DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42071#0217
PENNI
203
PERUGINO
34c. (iii) Luca di Michele. Flor., b. p. 1504,
d. 15—. P. Assistant of il Rosso Florentino.
According to Vasari [San. IV. 647] Luca worked in
Genoa with his brother-in-law, Pierino del Vaga,
in Lucca and in many other parts of Italy. He was
among the P.’s employed by il Rosso at Fontaine-
bleau [Vasari, San. V. 171]. Finally he is said to
have visited England; as, however, it is proved
that Bartolommeo was the P. established at the
English Court, Vasari is probably mistaken on this
point, unless, indeed, Luca joined his brother there.
If he did not use the burin himself, Luca made
drawings for engravings (v.e. Fisher, “ Early History
of Engraving ”).
35. Penni, Giovanni di Santi da Crespina
(Val di Tura). MI. Phy. A. [v. memo, in A.D.
Registers], mat. March 1595/6 [A.D., R. 27, c. 37,
28, c. 28*, 57, c. 58]. In Feb. 1608/9 Giovanni
“ nel Capella di S. Andrea ” was sued for 12 lire
[id. 90, c. 64].
36. Pergoti, Francesco di Giovanni. Flor.,
b. 15—, d. -. P. mat. Dec. 1592 [A.D.,
R. 56, c. 120*].
37. Perini, Pagolo di Piero. Flor., b. 15—■,
d.-. P. mat. May 1585 [A.D., R. 56, c. 77*].
38. Perli, Giovanni di Filippo. Flor., b. 15—,
d. 16—. P. mat. 1594 [A.D., R. 57, c. 51]. (Camar-
lingo 1614 [id. 103, c. 50]. Consul del Corpo 1619
(Dec.), [id. 99].) Giovanni worked “ a giomata ”
for Bernardino Poccetti [id. 64, s. an. 1612]. In
1628 he had painted some candles for Candlemas
Day. Giovanni’s son, Filippo, also a P., was born
early in the seventeenth century. Giovanni’s
bottega appears to have been in the Piazza de’ Pitti.
He is also described as of Sta. Maria del Fiore.
39. Perugino, Pietro was Pietro di Cristo-
fano di Pietro Vannucci, Castel (now Citta)
della Pieve. B. 1446, d. 1523. P. (Umbrian
School). Phy. A. Sept. 20, 1499 [Cod. X.]. S.L.
(lib. rosso 1472, 1500-5). College of Painters,
Perugia, 1506. The name of Perugino’s first master
in Perugia is unknown. Vasari [San. III. 566]
describes him as an indifferent P., but full of venera-
tion for art and artists. Orsini [“ Vita di P. Peru-
gino,” 23] deems Perugino a p. of Niccolo di Fuligno;
the names of Fiorenzo di Lorenzo and Benedetto
Bonfigli are also mentioned in connection with
Pietro’s early art education [v. Crowe and Caval-
caselle, ed. Lemon. IX. 174, and Berenson, “ Central
Italian Painters of the Renaissance,” 162]. Accord-
ing to Vasari [ut sup. II. 500, III. 568] he worked at
Arezzo under Piero della Francesca, and in Florence
studied under Andrea del Verrocchio, in whose
bottega Lionardo da Vinci, with whom he formed
an intimacy, and Lorenzo di Credi were working
at the time. The influence of Luca Signorelli
may also be seen in some of Perugino’s works.
He was proficient in the study of perspective [z».
Crowe and Cavalcaselle, ut sup. 177] and painted
in oil as well as in tempera and fresco. Perugino
has been blamed for repeating too often the same
figures in painting, and his quarrel with Michel-
agnolo, who criticised his mannerisms in rough
terms, is well known [Vasari, ut sup. 585]. He
organized regular factories of painting with branch
“ botteghe,” which he visited from time to time,
m. of Raphael, Baccio [v.e. Orsini, ut sup. 37] and
Francesco Ubertini, Rocco Zoppo, Roberto Monte-
varchi, Niccolo Soggi, Gerino da Pistoja, Bernardo
Fancelli, Lorenzo di Leombeni. Influenced Raffa-
elle Carli. To complete the list we note the names
only of his Umbrian p.’s: Giovanni Spagnuolo
detto lo Spagna, Andrea Luigi d’Assisi detto
l’lngegno, Eusebio di Francesco Ciambella detto
Fantasia, Domenico di Paride Alfani, Giannicola
Manni, Giovan Battista Caporali detto Bitti, Tiberio
d’Assisi, Pompeo Cocchi, Cesarino da Perugia,
Ercole Ramazzano, Sinibaldo Ibi, Giacomo di Gug-
lielmo di Ser Gherardo, Berto di Giovanni Paolini,
Matteo di Giuliano Balducci, Giovanni di Mro-
Giorgio, Francesco Melanzi, Mariano Mariani,
Assalonne di Ottaviano, Lattanzio di Vincenzo
Pagani, and a female artist, Teodora Danti. Gau-
denzio Ferrari is also enumerated among Perugino’s
scholars. If Pinturicchio was not Pietro’s p., he
was at least influenced by the Master.
