DOI Page / Citation link:
https://doi.org/10.11588/diglit.42861#0381
ITS DEFECTS
889
Perugino replied on the 10th of August, express-
ing his regret that he had not known the medium
employed by Mantegna, and saying that he would
have greatly preferred to use oils rather than tempera,
which did not suit the texture of his canvas, but hoped
some day to be allowed to paint the Marchesa another
more delicately finished picture. Isabella, however,
was not sufficiently pleased with the Triumph of
Chastity to order a second painting for her studio,
and when, after Perugino’s death, his widow, Chiara
Fancelli, offered her a picture of Mars and Venus
surprised by Vulcan, which the artist had intended
for the Marchesa, she declined to purchase the
painting.1 The correctness of Isabella’s judgment
is confirmed by the sight of Perugino’s picture, which
hangs in the Louvre to-day, side by side with the
works which Mantegna and Lorenzo Costa executed
for the Marchesa’s Grotta. The Triumph of Chastity
is the feeblest and least satisfactory of the series, and
lacks the charm of the Ferrarese artist’s graceful com-
positions, while it sinks far below the level of the
great Paduan master’s conceptions. Both in style
and subject Isabella’s poesia was ill-adapted to Peru-
gino’s art, and had, it is plain, inspired him with little
interest. The composition is crowded and confused,
without life or unity ; the execution is poor and
flimsy, and the figures and trees are curiously out of
proportion. The chief beauty of the picture lies in
the clear Umbrian sky, in the lovely landscape of
blue hills and river, and in the laughing faces and
gambols of the countless loves who are sporting on
the grass. Venus, we note, does not wear either
the crown, veil or garland prescribed by Isabella, and
1 Braghirolli, op. cit.
889
Perugino replied on the 10th of August, express-
ing his regret that he had not known the medium
employed by Mantegna, and saying that he would
have greatly preferred to use oils rather than tempera,
which did not suit the texture of his canvas, but hoped
some day to be allowed to paint the Marchesa another
more delicately finished picture. Isabella, however,
was not sufficiently pleased with the Triumph of
Chastity to order a second painting for her studio,
and when, after Perugino’s death, his widow, Chiara
Fancelli, offered her a picture of Mars and Venus
surprised by Vulcan, which the artist had intended
for the Marchesa, she declined to purchase the
painting.1 The correctness of Isabella’s judgment
is confirmed by the sight of Perugino’s picture, which
hangs in the Louvre to-day, side by side with the
works which Mantegna and Lorenzo Costa executed
for the Marchesa’s Grotta. The Triumph of Chastity
is the feeblest and least satisfactory of the series, and
lacks the charm of the Ferrarese artist’s graceful com-
positions, while it sinks far below the level of the
great Paduan master’s conceptions. Both in style
and subject Isabella’s poesia was ill-adapted to Peru-
gino’s art, and had, it is plain, inspired him with little
interest. The composition is crowded and confused,
without life or unity ; the execution is poor and
flimsy, and the figures and trees are curiously out of
proportion. The chief beauty of the picture lies in
the clear Umbrian sky, in the lovely landscape of
blue hills and river, and in the laughing faces and
gambols of the countless loves who are sporting on
the grass. Venus, we note, does not wear either
the crown, veil or garland prescribed by Isabella, and
1 Braghirolli, op. cit.