vent many from assailing him sharply with satirical verses, and olfending him publicly in various ways; wherefore, having now become old, he left Florence altogether, and returned to Perugia.[1]
In the church of San Severn, in that city, he then executed various works in fresco, for the Carthusian monks, to whom it belongs: there E-affaello da Urbino, while still young, and when he was the disciple of Pietro, had painted certain figures, as will be related in the proper place,[2] Pietro likewise worked at Montone, at the Fratta, and at many other places in the neighbourhood of Perugia,[3] but more particularly in Assisi, in the church of Santa Maria degli Angeli namely, where he painted in fresco the wall behind the chapel of the Madonna, which stands opposite to the choir of the monks, depicting the Saviour on the Cross, with several figures. In the church of San Pietro, an Abbey in Perugia, which belongs to the Black Friars, he painted a very large picture for the high altar; the subject of this work is the Ascension of Jesus, with the Apostles beneath, looking up to heaven.[4]On the predella of the picture are three stories, executed with much care, the Adora tion of the Magi that is to say, the baptism of the Saviour, and his Resurrection; the whole of this work is replete with evidences of thought and care, insomuch that it is one of the best paintings in oil executed by Pietro in Perugia; he also commenced a work in fresco, of no small importance, at Gastello della Pieve, but did not finish it.[5]
- ↑ But for the offences thus received, Pietro would seem to have disposed his affairs for passing the remainder of his days in Florence, where he had also purchased a burial place for himself and his descendants, in the church of the Annunziata.— Masselli.
- ↑ The church of St. Severo was rebuilt from the foundations about the middle of the last century. The wall of the chapel on which are the works of Pietro and Raphael, was however preserved, and is still in the monastery, but in a very confined position.—See Orsini, as cited above.
- ↑ For various details respecting the works of Pietro, in these and other places, see Mezzanotte, Della Vila e deUe opere di Pietro Vanned da Castello della Pieve, Commentario Istorico.— Perugia, 1836.
- ↑ This picture was taken to France, where it is supposed to remain. Some writers affirm it to have been presented by the French Government to the cathedral of Lyons.
- ↑ In the church of Fontignano, near Castello della Pieve, according to
had first been made known, but in other cities only, the reply thus given was a most sufficient one.” This question we leave to the reader’s decision.
