[18] He is favorably mentioned by Crispolti, in the Perugia Augusta; by Ciatti, in the Istorie di Perugia; Alessi, in the Elogi de' Perugini illustri; and by Pascoli, in the Vite de' Pittori Sc. Arch. Perugini; with whom I can in no manner concur in opinion, that "Benedetto was equal to the best artists of his time, and probably the first among the early masters who contributed to the introduction of an improved style," (p. 21). An assertion singularly unjust to Masaccio.
[19] He subscribed himself de Castro Plebis, now Città della Pieve. There, according to Pascoli, the father was born, who afterwards removed to Perugia, where Pietro was born; but the greater probability is, that Pietro also was born in Città della Pieve. Mariotti.
[20] This resemblance might have arisen from his imitation of the works of Borghese, (Pietro della Francesca) which he saw in Perugia, as it most assuredly cannot be proved that Perugino was ever in his school. P. Valle and others express great doubts of it, and when I reflect that Vannucci was only twelve years old when Borghese lost his sight, I regard it as an absurd tradition.
[21] Vasari, at the close of his Life observes, "none of his scholars ever equalled Pietro in application or in amenity of colour." Padre della Valle asserts on the contrary, "that he was indebted for a great portion of his celebrity to the talents displayed by his scholars;" and says that he detected the touch of Raffaello in his picture in the Grand Duke's collection; but we must have a stronger testimony before we submit ourselves to this decision.
[22] Descrizione del Palazzo Vaticano, p. 36.
[23] Consisting of three subjects from the Life of Christ, in the Chapel of the Holy Sacraments. The Annunciation, the Birth of Christ, and the Dispute with the Doctors, the best of the three. In one of these he introduced his own portrait. Vasari does not mention this fine production.
[24] He probably came to Venice from Rimino, or resided there for some time. We find other early painters assigned first to one country and then to another, as Jacopo Davanzo, Pietro Vannucci, Lorenzo Lotto, &c.
[25] It is said that Mengs, who was desirous of being considered a philosophical painter, coincided with Vitruvius in opinion. But this opinion should be restricted to some indifferent specimens; for when he afterwards saw them painted in the true style of the ancients, he regarded them with extraordinary pleasure; as in Genoa, which possesses some beautiful arabesques by Vaga. So the defender of Ratti assures us.