. "Bibliographical Dictionary." Paris, 1860.
Jameson, Mrs. All her works. London, 1872.
Kugler. "Handbook of Painting." London, 1855.
Lanzi, Luigi. "Storia Pittorica della Italia." Bassano, 1809.
Lomazzo. "Idea del tempio della Pittura." Rome, 1844.
Lafenestre. "Les Maitres anciens." 1882.
Lafenestre. "La Peinture Italienne."
Lafenestre and Richtenburger. "The Louvre." Paris, 1898.
Luebke, W. "History of Art." London, 1868.
Laurie, A. P. "Cantor Lectures on Vehicles and Pigments." London, 1892.
Lupattelli, A. "Storia della Pittura in Perugia." Foligno, 1895.
Lupattelli, A. "Petit Guide de Pérouse." Paris, 1895.
Lee, Vernon. "In Umbria." (Articles.)
Muntz, E. "Raphael." Translated by Armstrong. London, 1882.
Muntz, M. "La fin de la Renaissance."
Marchesi. "Il Cambio di Perugia." Prato, 1853.
Mezzanotte. "Della vita e delle opere di Pietro Vannucci." Perugia, 1836.
Morelli. "Italian Painters in German Galleries." London, 1882.
Morelli. "Italian Painters," Vols. i. and ii. London, 1892-3.
Morelli. "Della Pittura Italiana." Milan, 1897.
Mariotti. "Lettere Pittoriche Perugine." 1788.
Orsini. "Vita e Elegio dell' egregio pittore Perugino e degli Scolari di esso." Perugia, 1804.
Pascoli. "Vite de Pittori Perugini."
Passavant, J. D. "Raphael d' Urbin et son père." Appendix, 445-461. "Essai sur les Peintres de l'Ombrie." Paris, 1860.
Poynter, Sir E. J. "Classical and Italian Painting." 1897.
Phillips, Claud. "Perugino" in the "Portfolio." London, 1893.
Rio, A. F. "De l'Art Chrétien." Paris, 1874.
Ris, Clement De. "Les Musées de Province de France."
Rosini. "Storia della Pittura Italiana." Pisa, 1847.
Rumohr. "Italienische Forschungen," ii.
Rossi, A. "Storia artistica del Cambio di Perugia." Perugia, 1874.
Rossi-Scotti. "Guida Illustrata di Perugia." Perugia, 1878.
Rea, Hope. "Tuscan Artists." London, 1898.
Symonds and Gordon. "Story of Perugia." London, 1898.
Symonds, J. A. "Italian Byeways."
Symonds, J. A. "Sketches and Studies in Southern Europe."
Symonds, J. A. "Renaissance in Italy." London, 1877.
Vasari, G. "Delle Vite de piu Eccelenti Pittori." Firenze, 1550
Vasari, G. Mrs Foster's Translation. London, 1894.
Vasari, G. Blashfield and Hopkin's Edition. London, 1897.
Vermiglioli. "Memorie di Ber. Pinturicchio."
Viardot. "Les Merveilles de la Peinture." Paris, 1870.
Woltman and Woerman. "History of Painting." 1880.
Yriarte, C. "Isabella d'Este et les artistes de son temps."
ERRATUM
The Illustration facing page 100 should be described as The Beckford Altar-piece, and not as The Schiavone Altar-piece of 1507.
The Schiavone Altar-piece named on pages 99 and 100 is not illustrated in the volume.
