DOI Page / Citation link:
https://doi.org/10.11588/diglit.51584#0201
PERUGINO.
197
gino had first entered Florence a poor nameless
youth, he was called to Rome by Pope Sixtus IV.
to assist with most of the distinguished painters of
that time in painting the famous Sistine Chapel.
All the frescoes of Perugino except two were
afterwards effaced to make room for Michael An-
gelo’s Last Judgment. Those which remain show
that the styleof Perugino at this time was decidedly
Florentine, and quite distinct from his earlier and
later works. They represent the Baptism of Christ
in the river Jordan, and Christ delivering the
Keys to St. Peter. While at Rome he also painted
a room in the palace of Prince Colonna. When
he returned to Perugia he resumed the feeling and
manner of his earlier years, combined with better
drawing and colouring, and his best pictures were
painted between 1490 and 1502; his principal
Work, however, was the hall of the College del
Cambio (i. e. Hall of Exchange) at Perugia, most
richly and elaborately painted with frescoes, which
still exist. The personages introduced exhibit a
strange mixture of the sacred and profane: John
the Baptist and other saints, Isaiah, Moses, Daniel,
David, and other prophets, are figured on the walls
with Fabius Maximus, Socrates, Pythagoras, Pe-
ricles, Horatius Cocles, and other Greek and Roman
worthies. Other pictures painted in Perugia are
remarkable for the simplicity, grace, and dignity
of his Virgins, the infantine sweetness of the
VOL. i. - K
197
gino had first entered Florence a poor nameless
youth, he was called to Rome by Pope Sixtus IV.
to assist with most of the distinguished painters of
that time in painting the famous Sistine Chapel.
All the frescoes of Perugino except two were
afterwards effaced to make room for Michael An-
gelo’s Last Judgment. Those which remain show
that the styleof Perugino at this time was decidedly
Florentine, and quite distinct from his earlier and
later works. They represent the Baptism of Christ
in the river Jordan, and Christ delivering the
Keys to St. Peter. While at Rome he also painted
a room in the palace of Prince Colonna. When
he returned to Perugia he resumed the feeling and
manner of his earlier years, combined with better
drawing and colouring, and his best pictures were
painted between 1490 and 1502; his principal
Work, however, was the hall of the College del
Cambio (i. e. Hall of Exchange) at Perugia, most
richly and elaborately painted with frescoes, which
still exist. The personages introduced exhibit a
strange mixture of the sacred and profane: John
the Baptist and other saints, Isaiah, Moses, Daniel,
David, and other prophets, are figured on the walls
with Fabius Maximus, Socrates, Pythagoras, Pe-
ricles, Horatius Cocles, and other Greek and Roman
worthies. Other pictures painted in Perugia are
remarkable for the simplicity, grace, and dignity
of his Virgins, the infantine sweetness of the
VOL. i. - K