One of the most valuable pictures in the Gallery alike for its own beauty and for its interest in the history of art. For Perugino is the final representative of the old superstitious art, just as Michael Angelo and Raphael (in his later manners) were the first representatives of the modern scientific and anatomical art; the epithet bestowed on Perugino by Michael Angelo, _goffo nell' arte_ (dunce, or blockhead, in art), shows how trenchant the separation is between these two forms of artists. One may notice, then, in this picture as a perfect example of the earlier art: First, that everything in it is dainty and delightful, and all that it attempts is accomplished. Michael Angelo, dashing off his impetuous thoughts, left much of his work half done (see 790); Perugino worked steadily in the old ways and indeed repeated ideas with so little reflection that, according to Vasari, he was blamed for doing the same thing over and over again. But everything is finished, even to the gilding of single hairs. Notice also the beautiful painting of the fish.[136] Secondly, it is a work in the school of colour, as distinguished from the school of light and shade. "Clear, calm, placid, perpetual vision, far and near; endless perspicuity of space, unfatigued veracity of eternal light, perfectly accurate delineation of every leaf on the trees and every flower in the fields" (notice especially in the foreground the "blue flower fit for paradise" of the central compartment). "There is no darkness, no wrong. Every colour is lovely, and every space is light. The world, the universe, is divine; all sadness is a part of harmony; and all gloom a part of peace." In connection with the lovely blue in the picture (which was painted in 1494-98 for the Certosa of Pavia), one may remember the story told of an earlier picture, how the prior of the convent for which Perugino was painting doled out to him the costly colour of ultramarine, and how Perugino, by constantly washing his brushes, obtained a surreptitious hoard of the colour, which he ultimately restored to shame the prior for his suspicions. Thirdly, in its rendering of landscape, the picture is characteristic of the "purism" of older art as compared with the later "naturalism." "The religious painters impress on their landscape perfect symmetry and order, such as may seem, consistent with the spiritual nature they would represent. The trees grow straight, equally branched on each side, and of slight and feathery frame. The mountains stand up unscathed; the waters are always waveless, the skies always calm."[137] Notice also that the sentiment of the whole picture is like its landscape; there is no striving, nor crying, no convulsive action; it is all one "pure passage of intense feeling and heavenly light, holy and undefiled, glorious with the changeless passion of eternity--sanctified with shadeless peace." Notice lastly, how in this, as in many sacred compositions, "a living symmetry, the balance of