1075. VIRGIN AND CHILD, ST. JEROME, AND ST. FRANCIS.
Perugino (Umbrian: 1446-1523). See 288.
A very "Peruginesque" example—full, that is, of the peculiar sentiment and apparent affectation which caused Goldsmith to make the admiration of him the test of absurd connoisseurship.[208] But "what is commonly thought affected in his design," says Ruskin, "is indeed the true remains of the great architectural symmetry which was soon to be lost, and which makes him the true follower of Arnolfo and Brunelleschi," the great Florentine builders (Ariadne Florentina, § 72). The picture displays also in perfection "that quality of tone in which Perugino stands unsurpassed; and the rich and liquid, but subdued colour is steeped in a transparent atmosphere of pale golden glow" (Burton).
The history of this picture affords a good instance of that enrichment of the National Gallery with "graceful interludes by Perugino," saved from "the wreck of Italian monasteries," of which Mr. Ruskin speaks in his preface to this work. It was painted by Perugino in 1507, to be placed over an altar in memory of a master-carpenter at Perugia. It afterwards passed into the possession of the monks who owned the church. They sold it, with the chapel in which it was placed, to the Cecconi family, from whom it passed by inheritance to the family Della Penna. In 1822 the head of this family removed it to his palace, leaving a copy of it in its place in the church, and in 1879 the picture itself was bought from the Baron della Penna for the Nation.