DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42071#0219
PERUGINO
205
PERUGINO
panel of the Virgin, Infant and Saints for the chapel
of the Magistrato of Perugia, and the picture was
shortly after finally executed. The principal panel
is in the Vatican Gallery; the tympanum, containing
a Pieta, is still at Perugia. Two days later (March 8)
Perugino was commissioned to paint the panel of
the Ascension for the church of S. Pietro in the same
city. The price was fixed at 500 ducats of gold, the
frame carved and painted at 60 ducats. The centre
panel is preserved in the Museum of Lyons [No. 58].
To the same year belongs his Deposition from the
Cross, painted for the Convent of Sta. Chiara in
Florence, now in the Pitti Gallery (No. 164); and
he also received the commission to paint a panel of
the Marriage of the Virgin for the Duomo of Pistoja.
This painting had, however, not been begun at the
end of 1500. It was in the spring of 1496 that il
Moro, Duke of Milan, desired to engage Perugino
for the paintings in the Castello, but was unable to
secure his services. The Duke, however, recom-
mended him to the monks of the Certosa of Pavia
and commissioned him to paint a large altar-piece
on which Perugino was working in October [Bombe,
“ Italienische Forschungen,” 362, 366]. Of the
Certosa altar-piece, which was completed in 1499,
one panel only remains in situ, three panels are in
the National Gallery (No. 288) and two in France.
In 1497 the Duke made another attempt to induce
Perugino to come to Milan, but he was so full of
work that he was obliged to decline the offer. In
the course of this year Perugino painted a panel of
Our Lady and Saints for the church of Sta. Maria
Nuova of Fano, for which he was paid 300 piastres
of gold. About this time he probably also painted
at, or for, Cantiano and Sinigaglia. On Jan. 9,
1497/8, he, with Cosimo Rosselli, Benozzo Gozzoli
and Filippino Lippi, valued the paintings executed
in the choir of the church of Sta. Trinita (Florence)
by Alesso Baldovinetti [Vasari, San. III. 53, n. 2,
II. 595, n. 1]. On June 26, 1498, he was called to
advise, with other P.’s and A.’s, on the best method
of restoring the cupola of Sta. Maria del Fiore,
which had been struck by lightning [Guasti, “ Cup.
di S.M. del Fiore,” Doc. 339]. In 1500 Perugino
painted the Assumption of the Virgin for the Con-
vent of Vallombrosa and the portraits of the Abbot
Baldassare and of Don Diego Milanesi, General of
the Order. These paintings are now in the A.M.G.
(Nos. 55, 241 and 242). In the course of the same
year he completed his celebrated frescoes in the
Sala del Cambio at Perugia, which were commenced
in 1499. Perugino gave his final receipt for 350
ducats of gold paid for the work on June 15, 1507.
His assistants on these frescoes were probably
Giovanni di Francesco Ciambelli and Roberto
Montevarchi [Bombe, ut sup., 180]. In 1500
Perugino also painted a panel, placed in the church
of S. Agostino, for Filippo di Benedetto Capra.
On Sept. 10, 1502, he was commissioned to paint,
on both sides, a panel in tempera for the church of
S. Francesco del Monte, outside Perugia, for the
price of 120 flor. of gold. The front represents the
Virgin and Saints grouped round a wooden crucifix,
the back the Coronation of Our Lady with the
Apostles. Both panels are now in the Communal
Gallery of Perugia [Mariotti, “ Lettere Artistiche,”
193]. On Oct. 1 the monks of S. Agostino allotted
to Bacciolo d’Agnolo of Florence the erection of the
choir of this church, designed by Perugino. In the
same year Perugino received the order to paint
the double picture, front, Baptism of Our Lord,
back, the Nativity, for the high chapel of this
church. The picture does not appear to have been
entirely finished at the P.’s death in 1523. In
1683 it was divided across, and two panels are still
in the church, while various portions of the predella
have been transferred to the Communal Gallery.
To 1502 also belong the panel of the Nativity of
Our Lord and another of the Coronation of the
Virgin which are both in the same gallery [Mariotti,
ut sup., 182].