G. C. W.
PERUGINO
CHAPTER I
BIRTH, MASTERS, AND ENVIRONMENT
It is not quite certain when Pietro Vannucci (called from the name of his adopted town Perugino) was born, but the place of his birth he himself announces in his signature. Probably his birth took place in 1446 or 1447 at the little town of Castello della Pieve, now called Città della Pieve, as it was raised to the dignity of a city in 1601 by Clement VIII. His signature preserves, in the words "Petrus de Castro Plebis," the older name of his birthplace. Vasari gives his father's name as Christofano, and tells us that he was a poor man; but Mariotti reminds[A] his correspondent that the family, although a poor one, was not of low condition, as it had enjoyed the rights of citizenship since 1427. He also mentions that one Pietro Vannucci was in 1424 a member of the Guild of Stone-workers, and that in 1428 a member of the family signed himself proudly as citizen of Perugia. It is probable that Vasari's story of the boy having been brought into Perugia at a tender age and put as shop drudge with a painter in that city is correct. Città della Pieve is not more than some twenty-five miles from Perugia, and although the town is near to Chiusi, yet Perugia, as the capital of the district of Umbria, is the more important place, and to it naturally would the lad be taken. Vasari speaks of the unknown painter to whom the youthful Pietro Vannucci was sent as one who "was not particularly distinguished in his calling, but who held the art in great veneration and highly honoured the men who excelled therein."
It would be very interesting to know the name of this painter, as, according to Vasari, he had great influence upon Pietro. "He did not cease," Vasari continues, "to set before Pietro the great advantages and honours that were to be obtained from painting by all who acquired the power of labouring in it effectually, and kindled in the mind of his pupil the desire to become one of those masters." We enter upon a curious speculation when we begin to surmise the name of this master. Lanzi speaks of an artist known as Pietro of Perugia, but conjectures that Niccolò of Foligno (known also as Niccolò Liberatore, and incorrectly as Niccolò Alunno) may have been Perugino's first master. Mariotti attaches much more importance to the early teaching of Bonfigli. Fanelli, quoted by Lupattelli,[B] speaks of "a poor and obscure youth from Città della
Leaving out of consideration for a space the question of what Perugino learned from Piero della Francesca and in the botegas of Florence, it maybe well to briefly glance at the influences already named.
Niccolò da Foligno was perhaps the originator of the school of Umbrian painters in which Perugino thereafter took so important a place. He was clearly a pupil of Benozzo Gozzoli, who derived his training from Beato Angelico; but into the sweetness, harmony, and tender feeling of these earlier masters Niccolò forced a fiercer spirit, an uncompromising realism, which is at times almost painful in its stress. Niccolò was a man of forceful spirit, earnest and powerful, and with a certain dry technique and rigid definition that is in full accord with the penetrating spirit that composed the pictures. Foligno is quite close to Perugia, and there is no difficulty in realising the presence of Niccolò at times in that city. His influence is marked in Perugino's early work, but it does not stand alone, and has associated with it characteristics that could not have come from the Folignate botega. Bonfigli (Benedetto Buonfiglio), to whom Vasari once refers at the conclusion of his life of Pinturicchio, was the prominent painter of Perugia. He was greatly esteemed in that city, and so largely confined his labours to his native place that even now it is impossible, save in the gallery of that city, to gain anything like an adequate knowledge of his art.
It was not, however, from Bonfigli that we consider the strong influence came that affected Perugino's work. Much of Bonfigli's work was quite beautiful; there is a fascinating grace about many of his figures; there is a tenacious hold upon the laws of perspective, rich, varied, and charming colouring, and a general pleasing result in composition and in effect. There is, however, little virile force, very slight depth of feeling, and, above all, an absence of the open space which is so characteristic of later Umbrian art, and which has such a wondrous effect in the pictures of the great Umbrian artists. Bonfigli's pictures are crowded, Perugino's never were crowded. Bonfigli's are illustrations, records, decorative effects ever full of figures, and of detail, and with the beauty of certain single faces or separate groups swamped by the crowd of ordinary objects. Perugino's pictures, whatever may be their faults, never deserve this condemnation.
Fiorenzo di Lorenzo on the contrary, must certainly have been a master from whom Perugino received no slight influence.
Once again it is needful to go to Perugia in order to study the works of this artist, as away from the hill-top city the pictures of Fiorenzo di Lorenzo, are few and far between.
