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Raphael was believed to be an apprentice of Perugino and their paintings could not be easily distinguished.   Can you tell the artist of each of the following paintings?
Excerpts from texts and images from The National Gallery of London, with Japanese translation.



The Virgin and Child with an Angel


The Mond Crucifixion


Pietro PERUGINO , living 1469; died 1523

The Virgin and Child with an Angel



Date: about 1496-1500
Medium: Oil with some egg tempera on poplar
Dimensions: 114 x 63.5 cm
Acquisition credit: Bought, 1856

サイズ:114 x 63.5 cm

This altarpiece comes from a chapel in the Certosa di Pavia, a Carthusian monastery near Milan. The central Virgin and Child are flanked by the Archangel Saint Michael on the left, standing on Satan. Raphael and the young Tobias are on the right. The Virgin’s robe is ultramarine of exceptional quality.


The church was consecrated in May 1497. In 1499 Ludovico il Moro, ruler of Milan and the Certosa’s most important supporter, applied pressure to get it completed. The Certosa had a large number of chapels. The original altarpiece had an upper tier with God the Father flanked by the Virgin Annunciate and the Archangel Gabriel. The two top side-panels were supplied by another Florentine artist, Albertinelli, after Perugino had failed to paint them. Originally these three panels formed the lower tier of a six-panel altarpiece. They have been cut down at the bottom.


Central panel 113.7 x 63.8 cm; wings each approx. 113 x 56 cm.

中央パネル:113.7 x 63.8 cm 両翼はそれぞれ113 x 56 cm


RAPHAEL , 1483 – 1520

The Crucified Christ with the Virgin Mary, Saints and Angels (The Mond Crucifixion) – in Frame

ラファエッロ(1483 – 1520)


Short title: The Mond Crucifixion
Date: about 1502-3
Medium: Oil on poplar
Dimensions: 283.3 x 167.3 cm
Acquisition credit: Mond Bequest, 1924

サイズ:283.3 x 167.3 cm
所蔵経緯:1924年 モンド博士遺贈

One of Raphael’s earliest works, greatly influenced by Perugino, this served as the altarpiece of the side chapel in S. Domenico in Città di Castello, the stone frame of which is dated 1503. As is usual, the Virgin and Saint John the Evangelist stand on either side of the cross. In this case, Saints Jerome and Mary Magdalene also kneel before it. Angels catch Christ’s blood in chalices, such as are used for the wine of the Mass. The predella was painted with episodes from the life of Saint Jerome, to whom the altar was dedicated.



Imitating Perugino


After his father’s death, Raphael went to Perugia, home of the leading artist of central Italy, Perugino. Vasari suggested that Raphael might have become Perugino’s apprentice, but there is no evidence that this was the case.


Whatever the relationship, Raphael certainly learned a great deal from him and came to imitate his style so accurately that their paintings could not be easily distinguished.


Pope Leo X said that it was only upon seeing Michelangelo’s work that Raphael was prompted to move beyond the style of Perugino.



参照 (Wikipediaより)

磔刑図の十字架上にある「INRI」は、ラテン語の「IESUS NAZARENUS REX IUDAEORUM」の頭文字で、「ユダヤ人の王、ナザレのイエス」という意味である。古代の磔刑では、処刑場に引かれてゆく罪人の首に罪状を書いた銘板がぶら下げられ、その銘板は磔刑時に十字架上にかけられていた。