DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42071#0218
PERUGINO
204
PERUGINO
(Florence) allotted to Perugino and Biagio di
Antonio Tucci the decoration of the wall facing the
square of the audience hall of the Signori, the north
side of which Domenico Ghirlandajo was already
engaged in painting [A.S.F., Delib. degli Operaj del
Palazzo dal 1478, al 1483, Chap. VIII., No. 14,
Stanza III, armad. II.]. On Dec. 5 Filippino Lippi
[1q.v.] was substituted for Perugino in this work,
which, however, was never carried out. In Nov.
1483 Perugino was at Perugia, when he contracted
to paint a panel of the Virgin and Saints for the
“ Cappella del Magistrato ” of that city, which,
however, was not executed until 1495 [Mariotti,
“ Lettere Pittoriche,” 146-48].
Early in December he was recalled to Rome by
Sixtus IV. He was evidently still in Rome at the
death of that Pope [Aug. 13, 1484], as he was
employed with Antoniasso di Benedetto, Pier
Matteo d’Aurelio and others in painting standards
and executing other works for the Coronation of
Innocent VIII. [Muntz, “ L’Art a la Cour des Papes,”
3toe partie, 58, 59, 178, 256; Giomale d’Erud.
Art. VI. 272, 278]. On Aug. 8, 1489, an order
of payment for the balance due to Perugino for his
paintings in the Apostolic palace was issued, and
he gave his final receipt for 180 ducats of gold on
March 5, 1490, being then at Perugia [Crowe and
Cavalcaselle, ed. T. Murray, 1924, Vol. V. 298]. In
1488 he painted a panel for S. Domenico of Fiesole,
by commission of Cornelia di Giovanni Martini da
Venezia, who also provided for the erection of the
chapel of the Presepio. The subject of this panel
and its subsequent fate are unknown.* In the
same year, April 21, Perugino was at Fano, where he
witnessed a deed [Vasari, San. ut sup. 603, com.].
A panel of S. Bernardo painted for the Nasi chapel in
the church of the Cistello (now Sta. Maria Maddelena
de’ Pazzi) for the price of 50 ducats, but which has
disappeared, was ordered in 1488 and finished in
1489 [Vasari, San. ut sup. 584 and n. 2]. In the
same year Perugino visited Orvieto and was engaged
to complete the paintings on the vault of the chapel
of S. Brizio in the Duomo, left unfinished by Fra
Angelico [Crowe and Cavalcaselle, ut sup. 192].
After keeping the Board of Works of the Duomo in
suspense for five years, he finally wrote to say that
he was unable to proceed to Orvieto to carry out
the work, which was then given to Luca Signorelli.
Perugino was among the artists called, on Jan. 5,
I49°/i; to adjudicate on the models and designs
presented by the principal A.’s and P.’s of the day
at the competition held in Florence for the erection
of the facade of Sta. Maria del Fiore. In the result,
on the proposition of Lorenzo de’ Medici, it was
determined to defer any decision to another time
[“ Arch, del Duomo Delib.,” 1490/1]. In 1491
Perugino painted the fine altar-piece of the Nativity,
* According to Dr. Bombe, this picture, ordered in
1488, but completed in 1493, is No. 1122 at the Uffizi
Gallery [Crowe and Cavalcaselle, ed. Murray, V. 297].
in six compartments, for Cardinal Giuliano della
Rovere, which is now preserved in the Villa Albani,
Rome. In 1492-93 he painted for the church of
the convent of S. Giusto alle Mure (Florence) the
panels of Christ in the Garden and the Pieta, which
may be seen in the A.M.G. (Nos. 53 and 56). His
frescoes, executed in the same convent, and his
panel of the Crucifixion from the church of La
Calza, which is now at the Uffizi (No. 1547), were
probably painted at an earlier date. The convent
was pulled down during the siege of Florence in
1529 and the frescoes perished with it. To 1493
belongs the panel of the Virgin and Child with
S.S John the Baptist and Sebastian, painted for the
church of S. Domenico at Fiesole, now in the
Uffizi (No. 1122) [Vasari, San. ut sup. 570, et seq.
