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Updated: June 1, 2025
Although there are masterpieces of Perugino's in nearly every great European collection, I cannot but think one must go to Perugia to appreciate fully the limpid clearness, the pensive, tranquil suavity, which reigns throughout his pictures in the countenances, the landscape, the atmosphere.
Andrea del Sarto again Franciabigio outraged Alessio Baldovinetti Piero de' Medici's church An Easter Sunday congregation Andrea's "Madonna del Sacco" "The Statue and the Bust" Henri IV The Spedale degli Innocenti Andrea della Robbia Domenico Ghirlandaio Cosimo I and the Etruscans Bronzes and tapestries Perugino's triptych S. Mary Magdalene de' Pazzi "Very sacred human dust".
Two Periods in the True Renaissance Andrea Mantegna His Statuesque Design His Naturalism Roman Inspiration Triumph of Julius Caesar Bas-reliefs Luca Signorelli The Precursor of Michael Angelo Anatomical Studies Sense of Beauty The Chapel of S. Brizio at Orvieto Its Arabesques and Medallions Degrees in his Ideal Enthusiasm for Organic Life Mode of treating Classical Subjects Perugino His Pietistic Style His Formalism The Psychological Problem of his Life Perugino's Pupils Pinturicchio At Spello and Siena Francia Fra Bartolommeo Transition to the Golden Age Lionardo da Vinci The Magician of the Renaissance Raphael The Melodist Correggio The Faun Michael Angelo The Prophet.
It is a beautiful country, but with the most wretched accommodation and the worst living in the world." "Come to Perugia, where it is always cool in summer," said a painter. "You can study Perugino's exquisite 'Annunciation' and other gems of the Umbrian school, and thus blend Art with the relaxation of Nature."
The oval faces with the peculiarly small mouth are characteristic. You will most readily recognize the work of this master after you have become a bit familiar with it." He also took them to the Cambio, once a Chamber of Commerce, to see Perugino's frescoes, which he told them are more important in the world of art than are his easel pictures.
In the mystic violet light with which the rich stained glass flooded the church, that pallid, suffering face, sublime in its meekness and resignation, hung above him like one of Perugino's saints over kneeling mediaeval worshippers.
It cannot be denied that Perugino's figures are dignified, and that in a very remarkable degree; but they are so by virtue of bearing, of proportion, of grace, and, above all, of expression of face and feature; and in the case of his full-length figures especially it is the dignity of a fine gentleman, rather than that of a grand nature, objective and in no wise subjective in its thoughts and preoccupations.
Plainly to think even a little thought, to express it in natural words which are native to the speaker, to paint even an insignificant object as it is, and not as the old masters or the new masters have said it should be painted, to persevere in looking at truth and at nature without the smallest prejudice for tradition, this was the whole mystery and cabal of the P. R. B. They called themselves "preraphaelite," because they found in the wings of Lippi's angels, and the columbines of Perugino's gardens that loving and exact study of minute things which gave to them a sense of sincerity, and which they missed in the breadth and ease of later work.
Nothing was heard but the low sighing of the wind, and now and then a sudden gust swept through the lattice, and threatened to extinguish the taper which was burning dimly on the table. A slight noise made him turn his eyes, and he perceived a note that the wind had displaced. He hastily took it up. It was Perugino's handwriting.
This is no place for criticism; only for feeling. Study particularly whatever you find of Francesca's, Perugino's and Bonfiglio's work. "You all know," he continued, "that Perugino, who lived here and received his art name because he did so, had an academy of painting, and that Raphael was for some years one of his pupils. Perugino's influence on his pupils is strikingly apparent in their work.
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