On Jan. 29, 1502-3, Perugino was commissioned
by the Marchesa Isabella Gonzaga to paint a
picture, in tempera, of the Combat of Chastity with
Lasciviousness, for her study at Mantua. This
painting was the subject of a long correspondence,
caused by Perugino’s delays in carrying out the
commission, partly owing to his absence from
Florence at Perugia and Siena, and in part because,
as Perugino states, an artist was compelled by
necessity to paint for those who paid him day by
day. The picture was finally completed in June
1505, for the price of 100 ducats of gold [Giornale
d’Erud. Art., II. 137-42]. In Jan. 1503/4
Perugino, then in Florence, was called with other
artists to give his opinion on the most suitable site
for Michelagnolo’s statue of David [Gaye, “ Car-
teggio,” II. 454]. In the same year he executed
the fresco of the Adoration of the Magi in the
Confratemita of Sta. Maria de’ Bianchi, Castel della
Pieve. In 1505 Perugino painted the fresco of the
martyrdom of S. Sebastian for the church of the
nuns of that title, at Panicale near Perugia. In
June of this year he was in Florence, when, with
Lorenzo di Credi and Giovanni delle Corniole, he
estimated the mosaic heads of S. Zanobi, executed
in competition by Da vide del Ghirlandajo and
Monte del Fora [Vasari, San. III. 251]. In the
beginning of August he was commissioned to com-
plete the panel for the high altar of the SS. Annun-
ziata, left unfinished by Filippino Lippi. The total
sum paid for the work was 200 flor. larghi of gold,
of which 150 flor. came to Perugino, Filippino
having already received 50 flor. Francesco di
Niccolo del Dolzimele gilded the frame for the
price of 200 flor. larghi of gold. The panel is
preserved in the A.M.G. There are various entries
in the Books of the Servi of payments on account
to Perugino between 1505 and 1512 [Vasari, San. 475,,
n. 2, Servi Lib. del Camarlingo 1505-11, s. an.
205
PERUGINO
panel of the Virgin, Infant and Saints for the chapel
of the Magistrato of Perugia, and the picture was
shortly after finally executed. The principal panel
is in the Vatican Gallery; the tympanum, containing
a Pieta, is still at Perugia. Two days later (March 8)
Perugino was commissioned to paint the panel of
the Ascension for the church of S. Pietro in the same
city. The price was fixed at 500 ducats of gold, the
frame carved and painted at 60 ducats. The centre
panel is preserved in the Museum of Lyons [No. 58].
To the same year belongs his Deposition from the
Cross, painted for the Convent of Sta. Chiara in
Florence, now in the Pitti Gallery (No. 164); and
he also received the commission to paint a panel of
the Marriage of the Virgin for the Duomo of Pistoja.
This painting had, however, not been begun at the
end of 1500. It was in the spring of 1496 that il
Moro, Duke of Milan, desired to engage Perugino
for the paintings in the Castello, but was unable to
secure his services. The Duke, however, recom-
mended him to the monks of the Certosa of Pavia
and commissioned him to paint a large altar-piece
on which Perugino was working in October [Bombe,
“ Italienische Forschungen,” 362, 366]. Of the
Certosa altar-piece, which was completed in 1499,
one panel only remains in situ, three panels are in
the National Gallery (No. 288) and two in France.
In 1497 the Duke made another attempt to induce
Perugino to come to Milan, but he was so full of
work that he was obliged to decline the offer. In
the course of this year Perugino painted a panel of
Our Lady and Saints for the church of Sta. Maria
Nuova of Fano, for which he was paid 300 piastres
of gold. About this time he probably also painted
at, or for, Cantiano and Sinigaglia. On Jan. 9,
1497/8, he, with Cosimo Rosselli, Benozzo Gozzoli
and Filippino Lippi, valued the paintings executed
in the choir of the church of Sta. Trinita (Florence)
by Alesso Baldovinetti [Vasari, San. III. 53, n. 2,
II. 595, n. 1]. On June 26, 1498, he was called to
advise, with other P.’s and A.’s, on the best method
of restoring the cupola of Sta. Maria del Fiore,
which had been struck by lightning [Guasti, “ Cup.
di S.M. del Fiore,” Doc. 339]. In 1500 Perugino
painted the Assumption of the Virgin for the Con-
vent of Vallombrosa and the portraits of the Abbot
Baldassare and of Don Diego Milanesi, General of
the Order. These paintings are now in the A.M.G.
