Other commissions recorded by Mariotti were the decorating of the doors of the palace, and the painting up of the arms of Pope Julius II., who three years after was to visit Perugia in state, and also the designing of a silver ship or nef, to be used as a credence table. Of all these various works he certainly executed at this time the double altar-piece for the Minorites at San Francesco al Monte, which has been removed to the Pinacoteca. Probably little more than the design for one side of this altar-piece was the work of Pietro, the execution being done by his pupils. The picture is in very bad condition, and in places seriously damaged, but there are certain features about it that distinguish it from Perugino's own work. The long chain of flowers and pearls carried by the angels is not Peruginesque. The master would have used a ribbon. The cloud which cuts across the mandorla in two places, the awkward, sentimental-looking faces of the disciples and women, the ill-drawn feet, and weak draperies, all reveal the hands of a pupil, yet the idea of the picture is distinctly Perugino's, and here and there are traces of firmer, stronger work, which may well be due to the master himself. The reverse side of the picture may, however, be safely ascribed to Perugino. The Virgin is the same as in the Pazzi "Crucifixion," while the figures of St. Mary Magdalen, St. Francis, and St. John, are to be found in other altar-pieces by Pietro in the same gallery. In its original condition the picture must have been a really fine one, and although terribly damaged, enough remains to show how tender and sympathetic must the whole composition have appeared. There is a rough grandeur about the quatrocento carved wood crucifix which is laid on the canvas; and the four figures and two angels grouped about it, so placid, and calm, and so full of simple sorrow, must have formed a very impressive work. The landscape is delicate and sunny, and there is every reason to consider this picture entirely the work of the master, and to regret very much that by reason of exposure, damp, and neglect it has so seriously suffered.
Alinari photo] [Perugia Gallery
THE CRUCIFIXION
(Painted round a wooden crucifix)
In 1503, Perugino left Perugia, so Mariotti records, completing in the October of that year the arms of Julius II. on the gates of the palace and on the five entrances to the city. He settled down in Florence in the Pinti quarter, and early in the year, on January 25th, 1504, was present at the meeting called to choose a place for Michel Angelo's gigantic statue of "David." This meeting resulted in some bitter controversy. There were eighteen artists present, amongst whom were Andrea della Robbia, Lorenzo di Credi, Sandro Botticelli, Perugino, Leonardo da Vinci, Filippino Lippi, David Ghirlandajo. Various positions were suggested for the statue, and a place under the Loggia met with the greatest approval. Lippi and the goldsmith Salvestro di Lavacchio having suggested that Michel Angelo himself would probably have given grave consideration to a site, Piero di Cosimo proposed that he should be given his choice. He chose the place occupied by the "Judith," which was removed, and the "David" taken to the Palazzo Vecchio. With this selection and decision Perugino did not agree, nor did those who voted with him for the position in the Loggia, and a party came into existence opposed to Michel Angelo and disliking his style. Many of these objectors were in the habit of meeting in the botega of Perugino's old friend, Baccio, the worker in intarsia, and on one of these occasions, when some remarks antagonistic to Michel Angelo were passed round, the sculptor, roused to exasperation, turned to Perugino and pronounced his paintings to be "absurd and antiquated." In the light of the new classic influence the statement was doubtless true, but it grievously annoyed Perugino, and he was foolish enough to appeal to the Council of Eight, but obtained no redress and only exposed himself to ridicule and sarcastic remarks.
| [Città della Pieve] | [Perugia] | [Città della Pieve] |
| 20th February 1504 | 30th March 1512 | 1st March 1504 |
THREE LETTERS FROM PERUGINO