[214] Vasari mentions the portraits of Nicolo, Paolo, and Vitellozzo Vitelli, Gian Paolo, and Orazio Baglioni, among others, in the frescoes at Orvieto. [215] Painted for Lorenzo de' Medici. It is now in the Berlin Museum through the neglect of the National Gallery authorities to purchase it for England. [216] I must not omit to qualify Vasari's praise of Luca Signorelli, by reference to a letter recently published from the _Archivio Buonarroti, Lettere a Diversi_, p. 391. Michael Angelo there addresses the Captain of Cortona, and complains that in the first year of Leo's pontificate Luca came to him and by various representations obtained from him the sum of eighty Giulios, which he never repaid, although he made profession to have done so. Michael Angelo was ill at the time, and working with much difficulty on a statue of a bound captive for the tomb of Julius. Luca gave a specimen of his renowned courtesy by comforting the sculptor in these rather sanctimonious phrases: "Doubt not that angels will come from heaven, to support your arms and help you." [217] Pietro, known as Perugino from the city of his adoption, was the son of Cristoforo Vannucci, of Città della Pieve. He was born in 1446, and died at Fontignano in 1522. [218] The triptych in the National Gallery. [219] They have been published by the Arundel Society. [220] These frescoes were begun in 1499. It may be mentioned that in this year, on the refusal of Perugino to decorate the Cappella di S. Brizio, the Orvietans entrusted that work to Signorelli. [221] Uffizzi and Sala del Cambio. [222] "Fu Pietro persona di assai poca religione, e non se gli potè mai far credere l'immortalità dell' anima: anzi, con parole, accomodate al suo cervello di porfido, ostinatissimamente ricusò ogni buona vita. Aveva ogni sua speranza ne' beni della fortuna, e per danari arebbe fatto ogni male contratto." Vasari, vol. vi. p. 50. The local tradition alluded to above relates to the difficulties raised by the Church against the Christian burial of Perugino: but if he died of plague, as it is believed (see C. and C., vol. iii. p. 244), these difficulties were probably caused by panic rather than belief in his impiety. For Gasparo Celio's note on Perugino's refusal to confess upon his death-bed, saying that he preferred to see how an impenitent soul would fare in the other world, the reader may consult Rio's _L'Art Chrétien_, vol. ii. p. 269. The record of Perugino's arming himself in Dec. 1486, together with a notorious assassin, Aulista di Angelo of Perugia, in order to waylay and beat a private enemy of his near S. Pietro Maggiore at Florence is quoted by Crowe and Cavalcaselle, vol. iii. p. 183. [223] "Guadagnò molte ricchezze; e in Fiorenza murò e comprò case; ed in Perugia ed a Castello della Pieve acquistò molti beni stahili." Vasari, vol. vi. p. 50. [224] "Goffo nell arte." See Vasari, vol. vi. p. 46. See too above, p. 196.