Great Masters in Painting: Perugino Part 9

The tale of the 1521 pictures is not yet, however, nearly complete, but in the works now coming under consideration an improvement will be perceptible.

The six figures of St. Scholastica, St. Jerome, St. John, St. Gregory, St. Boniface, and St. Martha, which Perugino added in the church of San Severo, below the fresco painted by his great pupil in 1505, are dignified and impressive. They are far removed from the power of early work; there is a c.u.mbersomeness about their draperies, and a sameness in pose and style, but the face of St. Boniface is lovely, and those of St.

Jerome and St. John solemn and grand, while all the figures are well-proportioned, and stand well on their feet.

It was a melancholy duty to complete the unfinished and early work of the great pupil who had so far surpa.s.sed his master, but evidently the old master did it as well as he could, lingered lovingly over its details, and proudly recorded his name upon his work. The whole fresco is of notable interest, as the combination of the works of master and pupil, with the inscriptions recording the names of the artists and of the patrons who employed them, is unique. Sixteen years had pa.s.sed since the upper fresco was painted. Raphael had mounted on from glory to glory, leaving behind him all his contemporaries, and had been reckoned as the king of them now; and now, in the year after his death, his old master is called up to complete the work, and he gives to the commission the best abilities of a fading old age.

Perhaps his neighbours commiserated too much with him, or taunted him with the decay of his powers. Whatever may have been the cause, it is quite clear that, rising superior to the quaintness, stiffness, and formality of Spello, Perugino suddenly wakened up into some old vigour, and much of the old spirit is to be seen in his last works.

In the church of San Francesco at Montefalco is his Presepio, which it is absurd to give to Tiberio d' a.s.sisi, Lo Spagna, or Manni. Works by all these men hang close by in the deserted church, which now forms a wonderful picture gallery, and the comparison can easily be made.

There is a record of a visit from Perugino to the town _en route_ for Trevi in this very year, and with him came two at least of these pupils, but no pupil ever painted this Presepio, although it is most probable that the lunette above it is by Tiberio d' a.s.sisi. The lower picture, however, glows with golden sunshine, and the landscape is full of beauty, and represents, as was so often the case, the view to be seen from the very walls of this wonderful old city. Some of the faces are formal, the draperies are coa.r.s.e and stiff, and show signs of hurried work, but the sense of distance proclaims the author of the fresco, and the faces of St. Joseph and of the Virgin and the dainty decoration of the columns are with the landscape really good pieces of work, and a wonderful improvement upon the pictures at Spello, Bettona, or in the Duomo at Citta della Pieve.

[Ill.u.s.tration:

_Alinari photo_] [_Sta. Maria, Trevi_

THE ADORATION OF THE MAGI, 1521]

Outside Montefalco is San Fortunato, where Tiberio d' a.s.sisi painted the cloisters, and here probably Perugino stopped, and one figure in the ceiling is certainly his work, perhaps done to show Tiberio a suggestion as to the decoration, or put in at the pupil's own request. Then he journeyed on to Trevi, another delightful hill town, full of charm and beauty, and there, an old man of seventy-five, in the church of Sta.

Maria della Lacrime, outside the town, he painted his "Adoration of the Magi." It is the old, old design. There is the wooden erection, the enthroned Madonna and Child, the kneeling Magi, the crowd of attendants.

In the distance are the servants with horses and camels, and away beyond are the blue hills, the river, and the sky.

Certainly it is degenerate work; but which of the men of his time could do such work? No one else could so present the continuous s.p.a.ce of nature, the s.p.a.ciousness and vastness of the distance, or bathe his pictures in the dreamy sunlight of summer. I lingered long before this fresco, loth to leave it, its tranquillity is so marked, its airiness is so impressive.

It was while completing this picture that the message as to the San Agostino ancona reached Pietro. Back he came to Perugia in 1522, painted the "Transfiguration" for Sta. Maria Nuova, and its three predella panels now in the Perugia Gallery, and the frescoes in the Nunnery of S.

Agnese (where he had relations), which I have not been able to see, as the Nunnery is now strictly cloistered.

Three more frescoes only remain for mention. A harsh and hurried one in the cathedral of Perugia, in which the Magdalen's face is the redeeming feature, a faded but lovely "Nativity" in the Alfani Rooms (Room 13) in the Perugia Gallery, which is full of exquisite feeling and tender, reverent grace, and finally, the last and unfinished work which now hangs in the National Gallery. This is a huge fresco transferred to canvas, and measures 19 ft. 6 in. long. It was executed at Fontignano in 1523, and is said to have been the last work of the artist. The hand had not lost its cunning, and there is much of the early sweetness in this huge fresco. There is the charm of its faded blues and purples, the haze of its shimmering sunshine, and the tender reverence of the kneeling figures.

