Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/442

PERUGINI, CHARLES EDWARD, born in Italy; contemporary. Genre painter; has resided in England many years, and been a constant exhibitor at Royal Academy. Works: Playing at Work (1872); Cup of Tea (1873); Labour of Love (1874); Hop Picker (1877); Girl Reading, Quoits—Evening, Roses and Butterflies (1878); Fresh Lavender (1879); Siesta, Dead Leaves (1880); The Loom, Little Nell (1881); Dolce far Niente (1882); Nerina (1883); Idle Moments, Donna è Mobile (1884); Cup and Ball (1885); Tempora Mutantur (1886).

PERUGINI, Mrs. KATE DICKENS; contemporary. Genre painter; daughter of Charles Dickens and wife of Charles Edward Perugini. Works: In a Scrape, Music hath Charms (1877); Competitive Examination (1878); A Little Woman (1879); Civettina, Multiplication (1880); Violet and Muriel, Old Curiosity Shop (1881); Rabbit Hutch, Dolls' Dress Maker (1882); Effie, Bébelle (1883); The "Tick-Tick," Little Redcap (1884); Mollie's Ball Dress (1885); All for Her (1886).

PERUGINO, PIETRO, born at Città della Pieve in 1446, died at Fontignano, Feb. or March, 1523. Umbrian school; real name Pietro di Cristoforo Vannucci; apprenticed in 1455 in Perugia to a painter, probably Benedetto Bonfigli, though Niccolò da Foligno and Fiorenzo di Lorenzo lay claim to the honour. At an early age he may have acted as assistant to Pietro della Francesca (with whom, as with Luca Pacioli, he studied perspective) in painting frescos at Arezzo. Before 1475 or after 1478, the year in which he painted the now destroyed frescos at Cerqueto, Perugino went to Florence, where he is said to have studied with Verocchio, and during his two years' residence there painted a Madonna with Saints and Angels, now in the Louvre. In 1480 he was called to Rome by Pope Sixtus IV. to paint in the Sistine Chapel. Some of his frescos were destroyed to make room for the Last Judgment of Michelangelo; those which remain are the Moses and Zipporah, Baptism of Christ, and Christ's Charge to St. Peter, finished in 1486. Four years later he was in Florence as member of a congress of artists called to deliberate about giving a façade to the Duomo; but he again returned to Rome to decorate the palace of Cardinal Giuliano della Rovere, and in 1491 painted the Nativity, Crucifixion, etc., now in the Villa Albani. Two large altarpieces, of which one, Madonna and Saints, is in the Uffizi, Florence, and the other is in the Vienna Museum, were painted in 1491. At this time he established himself in Florence for six years and opened a workshop, where he and his assistants painted many panels and prepared cartoons for frescos. Remains of those executed in the Convent of the Gesuati are in the Academy. Other works painted before 1499 are: Madonna and Saints, S. Agostino, Cremona; Portrait of Perugino (1494), Uffizi; Pietà, Pitti; Pietà, Christ on the Mount (1496), Florence Academy; Madonna and Saints, Vatican, Rome; Frescos in S. M. Maddalena dei Pazzi, Florence; and the Ascension of our Lord, S. Pietro, Perugia. In 1499 Perugino began to decorate the Sala del Cambio, Perugia, with frescos of religious and classical subjects, which constitute his most important work. He himself painted the personifications of the Virtues, and the twelve figures of classic personages, as well as the God the Father, the Nativity, and the Transfiguration, and designed the arabesques for the pilasters and flat spaces of the walls and ceiling, which were painted by his assistants, Pinturicchio, Lo Spagna, Alfani, and Girolamo Genga. While the frescos were in progress Raphael became his pupil, and doubtless had his share in such preparatory work as might safely be entrusted to a novice of extraordinary ability. The series of frescos,