584-5 and n. 1]. In the same year Perugino com-
menced his great fresco of the Crucifixion in the
chapter-house of the monastery of the Cistello.
The order for this painting was given by Pietro di
Dionisio Pucci and Giovanna, his wife, the price
being 55 ducats of gold [Vasari, ut sup. 584 and
11. 3]. To 1494 belong his portrait of Francesco
dell’ Opera, painted in July, and now in the Uffizi
(No. 287), and his altar-piece for S. Agostino of
Cremona, which may possibly have been painted in
that city. On Aug. 14 of this year Perugino was in
Venice, as appears from a contract drawn up
between M. Pietro Peroxino and the Provveditore
del Sal to paint, in the Sala del Gran Consiglio, the
portraits of the Doges, the flight from Rome of
Pope Alexander III. pursued by Barbarossa, and
the Battle of Spoleto, for the price of 400 ducats.
It has been questioned whether the P. named in the
contract was Perugino or another artist of a similar
name, which seems unlikely. It is certain that in
1496, when it was in question to allot to Perugino
the paintings of the Sala del Cambio at Perugia, he
had to attend to other orders, and was about to
proceed to Venice in a few months [Giomale
d’Erud. Art., III. 8]. This may have been on
account of the above-mentioned paintings, which were
never carried out, as Perugino, dissatisfied apparently
with the original price, seems to have made an
increased demand of 800 ducats for the work. In
1515 Titian offered to paint the subjects allotted to
Perugino for the original price of 400 ducats. On
Jan. 20, 15x6, this offer was accepted, but at the
reduced price of 300 ducats [Vasari, ut sup., 614,
Com. IV.]. While at Venice Perugino possibly
painted the panel of the Miracle of the Cross
attributed to him, and dated 1494, formerly in the
Scuola of S. Giovanni Evangelista. It was burnt
and repainted about 1588. In 1495 Perugino
painted an altar-piece, the Virgin, Infant and
Angels, with six kneeling portrait-figures of mem-
bers of the Company, for the chapel of the Con-
fraternity of S. Peter Martyr in the church of
S. Domenico of Perugia. On March 6, 1495, the
order, originally given in 1483, was renewed for the
204
PERUGINO
(Florence) allotted to Perugino and Biagio di
Antonio Tucci the decoration of the wall facing the
square of the audience hall of the Signori, the north
side of which Domenico Ghirlandajo was already
engaged in painting [A.S.F., Delib. degli Operaj del
Palazzo dal 1478, al 1483, Chap. VIII., No. 14,
Stanza III, armad. II.]. On Dec. 5 Filippino Lippi
[1q.v.] was substituted for Perugino in this work,
which, however, was never carried out. In Nov.
1483 Perugino was at Perugia, when he contracted
to paint a panel of the Virgin and Saints for the
“ Cappella del Magistrato ” of that city, which,
however, was not executed until 1495 [Mariotti,
“ Lettere Pittoriche,” 146-48].
Early in December he was recalled to Rome by
Sixtus IV. He was evidently still in Rome at the
death of that Pope [Aug. 13, 1484], as he was
employed with Antoniasso di Benedetto, Pier
Matteo d’Aurelio and others in painting standards
and executing other works for the Coronation of
Innocent VIII. [Muntz, “ L’Art a la Cour des Papes,”
3toe partie, 58, 59, 178, 256; Giomale d’Erud.
Art. VI. 272, 278]. On Aug. 8, 1489, an order
of payment for the balance due to Perugino for his
paintings in the Apostolic palace was issued, and
he gave his final receipt for 180 ducats of gold on
March 5, 1490, being then at Perugia [Crowe and
Cavalcaselle, ed. T. Murray, 1924, Vol. V. 298]. In
1488 he painted a panel for S. Domenico of Fiesole,
by commission of Cornelia di Giovanni Martini da
Venezia, who also provided for the erection of the
chapel of the Presepio. The subject of this panel
and its subsequent fate are unknown.* In the
same year, April 21, Perugino was at Fano, where he
witnessed a deed [Vasari, San. ut sup. 603, com.].