In 1472 Perugino’s name is found in the Libro
Rosso as a member of the Florentine Company of
S. Luke. He evidently took up his residence in
Florence previous to this date, but whether a year
or more it is difficult to say. Vasari [ut sup. 565]
states that he left Perugia in a time of great calamity,
? plague or war. In the first entry in the Libro
Rosso he is inscribed simply as Pietro di Cristofano
da Perugia; in the later ones the title “ Maestro ”
is prefixed to his name. While making Florence
his principal residence for many years, purchasing
land and houses and a tomb in the SS. Annunziata
as late as 1515, Perugino was constantly moving
about, now in Rome, again at Perugia or elsewhere,
as his work required. In the same year he is
found executing important works at different places.
In 1575 Perugino, it would appear, was com-
missioned to paint in the Great Hall of the Public
Palace of Perugia. In 1478 he painted some frescoes
in a chapel at Cerqueto in the diocese of Perugia,
which, with the exception of a figure of S. Sebastian,
have perished [Orsini, ut sup. 204]. About 1480
Perugino was called to Rome by Pope Sixtus IV.
On Oct. 27, 1481, with Domenico Ghirlandajo,
Botticelli and Cosimo Rosselli, he signed a contract
to paint three subjects from the Old and New Testa-
ments, the frescoes to be completed by the 15th of
the following March [v. Ghirlandajo]. The extant
fresco by Perugino represents Our Lord giving the
Keys to S. Peter. Two other frescoes in the same
chapel were also painted by Perugino, but they were
destroyed during the Pontificate of Paul III. to
make way for Michelagnolo’s Last Judgment. On
Oct. 5, 1482, the Operaj of the Palazzo Vecchio
203
PERUGINO
34c. (iii) Luca di Michele. Flor., b. p. 1504,
d. 15—. P. Assistant of il Rosso Florentino.
According to Vasari [San. IV. 647] Luca worked in
Genoa with his brother-in-law, Pierino del Vaga,
in Lucca and in many other parts of Italy. He was
among the P.’s employed by il Rosso at Fontaine-
bleau [Vasari, San. V. 171]. Finally he is said to
have visited England; as, however, it is proved
that Bartolommeo was the P. established at the
English Court, Vasari is probably mistaken on this
point, unless, indeed, Luca joined his brother there.
If he did not use the burin himself, Luca made
drawings for engravings (v.e. Fisher, “ Early History
of Engraving ”).
35. Penni, Giovanni di Santi da Crespina
(Val di Tura). MI. Phy. A. [v. memo, in A.D.
Registers], mat. March 1595/6 [A.D., R. 27, c. 37,
28, c. 28*, 57, c. 58]. In Feb. 1608/9 Giovanni
“ nel Capella di S. Andrea ” was sued for 12 lire
[id. 90, c. 64].
36. Pergoti, Francesco di Giovanni. Flor.,
b. 15—, d. -. P. mat. Dec. 1592 [A.D.,
R. 56, c. 120*].
37. Perini, Pagolo di Piero. Flor., b. 15—■,
d.-. P. mat. May 1585 [A.D., R. 56, c. 77*].
38. Perli, Giovanni di Filippo. Flor., b. 15—,
d. 16—. P. mat. 1594 [A.D., R. 57, c. 51]. (Camar-
lingo 1614 [id. 103, c. 50]. Consul del Corpo 1619
(Dec.), [id. 99].) Giovanni worked “ a giomata ”
for Bernardino Poccetti [id. 64, s. an. 1612]. In
1628 he had painted some candles for Candlemas
Day. Giovanni’s son, Filippo, also a P., was born
early in the seventeenth century. Giovanni’s
bottega appears to have been in the Piazza de’ Pitti.
He is also described as of Sta. Maria del Fiore.
39. Perugino, Pietro was Pietro di Cristo-
fano di Pietro Vannucci, Castel (now Citta)
della Pieve. B. 1446, d. 1523. P. (Umbrian
School). Phy. A. Sept. 20, 1499 [Cod. X.]. S.L.
