Note 66 — BOOK III. (continued 3)

There remained, in the time of Pascoli, some pitture saporite, as he terms them, by this artist, at Spoleto, where Piero established himself, and in the neighbouring towns; and which often pass for the works of Pietro Perugino, from a similarity of names. It appears however that Cesarei was desirous of preventing this error, as he inscribed his name Perinus Perusinus, or Perinus Cesareus Perusinus, as in the picture of the Rosary at Scheggino, painted in 1595. Vasari, in the life of Agnol Gaddi, names among his scholars Stefano da Verona, and says, that "all his works were imitated and drawn by that Pietro di Perugia, the painter in miniature, who ornamented the books at the cathedral of Siena, in the Library of Pope Pius, and who worked well in fresco." These words have puzzled more than one person. Pascoli (P. P. p. 134.) and Mariotti (L. P. p. 59.) consider them as written of Piero Cesarei; as if a man born in the golden age should so far extol an old trecentista; or as if the canons of Siena could approve such a style after possessing Razzi and Vanni. Padre della Valle interprets it to mean Pietro Vannucci, and not finding the books of the Choir adorned in such a style as he wished, reproves Vasari for having confounded so great a master with a common fresco painter and a Miniatore. It is most likely that this Miniatore and Frescante of Vasari was a third Pietro, hitherto unknown in Perugia, and whom we shall notice in the Venetian School.