A panel of S. Bernardo painted for the Nasi chapel in
the church of the Cistello (now Sta. Maria Maddelena
de’ Pazzi) for the price of 50 ducats, but which has
disappeared, was ordered in 1488 and finished in
1489 [Vasari, San. ut sup. 584 and n. 2]. In the
same year Perugino visited Orvieto and was engaged
to complete the paintings on the vault of the chapel
of S. Brizio in the Duomo, left unfinished by Fra
Angelico [Crowe and Cavalcaselle, ut sup. 192].
After keeping the Board of Works of the Duomo in
suspense for five years, he finally wrote to say that
he was unable to proceed to Orvieto to carry out
the work, which was then given to Luca Signorelli.
Perugino was among the artists called, on Jan. 5,
I49°/i; to adjudicate on the models and designs
presented by the principal A.’s and P.’s of the day
at the competition held in Florence for the erection
of the facade of Sta. Maria del Fiore. In the result,
on the proposition of Lorenzo de’ Medici, it was
determined to defer any decision to another time
[“ Arch, del Duomo Delib.,” 1490/1]. In 1491
Perugino painted the fine altar-piece of the Nativity,
* According to Dr. Bombe, this picture, ordered in
1488, but completed in 1493, is No. 1122 at the Uffizi
Gallery [Crowe and Cavalcaselle, ed. Murray, V. 297].
in six compartments, for Cardinal Giuliano della
Rovere, which is now preserved in the Villa Albani,
Rome. In 1492-93 he painted for the church of
the convent of S. Giusto alle Mure (Florence) the
panels of Christ in the Garden and the Pieta, which
may be seen in the A.M.G. (Nos. 53 and 56). His
frescoes, executed in the same convent, and his
panel of the Crucifixion from the church of La
Calza, which is now at the Uffizi (No. 1547), were
probably painted at an earlier date. The convent
was pulled down during the siege of Florence in
1529 and the frescoes perished with it. To 1493
belongs the panel of the Virgin and Child with
S.S John the Baptist and Sebastian, painted for the
church of S. Domenico at Fiesole, now in the
Uffizi (No. 1122) [Vasari, San. ut sup. 570, et seq.
584-5 and n. 1]. In the same year Perugino com-
menced his great fresco of the Crucifixion in the
chapter-house of the monastery of the Cistello.
The order for this painting was given by Pietro di
Dionisio Pucci and Giovanna, his wife, the price
being 55 ducats of gold [Vasari, ut sup. 584 and
11. 3]. To 1494 belong his portrait of Francesco
dell’ Opera, painted in July, and now in the Uffizi
(No. 287), and his altar-piece for S. Agostino of
Cremona, which may possibly have been painted in
that city. On Aug. 14 of this year Perugino was in
Venice, as appears from a contract drawn up
between M. Pietro Peroxino and the Provveditore
del Sal to paint, in the Sala del Gran Consiglio, the
portraits of the Doges, the flight from Rome of
Pope Alexander III. pursued by Barbarossa, and
the Battle of Spoleto, for the price of 400 ducats.
It has been questioned whether the P. named in the
contract was Perugino or another artist of a similar
name, which seems unlikely. It is certain that in
1496, when it was in question to allot to Perugino
the paintings of the Sala del Cambio at Perugia, he
had to attend to other orders, and was about to
proceed to Venice in a few months [Giomale
d’Erud. Art., III. 8]. This may have been on
account of the above-mentioned paintings, which were
never carried out, as Perugino, dissatisfied apparently
with the original price, seems to have made an
increased demand of 800 ducats for the work. In
1515 Titian offered to paint the subjects allotted to
Perugino for the original price of 400 ducats. On
Jan. 20, 15x6, this offer was accepted, but at the
reduced price of 300 ducats [Vasari, ut sup., 614,
Com. IV.]. While at Venice Perugino possibly
painted the panel of the Miracle of the Cross
attributed to him, and dated 1494, formerly in the
Scuola of S. Giovanni Evangelista. It was burnt
and repainted about 1588. In 1495 Perugino
painted an altar-piece, the Virgin, Infant and
Angels, with six kneeling portrait-figures of mem-
bers of the Company, for the chapel of the Con-
fraternity of S. Peter Martyr in the church of
S. Domenico of Perugia. On March 6, 1495, the
order, originally given in 1483, was renewed for the