In England there is one that is noteworthy, a "Virgin and Child," belonging to Mr. George Salting.
In the works of this artist we are at once struck by the aloofness that distinguished Perugino. Single figures stand apart one from the other, each slightly connected as by a thread of thought, and similarly each with the central feature of the picture, but in every other way self-contained. Here again are the placid Umbrian landscapes with which later on we shall become so familiar, and the tall slender youths and sweet women full of tender grace, that make their first appearance in Umbrian art. There is a grace and charm in the work of Fiorenzo di Lorenzo, that is far removed both from the fierce truth of the Folignate's pictures and from the crowded stress of Bonfigli, and those panels that tell the story of Bernardino in the Accademia at Perugia, and which represent the artist at his very best, are possessed of a fascination both in line, in colouring, and in movement that are impressive to the highest degree.
Occasionally the artist was able to attach two or more of his figures to one another by a gesture or a movement that formed a distinct and noticeable link; but it was left for Perugino to still further develop this power and to link his figures one by one into a single group when he so desired, or at his will to keep them aloof one from the other, and to the successors of Perugino to complete this power which Fiorenzo so slightly commenced and which Perugino so greatly improved. In another way can be seen the influence of Fiorenzo di Lorenzo. The typical Umbrian landscapes which are so important a feature in Perugino's pictures first make their appearance in the works of this artist. The special treatment of the landscape will be referred to in fuller detail later on; but we may here mention that those expansive broad landscapes, with distant hills bathed in a blue mist and revealing long stretches of level fertile land on either side, with single trees, standing silhouetted against the sky, which, like a vast arch of blue, frames in the lovely scene, are noteworthy in Fiorenzo's pictures.
Finally, there is the pale golden sunlight to be seen in his works, a sunlight which bathes all purely Umbrian art, but which does not appear to any marked extent in the works of the Foligno school.
Having now briefly glanced at the leading characteristics of these artists, it will be well to examine the work of one who was far greater than either of those already named, and whose influence on Perugino is very marked. I allude to Piero della Francesca. Whether, as Morelli suggests, Perugino journeyed to Arezzo, where Piero was at work, and aided him in his work, or placed himself under his tuition, or whether Perugino met Piero at Borgo San Sepolcro or in Perugia, is immaterial. It will suffice to understand that, somewhere near at home, and in the early days of his training before Perugino journeyed to Florence, the two men must have met, and Perugino learned much from the Tuscan-Umbrian master and profited largely by his instruction.
One of the main features of Piero's art was his accurate knowledge of perspective. He was, above all, a mathematician, well versed in arithmetic and geometry, and the author of several treatises on the science.
He rejoiced in complicated problems of perspective, in long vistas of columns stretching away into the far distance, in mysterious hollows, in exquisite alcoves, curves, and embrasures, in the perfectly accurate drawing of roofs and rooms, and in the grouping of his figures in such geometric array and such careful receding proportion as made clear the charm that such mathematical arrangements had over the mind of the artist.
There are, however, other characteristics of Piero's work, that must be carefully noted in making a survey of his style. There is a wonderful gravity and solemnity about his figures, a preoccupied look in most of their faces, and we trace also the very beginning of that power already mentioned, of linking figure to figure and group to group.
Certainly, in the long processions that form so essential a part of the frescoes at San Francesco in Arezzo, there is a certain connection running through the group of figures which are arranged in processional order especially in the "Visit of the Queen of Sheba," the "Invention of the Cross," and the "Exaltation of the Cross," but individually the figures composing these groups are separate and distinct from one another, engaged in their own concerns and holding no converse one with the other. In these respects it was left for the later men, beginning with Perugino, to pull the picture together and make it one harmonious whole.
