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Updated: July 6, 2025
Another friend of Pinturicchio, associated with him in not a few of his works, was Gerino Pistoiese, who was held to be a diligent colourist and a faithful imitator of the manner of Pietro Perugino, with whom he worked nearly up to his death.
Little by little the new ideas sunk into his heart, and the pictures he began to paint were no longer like those of his old master Perugino, but seemed to breathe some new spirit. It was always so with Raphael. He seemed to be able to gather the best from every one, just as the bee goes from flower to flower and gathers its sweetness into one golden honeycomb.
For, as you know, nothing is dearer to our hearts than the things that concern this church and monastery." Lodovico's exertions were not in vain, at least in the case of Perugino.
The genuine connoisseur, on the contrary, will hold the pictures of a Zuccheri and others, who gave the tone when the great schools of the sixteenth century were degenerating into empty and superficial mannerism, to be in real and essential worth, far inferior to the works of a Mantegna, Perugino, and their contemporaries.
Raffaello of Urbino, though he chose to strive in rivalry with Michelangelo, was wont to say that he thanked God for having been born in his days, since he learned from him a manner very different from that which his father, who was a painter, and his master, Perugino, taught him.
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.
Early in the course of his career Perugino seems to have become contented with a formal repetition of successful motives, and to have checked the growth of his genius by adhering closely to a prescribed cycle of effects.
Leaving out the Three Maries of Perugino at Marseilles, and at Lyons the Ascension, which was once the glory of San Pietro di Perugia, the Moses of Paul Veronese, and Palma Giovanni's Flagellation, these two galleries put together cannot match Dublin with its Jan Steen, most characteristic without being coarse, its Terburg, a life-size portrait of the painter's favourite model, a young Flemish gentleman, presented to him as a token of regard, its portrait of a Venetian personage by Giorgione, with a companion portrait by Gian Bellini, its beautiful Italian landscape by Jan Both, its flower-wreathed head of a white bull by Paul Potter, its exquisitely finished "Vocalists" by Cornells Begyn, its admirable portrait of a Dutch gentleman by Murillo, and its two excellent Jacob Ruysdaels.
Three pictures by Perugino are the only other ones I cared to look at. In one of these, the face of the Virgin who holds the dead Christ on her knees has a deeper expression of woe than can ever have been painted since.
Pope Sixtus IV. had, in the year 1473, erected this famous chapel, and summoned the best painters of that time, Signorelli, Cosimo Roselli, Perugino, and Ghirlandajo, to decorate the interior; but down to the year 1508 the ceiling remained without any ornament; and Michael Angelo was called upon to cover this enormous vault, a space of one hundred and fifty feet in length by fifty in breadth, with a series of subjects representing the most important events connected, either literally or typically, with the fall and redemption of mankind.
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