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Updated: June 6, 2025
Giovanni Santi may here be seen almost as well as at Cagli; and of Perugino there is one truly magnificent altar-piece lunette, great centre panel, and predella dusty in its present condition, but splendidly painted, and happily not yet restored or cleaned. It is worth journeying to Fano to see this.
And Pierre found but one word to express his feelings: Michael Angelo was the monster dominating and crushing all others. Beneath his immense achievement you had only to glance at the works of Perugino, Pinturicchio, Roselli, Signorelli, and Botticelli, those earlier frescoes, admirable in their way, which below the cornice spread out around the chapel.
The Francesco delle Opere was perhaps his first portrait, full of virility beyond anything else in his work, save his own portrait at Perugia. For many years this picture, owing, it might seem, to a mistake of the Chevalier Montalvo, was supposed to represent Perugino himself, so that the picture was hung in the Gallery of the Portraits of Painters.
During this time Pietro Perugino, then a famous painter, came to Siena, where, as has been related, he painted two altar-pieces; and his manner pleased Domenico greatly, so that he set himself to study it and to copy those altar-pieces, and no long time passed before he had caught that manner.
Verrocchio was the master of Lorenzo di Credi and of Leonardo, while, as it is said, Perugino passed through his bottega.
Perugino was furiously angry and would not listen to reason, but must needs go before the great Council and demand that they should punish Michelangelo for his hard words. This of course the Council refused to do, and Perugino left Florence for Perugia, angry and sore at heart.
We were received by an old gentleman, who appeared to be a public officer, and found ourselves in a small room, wainscoted with beautifully carved oak, roofed with a coved ceiling, painted with symbols of the planets, and arabesqued in rich designs by Raphael, and lined with splendid frescos of subjects, scriptural and historical, by Perugino.
Domenico, the son of Luca Neroni, painter, sculptor, goldsmith, and engraver, about whom, owing either to the scarcity of his works or the scandal of his end, Vasari has but a few words in another man's biography, must have been born shortly before or shortly after the year 1450, a contemporary of Perugino, of Ghirlandaio, of Filippino Lippi, and of Signorelli, by all of whom he was influenced at various moments, and whom he influenced by turns.
In like manner, the Stanze and Loggie of the Vatican were the final outcome of the same process upon another line, suggested by Perugino and Fra Bartolommeo. Michelangelo adapted to his own uses and bent to his own genius motives originated by the Pisani, Giotto, Giacopo della Quercia, Donatello, Masaccio, while working in the spirit of Signorelli.
So it came to pass that Perugino was laid to rest in an open field under an oak-tree close by. Later on his sons wished to have him buried in holy ground, and some say that this was done, but nothing is known for certain.
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