(Nos. 55, 241 and 242). In the course of the same
year he completed his celebrated frescoes in the
Sala del Cambio at Perugia, which were commenced
in 1499. Perugino gave his final receipt for 350
ducats of gold paid for the work on June 15, 1507.
His assistants on these frescoes were probably
Giovanni di Francesco Ciambelli and Roberto
Montevarchi [Bombe, ut sup., 180]. In 1500
Perugino also painted a panel, placed in the church
of S. Agostino, for Filippo di Benedetto Capra.
On Sept. 10, 1502, he was commissioned to paint,
on both sides, a panel in tempera for the church of
S. Francesco del Monte, outside Perugia, for the
price of 120 flor. of gold. The front represents the
Virgin and Saints grouped round a wooden crucifix,
the back the Coronation of Our Lady with the
Apostles. Both panels are now in the Communal
Gallery of Perugia [Mariotti, “ Lettere Artistiche,”
193]. On Oct. 1 the monks of S. Agostino allotted
to Bacciolo d’Agnolo of Florence the erection of the
choir of this church, designed by Perugino. In the
same year Perugino received the order to paint
the double picture, front, Baptism of Our Lord,
back, the Nativity, for the high chapel of this
church. The picture does not appear to have been
entirely finished at the P.’s death in 1523. In
1683 it was divided across, and two panels are still
in the church, while various portions of the predella
have been transferred to the Communal Gallery.
To 1502 also belong the panel of the Nativity of
Our Lord and another of the Coronation of the
Virgin which are both in the same gallery [Mariotti,
ut sup., 182].
On Jan. 29, 1502-3, Perugino was commissioned
by the Marchesa Isabella Gonzaga to paint a
picture, in tempera, of the Combat of Chastity with
Lasciviousness, for her study at Mantua. This
painting was the subject of a long correspondence,
caused by Perugino’s delays in carrying out the
commission, partly owing to his absence from
Florence at Perugia and Siena, and in part because,
as Perugino states, an artist was compelled by
necessity to paint for those who paid him day by
day. The picture was finally completed in June
1505, for the price of 100 ducats of gold [Giornale
d’Erud. Art., II. 137-42]. In Jan. 1503/4
Perugino, then in Florence, was called with other
artists to give his opinion on the most suitable site
for Michelagnolo’s statue of David [Gaye, “ Car-
teggio,” II. 454]. In the same year he executed
the fresco of the Adoration of the Magi in the
Confratemita of Sta. Maria de’ Bianchi, Castel della
Pieve. In 1505 Perugino painted the fresco of the
martyrdom of S. Sebastian for the church of the
nuns of that title, at Panicale near Perugia. In
June of this year he was in Florence, when, with
Lorenzo di Credi and Giovanni delle Corniole, he
estimated the mosaic heads of S. Zanobi, executed
in competition by Da vide del Ghirlandajo and
Monte del Fora [Vasari, San. III. 251]. In the
beginning of August he was commissioned to com-
plete the panel for the high altar of the SS. Annun-
ziata, left unfinished by Filippino Lippi. The total
sum paid for the work was 200 flor. larghi of gold,
of which 150 flor. came to Perugino, Filippino
having already received 50 flor. Francesco di
Niccolo del Dolzimele gilded the frame for the
price of 200 flor. larghi of gold. The panel is
preserved in the A.M.G. There are various entries
in the Books of the Servi of payments on account
to Perugino between 1505 and 1512 [Vasari, San. 475,,
n. 2, Servi Lib. del Camarlingo 1505-11, s. an.