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Chap. X. POMPEO COCCHI. 371 For Pompeo Cocchi, who was Domenico Alfani’s co temporary and almost his equal, there is not much to be said; but he should pot be forgotten entirely amongst the Peruginesques 1 any more than Giovanni di Giorgio, 2 Ma riano of Perugia, or Perino Cesareo. 3 1545 he was registered in the Pe rugian guild. He was elected town architect in 1576, and de prived immediately of the office. See Mariotti, pp. 250 and foils. Consult and compare, Costantini, Guida, and Mezzanotte, in life of Orazio, appended to life of Peru- gino. 1 Pompeo, Cocchi is on the guild register in 1523 (Mariotti 208). A Virgin and child between SS. Ni- chojas and Lawrence (wood, oil, life size figures) hangs in the Dnomo at Perugia. On the pilas ters: “anno MDXXV.(? 7) with the words: “Pompeo Cocchi” in small letters beneath. The authen ticity of this inscription shall not he denied. If Cocchi be the author of the piece, he is not unlike Do menico Alfani. Tho child presents its back to the spectator like one that Procaccini might have con ceived. The two saints remind one of those by D. Alfani. The draperies are broad. The colour, of a strong red in the flesh, is well fused and of solid impasto. In the Perugia gallery is a crucified Saviour, part of a fresco detached from S. Severo, transferred to can vass, and catalogued under Cocchi’s name. The nude is man nered in drawing, but not unlike that of a tavola, No. 203, in the same gallery, assigned to the same master, originally in the Confra- tornita della Giustizia, and repre senting the Saviour on the cross between tho Virgin and Evan gelist. On the obverse of the pa nel, tho Virgin holds the head of the Messiah on her lap. The cru cifixion recalls the Florentine manner of the followers of Fra Bartolommeo, still with a prevail ing Umbrian feeling in it. The style is similar to that of a Cruci fixion in the Louvre named Ber nardino of Perugia (see antea p. 301) being free and hold. In the Confraternita di S. Agostino, an old subterranean church at Peru gia, now transformed into a store house, there is a fresco of the Crucifixion with the fainting Vir gin, John the Baptist, and three figures in a landscape, called Pe- rugino by Costantini (Guida, p. 150), but in the manner of Cocchi or Domenico Alfani. Mariotti mentions ruined wall- paintings by Cocchi at Montemor- cino, notes his will drawn up in 1544, and a valuation of an altar- piece by Lattanzio Pagani, in 1549 (Lett. ub. sup. 238 and foil*). 2 Giovanni di Giorgio was regis tered, 1506, in the Perugian guild (Pass. Raphael I. 521) having, in 1505, painted the heads of a cata- letto for the Brotherhood of the SS. Annunziata, which are said still to exist. For the same bro therhood, 1517, he completed what was called a "cassa del Cristo morto” (Ex lib. confratern. sub anno, extracted by Professor Ada- mo Rossi) of which two panels are preserved. On one of them, the symbols of the Passion, and two sleeping soldiers, on the other, two figures of the same kind (originally dong in tempera, on reddish brown background, but now much repainted in oil), are distributed. There is feeling in this piece, which imitates tho slight small figures of Pinturicchio and Raphael’s youth with some show of success. 3 For Mariano, consult Mariotti Lett. pp. 101. 197- 9. 201—2. He is mentioned as a poor painter by Vas. IX. 147, and there is a feeble creation of his, of a Peruginesque
