New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1894-09-09

creations In atmosphere Of sublime and avn.
inspiring power, Raphael throws over his mar
vellously wrought designs the glamour of the I'm
brian spirit. One returns to that no matter what
the work may be- In the Stance in the Fo.
gno Madonna OF the Vatican in the Sposoizo
of Milan, I'm the 81 Cecilia Ct Bologna in thu
Psyche frescos OF the Villa Farnesna the
undercurrent Is always the same. 1t Is not al
ways to be perceived with equal rapidty bur
sooner or later a minute scrutiny will bring d
the surface the early habit sometimes no
doubt. II not always. left there with absolute I'm.
consciousness but present, nevertheless. That
is one reason why Perugia takes hold as 1t does
Of the student OF italian art Raphael Is trace
able to Perugia and Perugno. and these two
sources OF his style withhold to-day no falntest
shadow OF helpful suggestion. Perugino's mas
terpece. the series Of decorations In the Udenza
del Gambia is admirably preserved. and It ID
possible to draw from II clear knowledge 81 the
Umbrian school a. i.s zenith. The little cham.
Der lie a wonderful relic or the Renaissance when
art was the handmaiden Of commerce well
as OF the Church In this room the transactions
OF merchants WIRE settled, but the private chapel
OF an emperor could not have been more mag
nincanty enriched The walls sheathed 10
the fr.eze In carved and inlaid wood. The seats
and desk, decorated in the same lavish manner
remind one in their beauty and opuence. OF the
ducal furniture of Venice. Behind the judges
seat the wall Is covered with carved wood 10 the
ceiling but elsewhere ;he frieZe Is painted by
Perugino who also covered the vaulted ceiling
with medallionS and conventional decorations.
The cardinal virtues are personfed In the figures
of the frescos Perugno drew the types from
classical and from sacred literature. II Is not
intended TO describe ITEM at length nor to tell
the details OF the story they illustrate. The
necessary point to be traversed is the perfect I'M
folding In these frescos. done when Perugino
was in the full possession OF his powers, OF the
flower Of art that native 20 Cmbrian soil
and was transplanted by Raphael 10 the eclectic
garden of Rome The distinction between his
and Perugno's relation to ire Hover Is impor-
tant TO remember With Raphael the Cmbrlan
a M
been shown TO modify 10y its dellcacy and gentle.
ness the influences Of proud and county culture
to which he was subjected in the capital It
makes him less cold With PeruginO ii con-
trolled and formed his art. leading his gifts
through channels which no contact with Floren-
tine or Roman schools could affect Perugino
found his style in Umbria. and he rooted Il there
irreyocabiy, aSsociating forever with Perugia
and It's environment the fragile images OF naive
and ecstatic devotion which have made him one
of the most famous parters OF his time
To say that Perugno owed so much 10 UNI
bria il 10 assume the obligation Of explaining
wherein the province OF ITSELF can claim the gene
rating spark. The obligation is quickly dis
charged. One long sweep OF the vague horizon.
one long look at the hills that reared between
Perugia and the Tuscan heights. provides the
key needed. 1t the inspiration OF Nature
and nothing else that guided Perugino and was
transmitted 10 his greatest pupil. Only under the
influence Of these subtls outlines, and still more
subtle lights unparalleled in any Of the othr prov
inces OF Italy could he have cultivated his DELI
cate art There lies in the scene | know not what
OF pensive and spiritual rapture. 1t was no mere
accident that In Assist. IN the hill only fifteen
miles away, the mystical St Francis should have
been born and should have found ID his impersh-
able cult He, like Perugno. IKE Raphael was
in some inexplicabe way the product Of Dr.
vine agency working in great part through the
beauty Of his native province. The significance OF
Peruga. therefore, needs no further elucldation.
The sympathetic nature that enters within the
confines will penetrate to its secret at once. II Is
not difficult Of access. The road to Florence from
Rome comes up past Foligno and Perugia in one
Of the most convenient Of hating places on the
Journey north. Not far above lies Arezzo an alb
sorbing little II other inducements are need
ed Fo.igno, a little SOUTH is good starting
point from which TO travel TO the cities OF the
Adriatic. But Perugia. TO be appreciated. must
be visited for its sake. and for the sake OF IN
two celebrated painters.