Identifier: dictionaryofpain05brya (find matches)
Title: Dictionary of painters and engravers
Year: 1903 (1900s)
Authors: Bryan, Michael, 1757-1821 Williamson, George Charles, 1858-1942
Subjects: Painters Engravers
Publisher: London, G. Bell
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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indsxhis correspondent that the family, although apoor one, was not of low condition, as it hadenjoyed the rights of citizenship since 1427. Healso mentions that one Pietro Vannucci was in1424 a member of the Guild of Stone-workers, andthat in 1428 a member of the family signed himselfproudly as citizen of Perugia. It is probable thatVasaris story of the boy having been brought intoPerugia at a tender age and put as shop drudgewith a painter in that city is correct. Vasari speaks of the unknown painter to whomthe youthful Pietro Vannucci was sent as one whowas not particularly distinguished in his calling,but who held the art in great veneration and highlyhonoured the men who excelled therein. Weenter upon a curious speculation when we beginto surmise the name of this master. Crowe andCavalcaselle take Bonfigli as this early master,while later writers, notably Mr. Berenson, attachfar more importance to the training of Fiorenzo di1 Mariotti,« Lettere Pittoriche Perugine, 1788, V. 121.
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w 1—4 c J3 <ea►J<j u PAINTERS AND ENGRAVERS. Lorenzo. In these early days of Peruginos life, itis probably to the influence of Niccol6 Liberatore,of Fiorenzo di Lorenzo, and, above all, of Pierodella Francesca, that we attribute the growth ofhis art and the success of his later life. Morelliconsiders that Peruginos journey to Florence afterhis Perugian training, of which Vasari speaks, tookplace in 1470, at which time Perugino would beabout twenty-five years old. His name is recordedin the roll of St. Luke in 1472, and in the roll ofthe Physicians in 1499. What is of special im-portance to notice is that Perugino did not go toFlorence in 1472 as a mere pupil or scholar. Eight years afterwards he was engaged uponwork in the Sistine Chapel. Vasari specially statesthat the invitation fortius work was given becauseof Peruginos great fame throughout Italy, and it isclear that a request to work side by side with suchmen as Ghirlandajo, Cosimo Rosselli, and Botticelliwas a high com

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