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    Perugino
    Perugino
    Perugino
    Ebook81 pages54 minutes

    Perugino

    By Selwyn Brinton

    ()

    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 25, 2013
    Perugino

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      Book preview

      Perugino - Selwyn Brinton

      The Project Gutenberg EBook of Perugino, by Selwyn Brinton

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.org

      Title: Perugino

      Author: Selwyn Brinton

      Release Date: October 5, 2009 [EBook #30180]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK PERUGINO ***

      Produced by Sankar Viswanathan and the Online Distributed

      Proofreading Team at http://www.pgdp.net (This file was

      produced from images generously made available by The

      Internet Archive/Canadian Libraries)

      MASTERPIECES

      IN COLOUR

      EDITED BY

      T. LEMAN HARE

      PIETRO PERUGINO

      (1446-1524)

      PLATE I.—VIRGIN AND CHILD WITH ADORING ANGELS

      (In the National Gallery, London)

      [This is the centre panel from the great altar-piece commissioned by Duke Lodovico of Milan, from Perugino, for the Certosa of Pavia, and completed in 1499.]

      [The three lower panels are replaced in the church by copies, the originals having been purchased from the Certosa by the Melzi family in 1786, and sold by Duke Melzi to the National Gallery in 1856. A masterpiece of Pietro's religious art, painted in his best method and best period.]

      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

      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 evidence, is that he was sent as a poor boy to grind colours and run errands in the bottega of some Perugian painter. The impression which is here given of his extreme poverty is probably exaggerated. The Vannucci family had enjoyed the citizenship of Perugia since 1427, nor was it in Perugia but in their native township of Castel (later Città) della Pieve that his son Pietro was born to Cristofano

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