Pietro Vannucci, called Perugino

by George C. Williamson

Alinari photo] [Sta. Maria Maddalena dei Pazzi, Florence

THE CRUCIFIXION

As the spectator steps into the quaint chapter-house, this whole scene appears to open into view. The central crucifix with its solemn burden, and the five quiet figures standing so still and placid, full of that intense sorrow and tender pity which absorb the whole being, and which are so evidently the dominant passions that the mind of the spectator unites with them, and all who gaze on this sublime scene do so with reverend pity for the central figure, and intense sympathy for the spectators in the drama. There are two studies in existence for this work, one for the Christ on the Cross, on the back of a drawing of Pericles (252, 400) and the other for the standing figure of the Virgin (251, 417). Both are in the Uffizi Gallery. In the central compartment of the fresco will be recognised the prototype of the "Crucifixion" by Raphael now belonging to Mr. Ludwig Mond. There is, however, far more pure beauty, definite purpose, and tender reverence in the work by Perugino than in that by the youthful Raphael, although the merit of the latter work is very great, and surprisingly so when the age of the artist is taken into consideration. There is a breadth and power and an originality about Raphael's figure that is wonderful, but from the point of view of reverence and devotion, Perugino's marvellous and touching creation is superior to it.

The Certosa altar-piece, now in the National Gallery, is usually considered to be one of the greatest pictures Perugino ever executed. One-sixth part of it only is still in situ, the central panel of the upper tier. This represents the Eternal Father within a mandorla of cherubs. The remaining five panels are copies, the two upper ones, after Borgognone, to replace originals in France, the three lower ones to replace the originals in London.

There are one or two points that merit special attention in this picture. It is desirable to mention that what has been called the monotony of Perugino can be clearly seen at this time. The figure of St. Michael has already appeared in the Albani altar-piece, and will appear again in the Bologna "Assumption," and other pictures.

The elaborately decorated shield and the quaint head-dress of the great archangel appear in the figures of the Cambio decoration, in the "Sposalizio," and in the Sistine Chapel fresco. The angels which appear in the central panel will be marked again and again in later works.

Perugino in his lifetime was severely criticised for this failing. Lanzi expressly records the grumbling of many of Perugino's patrons at his want of variety in treatment, the fact that his altar-pieces more or less closely resembled one another, and the artist's reply that he robbed no one. His figures were admired in one picture, why should they not be in another? and if a figure was pronounced lovely and suitable at one time and for one place, why should it be condemned when used for a similar position in another place.

This complaint, made in the fifteenth century, has continued down to the present time, and has certain justification. There is a want of originality about Perugino's conceptions beyond a certain point; but this very monotony is a most useful aid in recognising and scheduling his pictures, while individually his figures are so graceful, and his groups so well composed, that those who love Umbrian art never tire of gazing upon his fascinating pictures.