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Chap. VII. PIETRO PERUGINO. 253 Nantes. Museum. Two panels (rounds) representing the prophets Jeremiah and Isaiah. (Not seen, hut, no doubt, part of the altar- piece of S. Agostino. — See antea.) Bordeaux. Museum. No. 411 Virgin and child between SS. Jerom and Augustin (not seen by the authors), probably the same described by Constantini (Guida, p. 138) as in S. Agostino of Peru gia, and said by him to be by a pupil of Perugino. ■S'. Petersburg. Collection of Count Sergei Stroganoff. Half length, Virgin with the infant standing on her knee, in a landscape (wood, transferred to canvass), pretty and graceful; taken from a design by Perugino, but in the mixed mode derived from him and from Raphael by a later scholar, such as Eusebio di S. Georgio or Ge- rino da Pistoia in his youth, indeed not unlike the latter’s manner in an altarpiece of 1509, at Pistoia (see postea Gerino). S. Petersburg. Collection of II. I. H. the Grand-Duchess Marie, widow of the Duke of Leuchtenberg. A Virgin and child composed like the foregoing (wood, figures one third life size), and evidently of Perugino’s school, is to be found here (injured). Same collection. Christ in the tomb supported by two female saints, and S. John Evangelist (wood, small). The composition is Perugino’s, the execution by a journeyman. Vienna. Belvedere. Room 3. ltal. Schools. No. 12. Wood, oil. Virgin, child, and two female saints, replica, with the exception of the female saint to the left of the Madonna, of No. 443. at the Louvre. The colour is bright and powerful, signed: “Petrus Peru- sinus pinxit’’. A replica again is No. 340, at the Pitti of Florence (an old copy). Vienna. Belvedere. Room 3. ltal. Schools. No. 19. Baptism of Christ (small), a copy of no great age (wood). Vienna. Lichtenstein Gallery. The Nativity (round, wood, oil). The Virgin kneels in prayer before the infant supported on a sack by an angel on his knees. To the right the shepherd’s dance. The same idea as to composition as at the l^itti (No. 219) and as in the Pavia piece in the National Gallery. The landscape is more like Raphael’s than Vannucci’s. The forms are clean, the faces fairly expressive, and the handling is careful, though below that of Peru gino, and nearer to that of Eusebio or Domenico Alfani. On the ground to the right one reads in gold the inscription: “Petrus Per- rusinus (sic) P.” Vienna. Harrach Gallery. No. 235. Wood, round. The Virgin and child, S. M. Magdalen and another saint; adaptation as to arrange ment of the subject in the Louvre' panel, No. 443, repainted, but an imitation of Perugino with the modern signature of: Petrus Peru- ginus fee. MDVIII.