When to this aloofness, this curious want of
All these characteristics had direct influence upon Perugino, but even beyond them can be seen other marks of this master's tuition. The fantastic head-dresses that are to be seen in Piero's frescoes find their counterpart in the frescoes of the Cambio; the very same scheme of composition in "The Resurrection of Christ" in the Borgo San Sepolcro Gallery is to be seen in one of Perugino's pictures; and the long vistas of arches and careful geometric proportion and the absolutely accurate drawing of arches and columns are to be equally realised in Piero's picture in the Gallery at Perugia and in Perugino's altar-piece in the Villa Albani. Even in the shape of the hand, the clear cameo-like profile of the faces, and the detail of the feathers on the angels' wings, the relationship between these painters is marked, and comparison between the frescoes at Arezzo and the paintings in the Accademia will be found to reveal these and other points of close contact.
In these early days of Perugino's life, it is therefore to the influence of Niccolò Liberatore, of Fiorenzo di Lorenzo, and, above all, of Piero della Francesca, that we attribute the growth of his art and the success of his later life.
One more artist he must have met in these days, as Luca Signorelli, who was some five years his senior, was probably at Arezzo with Piero della Francesca. Certain pictures of Perugino, notably the "Crucifixion," at La Calza, and the similar scene painted around a carved crucifix now at Perugia, the "Pietà" in the Accademia, and the "Love and Chastity" in Paris, betray in their vigour, hardness, and movement some of Signorelli's influence, an influence that only occasionally was to be seen in the great Umbrian master.
Morelli[C] considers that Perugino's journey to Florence after his Perugian training, of which Vasari speaks, took place in 1470, at which time Perugino would be about twenty-five years old. His name is recorded in the roll of St. Luke in 1472, and in the roll of the Physicians in 1499.
Vasari states that it was to Verrocchio that he went. Lanzi and Orsini confirm this; Morelli gravely doubts it; Resta distinctly denies it; Berenson rejects it; and certainly there is but little trace of such a tutor in Perugino's work.
In the "Baptism" at the Accademia, which is an absolutely authentic picture, although perhaps partly the work of Leonardo, and in the "Madonna and Child" in the Uffizi, also attributed to Verrocchio, we find nothing that would appear to have influenced Perugino, or that can be recalled by his work, but if the magnificent bronze panel in the Carmine Church at Venice is accepted as the work of Andrea del Verrocchio then there is evidently a feeling in this work such as Perugino would naturally have appreciated, and which does appear many times in pictures by the Umbrian master. The position of the Christ on the ground, and that of the women who bend over Him, the silent meditative devotion of the two men and of the child who kneel on the right, the attitude, wings, drapery, and movement of the flying angels, and their very position with regard to the cross, all find answering echoes in Perugino's work that are unmistakable in their clearness. What is, however, of special importance to notice at this juncture is that Perugino did not go to Florence in 1472 as a mere pupil or scholar. Young in years as he undoubtedly was, he must have also been mature in experience and in knowledge; for otherwise it is inconceivable that so sagacious a Pontiff as Sixtus IV. should have sent for him eight years afterwards and engaged him upon work in the Sistine Chapel.
Vasari specially states that the invitation was given because of Perugino's great fame throughout Italy, and it is clear that a request to work side by side with such men as Ghirlandajo, Cosimo Rosselli, and Botticelli was so high a compliment that it would not be given to one who was merely a student in Verrocchio's botega. There is no question about the date of this invitation, as the original contract between the Holy Father and the artists has been published, and it contains an undertaking to furnish "ten stories" between October 27, 1481, and March 15, 1482.
Prior to these dates we hear of two other works executed by Perugino. The earliest of all is recorded by Milanesi in his notes to the life in Vasari. He states that in 1475 Perugino was commissioned to paint certain frescoes in the Palazzo Publico in Perugia; but of these works not a trace remains, and there is no evidence to support the learned author's statement[D] Milanesi, moreover, further records the fact that in 1478 Perugino worked at Cerqueto, painting some frescoes in a chapel there, and one solitary figure of "San Sebastian" bearing that date only now remains out of the entire decoration.