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Updated: July 6, 2025
Then again the orchestra, and again our Chorus enters on the scene, and after the epilogue, "At last all woe is ended," they divide and kneel, as the curtain rises on the scene of the Ascension. This was most simply represented. Christ ascends from the tomb, standing on it, surrounded by angels, while figures appropriately grouped around make a picture which recalled Perugino.
At last an inscription was discovered on the back of the picture, which reads as follows: 1494, D'Luglio Pietro Perugino Pinse Franco Delopa. Francesco delle Opere was a Florentine painter, the brother of Giovanni delle Corniole. He died at Venice, and it may well be that it was at Venice that Perugino first met him.
"All of these masters have given proof of their excellence in the Chapel of Pope Sixtus, excepting Filippino, and also in the Spedaletto of the Magnifico Laurentio, and their merit is almost equal." This intimation seems to have decided Lodovico to apply to Perugino, whom Leonardo had known as his fellow-pupil in Verrocchio's atelier at Florence, and who was supposed to be in Venice at the time.
While he stared at her she could almost see the iridescent wings of his fancy whirling madly around the idea by which she had arrested their flight. Trifle with Virginia! Trifle with that radiant vision of girlhood! All the chivalry of youth revolted from the suggestion, and he thought again of the wistful adoration in the eyes of a Perugino virgin.
On the walls of the Sixtine Chapel there are paintings by such men as Perugino, Luca Signorelli, Botticelli, and Ghirlandajo, as well as by a number of others; but Michelangelo overshadows them all with his ceiling and his 'Last Judgment. There is something overpowering about him, and there is no escaping from his influence.
At that time Raphael, a boy of twelve years of age, was at school under Pietro Perugino. The impressions of these days are perhaps immortalized in the small, early pictures of St. Michael and St. George: something of them, it may be, lives eternally in the large painting of St.
To turn from Signorelli to Perugino is to plunge at once into a very different atmosphere . It is like quitting the rugged gorges of high mountains for a valley of the Southern Alps still, pensive, beautiful, and coloured with reflections from an evening sky.
It is a little picture to steal. Nothing to steal here. Returning through Sala Prima we come to the Sala del Perugino and are among the masters once more riper and richer than most of those we have already seen, for Tuscan art here reaches its finest flower. Perugino is here and Botticelli, Fra Bartolommeo and Leonardo, Luca Signorelli, Fra Lippo Lippi and Filippino Lippi. And here is a Masaccio.
The pupil first of his father maybe, though Giovanni died when his son was but eleven years old, and later of Timoteo Viti, we hear of Raphael first in the bottega of the greatest of the Umbrian painters, Perugino, at Perugia. Two works of Perugino hang to-day in the Pitti Gallery, the Madonna and Child and the Entombment , painted in 1495, for the nuns of S. Chiara.
Compare, again, with these two pictures this little drawing, doubtless by Perugino, just a sketch of an angel for an Annunciation; notice the purity of outline, the ideal atmosphere in which the painter lives and with which he impregnates his work.
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