DOORWAY OF PALAZZO PUBBLICO
Faith and Love are emphasised by two large frescoes facing the entrance, the Transfiguration and the Adoration of the Magi; Hope of an eternal future, by the prophets and sibyls on the wall to the right.
On the left wall the frescoes depict moral qualities,—Justice and Prudence, illustrated below by the figures of Fabius Maximus, Socrates, Numa, Camillus, Pittacus, and Trajan.
On a lower level still is a portrait in oil of Perugino, painted by himself; while the remaining half of the upper wall has figures representing Courage and Temperance. Below them are Licinius Leonidas and Horatius Cocles; Scipio Africanus, Pericles, and Cincinnatus.
There is not any attempt at grouping in these frescoes: the figures stand severe and stately, as if they were on the look-out to rebuke any cheating or covetous practices going on in the Hall below. It is remarkable that the painter should have been accused of greed in the pursuit of his calling, when he considered it necessary to call up on the walls of the Sala so many witnesses to protest against the love of money in others. The ceiling is divided into bays, on which are the planets. In the centre is the sun, represented by Apollo in his chariot; the spaces between are filled with ornament and figures, some of which are attributed to Raffaelle.
On a bright morning, when the sun is pouring light and warmth into the little Sala, the rich tone of these frescoes is marvellous, and, so far as one can see, they have not greatly suffered by restoration.
In the adjoining Cappella del Cambio are some sibyls and children, said to be Raffaelle's, but the work in these has evidently been much retouched.
Perugino is at his best in the frescoes of the Sala; they form a striking contrast to the monotony of style which, in spite of their individual beauty, wearies one in his Perugian oil pictures. The gallery devoted to his work upstairs in the Pinacoteca is, on the whole, disappointing.
The pictures are calm and sweet and refined, but one longs for variety of feeling; a few, however, show marked superiority over the rest. It is very curious to remember that these peaceful saintly pictures were painted when daily brawls were taking place in the city, even while her chief Piazza streamed with the blood of nobles and Raspanti.