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Updated: June 1, 2025
A chef d'oeuvre by the master is the Madonna of the Certosa at Pavia, now in, the National Gallery. Yet it is said to have been painted at the very period when Michael Angelo ridiculed Perugino's work as 'absurd and antiquated. Vittore Carpaccio, date and place of birth unknown, though he is said to have been a native of Istria.
Raphael's early painting is exactly after his style. In Perugino's treatment of figures you will find a mannerism, especially in the way his heads are placed on the shoulders, and in his faces, which are full of sentiment, the wistful eyes often being cast upward, but sometimes veiled with heavily drooping lids. "Look! here is one of his pictures.
I saw a somewhat wicked smile mantling on the learned professor's face and a merry twinkle shining in his eye, which led me to ask him if his estimate of this quality in Perugino's works differed from that of the English writer.
Perugino's pictures give the impression of greater sincerity and earnestness than Raphael's, though the genius of Raphael often gave him miraculous vision. July 28th. Last evening we went to the Powers's, and sat with them on the terrace, at the top of the house, till nearly ten o'clock.
At the same time, Michelangelo's influence was undeniable, and we cannot ignore the testimony of those who conversed with both great artists of Julius himself, for instance, when he said to Sebastian del Piombo: "Look at the work of Raffaello, who, after seeing the masterpieces of Michelangelo, immediately abandoned Perugino's manner, and did his utmost to approach that of Buonarroti."
His mornings were passed in the reveries of his art; his evenings in the gay and fascinating society of Florence, where the fame of Perugino's beloved pupil had already reached. The frescos at Siena were spoken of; and the beautiful countenance and graceful deportment of Raphael won him the friendship of distinguished men.
Such was the aspect of the Sistine Chapel when Michelangelo began his great work. Perugino's three frescoes on the west wall were afterwards demolished to make room for his Last Judgment. The two frescoes on the east wall are now poor pictures by very inferior masters; but the twelve Scripture histories and Botticelli's twenty-eight Popes remain from the last years of the fifteenth century.
If the Umbrians got their love of circular hill lines at home, they learned in Rome the real existence of the green grass valleys and hills unbroken by cultivation, like those behind Perugino's Crucifixion and Spagna's Muses. All round, as I sit in that place, the dry last year's stalks dance in the wind above the new grass and flowers. O Easter, Resurrection, Renovation! The larks proclaim it!
It is all sweet, tender, delicate, and carefully finished; but without depth, not even the depth of Perugino's feeling. In S. Francesco, Pinturicchio, with the same meticulous refinement, painted a letter addressed to him by Gentile Baglioni. It lies on a stool before Madonna and her court of saints.
In Perugino's portrait of Francesco delle Opere, No. 287, we find an evening sky and landscape still more lovely than Francia's.
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