Great Masters in Painting: Perugino Part 17

_The picture was painted for the Church of San Domenico at Fiesole._

There are also three studies in the Uffizi for the =Pieta= in the Pitti.

FLORENCE, THE ACADEMY.

=Portrait of Don Biagio Milanesi=, General of the Vallombrosan Order.

1499-1500. [17.]

=Portrait of Don Balda.s.sare=, Monk of Vallombrosa. 1499-1500. [17 bis.]

=Christ on the Mount of Olives.= 1492-9. [53.]

_Painted for the Convent of the Gesuati, in Florence._

=The a.s.sumption.= [55.]

At the extreme top is the Eternal Father in a circle with adoring angels. Below, in a mandorla, is Our Lady surrounded by a group of cherubs, who, in their arrangement, follow the lines of the mandorla. On either side are standing angels playing on musical instruments, and below are flying angels and cherub faces. On the ground as spectators of the mystery are four Vallombrosan saints:

Cardinal San Bernardo degli Uberti, San Giovanni Gualberto the founder, St. Benedict, and the Archangel Michael.

The picture is signed: =PETRVS PERVSINVS PINXIT AD MCCCCC.=

_This picture was painted for Vallombrosa._

=The Crucifixion.= [78.]

On one side of the cross stands The Virgin, on the other St. Jerome with his lion.

_From the Monastery of St. Jerome in Florence._

=The Entombment.= [56.]

_This picture was also painted (in about 1493), for the Convent of the Gesuati._

=The Descent from the Cross.= [57.]

The lower part of the picture is Perugino's work, and the background. Nicodemus and Joseph of Arimathaea are on the left. The Madonna, fainting, but supported by the holy women, is on the right, and in the centre at the foot of the cross kneels Mary Magdalen. The three nails are in the foreground placed on the clothes of one of the men.

_This picture was begun in 1503 by Filippino Lippi for the brethren of SS. Annunziata de Servi, at the expense of Jacopo Federighi, a Knight of Malta. Upon Filippino's death in April 1504 it was completed by Perugino._

=Drawings.=

Case 255. Nos 411, 412, 413. Study for the "Deposition from the Cross" in the Pitti Gallery. Silver paint in bistre touched up with white, on grey paper.

254. 407. Five figures turning to the right.

409. St Francis. Study for figure in picture in SS.

Annunziata. Pen and ink.

418. St. Jerome kneeling.

253. 1307. Virgin and Child.

1147. Figure of a young man.

402. Venus and Cupid. Etching in bistre touched up in white for the Cambio.

1317. Figure of a monk.

252. 1320. An angel and a lily.

400. Pericles. Pen and ink. For the Cambio.

1435. Figure of a monk.

416. Head of

1115. Vision of St. Bernard. Study for the picture at Munich, 1024.

408. St. Catherine; and on the reverse of it, Four Loves.

Pen and ink.

363. Madonna and Child. Study for the picture at Perugia. Sala XI. 6.

401. Moses. For the Cambio.

511. Two figures.

Case 251. 415. Socrates. For the Cambio.

405. Group of five Apostles. Study for the a.s.sumption at SS. Annunziata.

417. The Madonna. Study for the figure in Sta. Maria dei Pazzi.

403. Three Apostles. Study for the a.s.sumption at Borgo San Sepolcro. Etched in bistre, heightened with white on tinted paper. On the back of 252, 400, is a Christ on the Cross, in silver paint on blue paper. Study for the Sta. Maria de Pazzi picture.

256. 309. The c.u.mean Sibyl. For the Cambio.

FLORENCE, CHAPTER-HOUSE OF SANTA MARIA MADDALENA DEI PAZZI.

=The Crucifixion.= This is a very large fresco in three compartments.

Circa 1496.

In the centre is Our Lord upon the Cross, with Mary Magdalen kneeling. In the right division, St. John and St. Benedict. In the left, the Virgin and St. Bernard. Each division is framed by an archway of pillars.