It may be well perhaps to allude here to Vasari's story respecting the artist's use of ultramarine. The colour was so costly that in several of his contracts Perugino expressly stated that his patron was to provide it, and Vasari states that when he was painting in the cloister of the Ingesuati, the Prior, who himself prepared and supplied the ultramarine, was mean and mistrustful as to Perugino's use of it, and would always be present when it was used. The artist took the Prior's distrust to heart, and by constantly washing his brush in a bowl of water allowed more colour to be precipitated than he was using in his fresco. Having punished the Prior in this way, he gathered up the blue from the water and returned it to him with the words, "This belongs to you, father; Learn to trust honest men, for such never deceive those who confide in them, although they well know how to circumvent distrustful persons like yourself when they desire to do so." Pliny records a singular story about vermilion. Perugino's skies were painted with this colour, and put on very thinly, and they have a peculiar formation of cracking which is quite recognisable. As regards grounds, I believe that all Perugino's panel pictures are upon gesso laid upon panel, but in many of them it seems to me that linen has been used between the panel and the gesso as if to bind them together. Verdigris is, I believe, the only colour that will produce some of Perugino's greens, and, as far as I have experimented, the balsams, as Venice turpentine and olio d' abezzo, are the only varnishes that protect it unchanged against the action of sulphuretted hydrogen and moisture. These few statements as to technique are only suggestive. I am not a chemist, and the subject demands prolonged experiments in a laboratory; and such experiments should result in most interesting discoveries. Resta calls Perugino's colouring dry and sparing; Lanzi alludes to what he terms its skimpiness, but the very thinness of it is but proof of the artist's complete mastery of his medium, and that this medium was always mainly tempera, and was never what we know as oil painting is my distinct opinion, based upon an examination of almost every one of his works in Italy. FOOTNOTES: [H] _Magazine of Art_, April 1899. [I] "The Book of the Art of Cennino Cennini" (Geo. Allen), 1889. [J] "The Pigments and Vehicles of the Old Masters." Society of Arts, 1892. CHAPTER IV WANDERINGS