There are just the same accessories as were adopted by Perugino in earlier "Adorations," very much the same grouping, and almost identical figures, and in these respects the two last pictures that the artist painted are almost copies, one of the other, differing only in proportions. The Perugia fresco is small, the London one very large; but both are really lovely compositions, full of mysterious charm, and it is pleasant to know that the artist's last works were not the queer, quaint ones of Spello and Bettona, but the wonderful, scenes of the "Adoration," painted with much of his old vigour and with all his earlier charm.

Mariotti tells us that Perugino died at the Ospedale of Fontignano, and Orsini suggests that it was of plague. There were various traditions as to his burial; even in Mariotti's time, Vasari states, he was honourably buried at Citta della Pieve, but there is absolutely nothing to support this statement. The artist was, according to local account hurriedly buried in a field, as at that time all town funerals were forbidden on account of the violence of the epidemic. In the following year, his sons, desirous of affording him an honourable burial, according to the rites of Holy Church, tried to make arrangement for the removal of the body.

On December 30th, 1524, they entered into a contract with the monks of San Agostino, who were still in their father's debt 50 scudi, that they should remove his body from Fontignano and bury him in their church, and the sons agreed to pay for the Ma.s.s. Mariotti says that there was in his time no proof that that ever was done, but the very fact of the contract proves that nothing could be said to the discredit of Perugino's life or character, and refutes idle rumour as to his atheism.

A spot was pointed to Mariotti half-a-mile from Fontignano as the place of Perugino's burial, but he records that, although nothing was found when this spot was examined, yet he could never find any proof that the devout wishes of the three sons, Giovanni Batista, Francesco, and Michel Angelo, were ever fulfilled. It is most probable that owing to the plague and to the war, which at the time were raging in Perugia, the removal of Perugino's body was delayed, and so eventually quite forgotten. No man, therefore, knows where the great artist was buried, and the burial-place he bought at SS. Annunziata in Florence, was unoccupied. Mariotti states that his only descendant was a grandson, one John Battista Vannucci, whose name appeared as a scholar in the University of Citta della Pieve. It is, therefore, quite possible that the plague carried off not only the artist, but shortly afterwards his three sons also. Pietro's wife was one Chiare Fancelli, a very beautiful girl, whom he married, 1st September 1493, in the Canonica in Perugia.

She was the daughter of Luca, an architect and surveyor in the service of the Marquis of Mantua. Tradition states that she was the model for the angel with Tobias in the National Gallery. She brought him a dowry of 500 gold ducats, and had in all seven children; and Vasari states that Pietro was exceeding fond of her, and so proud of her beauty that he loved to give her beautiful jewels and costly dresses, and to adorn her with his own hands. After his death she wrote in 1524 to the Marchioness of Mantua offering her a picture by her husband (not now known) of "Mars and Venus discovered together by Vulcan," which was for sale. This information Braghirolli discovered. She was still living in 1540.

Of Perugino's scholars who so closely followed their master, it will suffice just to mention Lo Spagna, Eusebio di San Giorgio, Giovanni Batta Caporali, Tiberio d'a.s.sisi, Giannicola Manni, Rocco Zoppo, Baccio Ubertini, but the glory of Raphael has overshadowed them all.

It may be well finally to review briefly the characteristics of the artist, and of his work. Perugino appears to have been a man of great determination, Lupatelli says of iron will. He had known poverty in his early days, and had faced it. He was determined to push his way and make a living, and, if possible, a great name; and he succeeded in his purpose. Brunamonti speaks several times of his desire to go ahead, and it is quite clear that he was ambitious and energetic, and hence his success. There is no proof whatever that he was irreligious, or, as Vasari implies, atheistic, but his face betokens a mind that would not ordinarily be satisfied without argument and examination, and it was perhaps his controversial habits that obtained for him the character that Vasari has recorded. His employment by the Church, not only by the Chief Pontiff but by numerous dignitaries and by many religious orders, and the arrangement just mentioned and entered into by his sons as to his burial, sufficiently refute Vasari's statements; but beyond this, it is inconceivable that such pictures as the Pazzi "Crucifixion," the San Severo "Deposition," the Vallambrosan "a.s.sumption," to name but three typical ones, could be painted by an irreligious man. I am disposed to consider his portraits as his finest works, and to me the portraits of the two monks of Vallombrosa reveal him as a great master, very skilful, and possessed of wonderful power.

