Pietro Vannucci, called Perugino

by George C. Williamson

It appears from Mariotti and Marchesi that the subjects were submitted to Pietro on the part of the Priori by Francesco Maturanzio, Professor of Rhetoric at Perugia, and secretary to the Priori. In a MS. of poetical works by Maturanzio, still preserved at Perugia, the inscriptions on the tablets of the decoration appear, and Maturanzio himself, according to Marchesi, derived some of his inspiration from a MS. Cicero, in which are miniatures of the Virtues and of the classic heroes who specially exemplify them. Near the door Pietro has painted Cato, then on the left wall, in two bays, are groups of philosophers and warriors in groups of three, each group consisting of a Greek between two Romans, and underneath each figure is his name. Above are representations of the Virtues, and opposite to these two bays is one in which are depicted the "Prophets and Sibyls," while at the end of the room appear the "Nativity" and the "Transfiguration."

These figures are arranged in one long line, each figure standing separately apart from the others, lonely and abstracted. The warriors are singularly unlike what a more pagan artist would have depicted. They are dainty, dreamy, gentle knights, almost feminine in their grace of limb and countenance, and in their elegance of costume and pose. In their head-dresses the fancy of the artist has run wild. Nothing is too extraordinary for Perugino to devise, and, fond as he always was of eccentric helmets and mitres, he has given full play to his imagination in these Cambio groups, and decked his heroes in the most extraordinary and extravagant helmets that even his fancy could invent. The armour and the costume of the figures also show how exuberant was the artist's fancy, and in the shape and decoration of the shields especially he gave it full play. Despite all these drawbacks, there is a certain stately grace about the figures, the drawing is accurate, the proportions good, and the attitudes natural, although just a little forced. The most important work of all is in the large bay opposite to the warriors and philosophers. This is styled the "Triumph of Religion," and represents the Prophets and the Sibyls standing together in converse, and above them is the Eternal Father, who is attended by two angels, and who is raising His hand in blessing. There is more power, breadth, and movement in this group than in the others, and there is closer connection between the various figures. They are more certainly interested one in the other, and in conversation one with the other; while as regards their draperies there is a broad, full sweeping treatment that is very marked, and deserves careful attention.

One more point may well be noted, that, fond as Perugino was of inscriptions and names on his pictures, of Latin verses, and of Latin signatures, in none of them is there such a profusion of inscriptions as in the Cambio, and every letter is most carefully drawn with the pencil, and is admirable in its proportions and clearness. One scene is practically unique. On but one other occasion, as far as I am aware, did Perugino paint the "Transfiguration," and then he carried out but little of the picture himself. Vasari incorrectly styles it the "Resurrection." This latter scene Pietro represented many times, and even Crowe and Cavalcaselle, careful as they usually were, have confused the "Transfiguration" with the "Resurrection" when they refer to the Fano altar-piece. The three disciples in the Cambio fresco are grouped very much in the way in which Pietro grouped the sleeping disciples in the Accademia picture. The attitude of the Christ closely resembles that of the Christ in the Vatican "Resurrection"; but, this resemblance accepted, the connection between the two representations is at an end.

Alinari photo] [The Cambio, Perugia

PORTRAIT OF PERUGINO, 1500

There are no angels in this picture, which, for Perugino, is most unusual; but Moses and Elias, fine, well-drawn, powerful figures, take the place of the usual singing angels who float in the sky. The half-startled look of the disciples is very cleverly presented, and the glow of the ethereal light upon their faces, partially warded off by St. John with his upraised hand, is beautifully depicted.

The transfigured Christ is an imposing figure, full of dignity and peace, and demanding reverence from those around. There is a sense of space, of distance, and of mystery in this fine fresco, which Perugino seldom, if ever, exceeded.

When, at the very close of his life, Perugino painted for Sta. Maria Nuova his other fresco of the "Transfiguration," he used the same cartoon as he adopted for the Cambio, reversing the three figures on the ground. The result is, however, far different, and but little of the fresco is really the work of Perugino. In place of a mandorla of rays of burning light, there is the usual one of cherubs, cut across by an awkward cloud, and almost all the figures have lost their dignity and power.