(lib. rosso 1472, 1500-5). College of Painters,
Perugia, 1506. The name of Perugino’s first master
in Perugia is unknown. Vasari [San. III. 566]
describes him as an indifferent P., but full of venera-
tion for art and artists. Orsini [“ Vita di P. Peru-
gino,” 23] deems Perugino a p. of Niccolo di Fuligno;
the names of Fiorenzo di Lorenzo and Benedetto
Bonfigli are also mentioned in connection with
Pietro’s early art education [v. Crowe and Caval-
caselle, ed. Lemon. IX. 174, and Berenson, “ Central
Italian Painters of the Renaissance,” 162]. Accord-
ing to Vasari [ut sup. II. 500, III. 568] he worked at
Arezzo under Piero della Francesca, and in Florence
studied under Andrea del Verrocchio, in whose
bottega Lionardo da Vinci, with whom he formed
an intimacy, and Lorenzo di Credi were working
at the time. The influence of Luca Signorelli
may also be seen in some of Perugino’s works.
He was proficient in the study of perspective [z».
Crowe and Cavalcaselle, ut sup. 177] and painted
in oil as well as in tempera and fresco. Perugino
has been blamed for repeating too often the same
figures in painting, and his quarrel with Michel-
agnolo, who criticised his mannerisms in rough
terms, is well known [Vasari, ut sup. 585]. He
organized regular factories of painting with branch
“ botteghe,” which he visited from time to time,
m. of Raphael, Baccio [v.e. Orsini, ut sup. 37] and
Francesco Ubertini, Rocco Zoppo, Roberto Monte-
varchi, Niccolo Soggi, Gerino da Pistoja, Bernardo
Fancelli, Lorenzo di Leombeni. Influenced Raffa-
elle Carli. To complete the list we note the names
only of his Umbrian p.’s: Giovanni Spagnuolo
detto lo Spagna, Andrea Luigi d’Assisi detto
l’lngegno, Eusebio di Francesco Ciambella detto
Fantasia, Domenico di Paride Alfani, Giannicola
Manni, Giovan Battista Caporali detto Bitti, Tiberio
d’Assisi, Pompeo Cocchi, Cesarino da Perugia,
Ercole Ramazzano, Sinibaldo Ibi, Giacomo di Gug-
lielmo di Ser Gherardo, Berto di Giovanni Paolini,
Matteo di Giuliano Balducci, Giovanni di Mro-
Giorgio, Francesco Melanzi, Mariano Mariani,
Assalonne di Ottaviano, Lattanzio di Vincenzo
Pagani, and a female artist, Teodora Danti. Gau-
denzio Ferrari is also enumerated among Perugino’s
scholars. If Pinturicchio was not Pietro’s p., he
was at least influenced by the Master.
In 1472 Perugino’s name is found in the Libro
Rosso as a member of the Florentine Company of
S. Luke. He evidently took up his residence in
Florence previous to this date, but whether a year
or more it is difficult to say. Vasari [ut sup. 565]
states that he left Perugia in a time of great calamity,
? plague or war. In the first entry in the Libro
Rosso he is inscribed simply as Pietro di Cristofano
da Perugia; in the later ones the title “ Maestro ”
is prefixed to his name. While making Florence
his principal residence for many years, purchasing
land and houses and a tomb in the SS. Annunziata
as late as 1515, Perugino was constantly moving
about, now in Rome, again at Perugia or elsewhere,
as his work required. In the same year he is
found executing important works at different places.
In 1575 Perugino, it would appear, was com-
missioned to paint in the Great Hall of the Public
Palace of Perugia. In 1478 he painted some frescoes
in a chapel at Cerqueto in the diocese of Perugia,
which, with the exception of a figure of S. Sebastian,
have perished [Orsini, ut sup. 204]. About 1480
Perugino was called to Rome by Pope Sixtus IV.
On Oct. 27, 1481, with Domenico Ghirlandajo,
Botticelli and Cosimo Rosselli, he signed a contract
to paint three subjects from the Old and New Testa-
ments, the frescoes to be completed by the 15th of
the following March [v. Ghirlandajo]. The extant
fresco by Perugino represents Our Lord giving the
Keys to S. Peter. Two other frescoes in the same
chapel were also painted by Perugino, but they were
destroyed during the Pontificate of Paul III. to
make way for Michelagnolo’s Last Judgment. On
Oct. 5, 1482, the Operaj of the Palazzo Vecchio