His more popular compositions are many of them of striking beauty, especially in the delineation of faces, in the landscape, and in the colouring, and, above all, in that wondrous genius for representing open limitless s.p.a.ce to which attention was given in Chapter I. Perugino is never dramatic, he is always lyric, and the poetical charm of the Umbrian school is at its very zenith in his hands. He is not pa.s.sionate, as is Botticelli, nor strong, moving, and forceful as is Signorelli.

The delights of movement, the extremes of rage or desire, did not appeal to him. He was not as diversified as was Lippi; he never reached the stolid impressiveness of Ghirlandajo, nor the ecstatic devotion of Fra Angelico. He was not so purely ill.u.s.trative as was Pinturicchio, but very far exceeded him both in genius and in power. The emotions of pathos were not beyond his reach, the stateliness of dignity he could represent if he desired, but his charm is in the calm quiet of his pictures, in their tender reverence and exquisite sweetness, in their poetry rather than in their power. His creations are dreamy and contemplative, full of faith, hope, and expectation, and they embody and express the reality of a spiritual world of serene peace and satisfaction which, in its contrast to the world around us, speaks of the revelation of a faith that is true. His execution is masterly, his colouring mystic and glorious, his compositions are complete and united, his sense of decoration is excellent. He was himself sincere in his work, and his pictures therefore embody this sincerity, and their teaching is to lift the soul from sordid thoughts, and to raise it to Heaven itself.

FOOTNOTES:

[N] In this same year 1510, Perugino painted a "Virgin and Child between St. Peter and St. Paul," for Agostino Spinola of Savona, Bishop of Perugia.

[O] A letter dated 30th March 1512, and written from Citta della Pieve, already mentioned, is in existence, and proves not only his presence in the town in that year but that the St. Agostino altar-piece was at that time in hand, although not finished till 1521.

CHAPTER X

SAINT SEBASTIAN

There is a tradition in Umbria that upon two occasions Perugino painted miniatures on vellum, and that these works formed pages in two missals or Books of Hours. Several times the story was repeated to me, in Florence, in Perugia, and in other places, and it appears that at one time ma.n.u.script evidence of the fact existed in Rome, and may still exist. Of one of these pages I can give no information, as the most diligent inquiry has failed to identify it; but the other one, the earlier of the two, according to the Roman story, is now in England.

Its history is decidedly a romantic one. The volume to which it belongs was once in the possession of Cardinal Giovanni Girolamo Albani, and from him was called the Albani ma.n.u.script. He died in 1591, and the ma.n.u.script, which tradition says at one time came into the hands of Clement XI., pa.s.sed on down to the possession of another Cardinal Albani, Giovanni Francesco, at whose death in 1809 it was sold. A small dealer in curiosities obtained it, and Mr. Denistoune, the great collector, saw it in his shop near the Ghetto in Rome, and bought it for 22 scudi, about 5 sterling. Mr. Denistoune brought the book to England, and offered it, so the family story goes, to the British Museum for 250, but failed to persuade the trustees to purchase it; and so ten years afterwards when he returned to Rome he took the ma.n.u.script with him.

Gregory XVI. had by this time died, and the carelessness which existed in his time as to the purchase of art treasures in Rome had become a thing of the past. The new Pontiff, Pius IX., was much more particular, and he was ably seconded by Count Rossi in his endeavour to retain in the Eternal City its chief artistic treasures. Count Rossi heard of the Albani book, and Mr. Denistoune, alarmed for the safety of his treasure, wrapped it up in paper, addressed it to his bankers in London, and, explaining that it was his bank pa.s.s-book, gave it over to a lady friend who was leaving for England, to convey to London.

Within three or four days of the lady's departure, the agents of the Vatican called on Mr. Denistoune to demand the surrender of the treasure which had, they declared, been stolen from the Library in the Vatican of Clement XI. Mr. Denistoune declared he had not got the book they wanted and gave them permission to search his house. So accurate had been their information that they went at once to the very place in the bookcase whence the volume had been so lately removed, and, not finding it there, they searched the house from top to bottom.

A charge of theft was then formulated against Mr. Denistoune, and he was taken off to the Castle of St. Angelo, and there confined. Mr.

Denistoune, however, at once appealed to the English consular authorities, who quickly gave the police to understand that they had exceeded their powers, and, after two days' imprisonment, Mr. Denistoune was liberated, and at once left for England. The late Earl of Ashburnham then heard of the book, and tried hard to get its owner to sell it to him. At last, in an unguarded moment, Mr. Denistoune cheerily said that years before he had offered it to the British museum for 250, and he should not be content with less than three times that price now. Lord Ashburnham jumped at the figures, produced a bundle of notes, and in a few moments obtained the coveted treasure for 750. Until a year or two ago, the little volume rested at Ashburnham Place, but it was privately sold quite recently, together with several other fine ma.n.u.scripts, to Mr. Henry Yates Thompson. It is now in his famous and most wonderful collection, and it is to his kindness that I owe the privilege of handling and describing the book. The story has been pieced together from several narratives told me in Italy.

There are four splendid illuminated pages in the volume, each by a different hand, and each page the work of some great artist at his very best. There are also borders and other illuminations, which are probably the work of yet a fifth miniaturist.

The Perugino page is signed:

PETRVS PRVSINVS PINXIT,

and represents Saint Sebastian fastened to an upright pillar of wood, and being shot at by two archers.

These archers are gaily dressed: one, wearing a cap, has long red stockings, brown shoes, and a blue vest and a brown drapery around his waist; the other, who is bareheaded, has blue stockings, yellow boots, a red vest, and green drapery around his waist.

Above, in the air, are two angels, one of whom is turning towards the martyred saint. One angel has a drapery of puce, with green sleeves, and has yellow wings; the other wears orange, with red sleeves, and has green wings. The drapery around Saint Sebastian is puce colour. In the distance is a lovely typical Perugino landscape, extensive, and full of light and air; there are hills and rocks, trees and water, exquisitely painted, and revealing, in their wonderful effect of never-ending distance, the best work of the artist. The silhouetted effect of the trees is particularly characteristic. Above is the lofty dome of blue sky, bearing upon it the strange, frilled, fleecy clouds in which the artist so delighted, and illuminated by the glow of light that he was so easily able to produce.

The work I attribute to the 1500-1523 period, as the puce colour, the colouring of the angels' wings, and the shape of the clouds, all are characteristics of that period, as well as the subject itself and its treatment.

It is important to refer briefly to the way in which Perugino painted Sebastian. There are: 1. the Cerqueto fresco of 1478; 2. the Fiesole picture, now in the Uffizi, of 1493; 3. the Wantage figure, of about 1498; 4. the Borghese picture, of about 1500; 5. the Panicale fresco, of 1505; 6. the Perugia fresco, of 1518; 7. the ma.n.u.script in question; and the drawing of an archer at Christ Church, Oxford. (I leave out of this consideration the effeminate St. Sebastian, in the Perugia gallery, Sala XI., No. 16.)

[Ill.u.s.tration:

_Alinari photo_] [_Perugia Gallery_

THE MARTYRDOM OF ST. SEBASTIAN, 1518]

The Cerqueto one, and all the others save No. 2, represent St.

Sebastian tied to a column of wood; but the Cerqueto fresco is far more robust in its delineation, more Signorellesque in its muscular power than any of the others. The bend of the neck and the upward gaze of the face are distinctive of all seven.

The Uffizi picture alone (2), in which St. Sebastian is one of the two attendant saints, standing one on either side of the enthroned Madonna, represents the figure with his hands, as usual, bound behind him, but he is not bound to a column. In Nos. 2, 3, and 4 the saint stands on the ground; in the others, 1, 5, 6, and 7, the wooden post is elevated above the ground. The position of the feet differs in every case, but in each instance the face is upturned, the hands bound behind the back, the body nude, save for a loin-cloth, and the flesh pierced by arrows. In No. 7 there is but one mark of an arrow to be noted. The page in question most closely resembles the Perugia picture, No. 6. This came from the church of San Francesco al Patro, and was painted in the year of a great visitation of plague, and the selection of the plague saint is thus accounted for. In this picture there are the two archers only (whereas at Panicale there are four), and there are the two angels, which in the Panicale fresco certainly appear, but are in attendance upon the Eternal Figure, whose representation appears in the lunette above. One angel in the Perugia picture (6) bears a crown. It is impossible to say what the other one carries, as the fresco is so damaged; but the colouring of these angels very closely resembles the gay colouring in the ma.n.u.script.

The column was a very persistent type, as in structure the one painted in 1478 appears over and over again later on. The column in this ma.n.u.script very closely resembles the central limb of Perugino's crosses in his crucifixion scenes; and in this detail Lord Wantage's picture resembles most closely the ma.n.u.script; but the landscape, which is but slight and loose in this picture, is very fine in the ma.n.u.script and almost identical with the Citta della Pieve landscape, and with the Bettona one, and closely resembles the repainted Borghese picture (4), which has also the frilled clouds that are so distinctive in the ma.n.u.script.