The general relujion of Peru is that of the conquerors of the country, the Spaniards- — the Roman Catholic, which is besides especiallj' favored and protected by the constitution. Roman Catholic missionaries la- bored among the earlj' settlers from Spain as well as among the natives, especially among the Antos, but to- wards the close of the 17th centurj' the Indians turned against the missionaries and destroyed the missions. The republic is divided into the archbishopric of Lima, founded in 1541, and the seven episcopal sees of Cha- chapoyas, Truxillo, Ayacucho, Cuzco, Arequipa, Huan- uco, and Puno (the last two were founded in 18(31). The clergj' are numerous, but uneducated and badh' supported. The number of convents, once astonish- ingly large, was reduced in 1863 to 130. Public in- struction is principally in the hands of the clergj*. The people's schools are in a very inferior condition. Of the higher institutions, the first are the five univer- sities at Lima, Truxillo, Ayacucho, Cuzco, and Puno, but they have only a nominal existence. Of more importance are the colegios, or technical schools, of •which, in 1860, there were 30 public and .38 private ones. Of all these, 17 are for females. The clergy are educated in seminaries. There are a few Jews and some Protestants, but their number is not definite- ly known. See Hill, Travels in Peru and Mexico (Lond. 1860); Grandidier, Voyage dans V Ameriqne du Slid (Paris, 1861) ; Soldan, Geografia del Peru (ibid. 1862); Tschudi, Reisen in Siidamerika (Leips. 1861); Wappaeus, Peru, Bolivia, and Chili (ibid. 1871) ; Fu- entes, Lima, J-'squisses kistoriques, siatistiqiies, adminis- tratives, commerciales ; Hutchinson, Two Ye irs in Peru (Lond. 1874, 2 vols. 8vo) ; Prescott, Hist, of the Con- quest of Peru; Hiirper's Monthly, vol. vii.
Periicci, Orasio, an Italian painter of Reggie, was born in 1548. According to Tiraboschi. he was a good artist, executed some works for the churches of his native city, and painted much for the collections. Lanzi says there remain various pictures bj^ him in private houses, and an altar-piece in the church of S. Giovanni at Reggio; and, judging from his style, he thinks he was a pupil of Lelio Oisi. He <lied in 1624. See Spooner, Biographical History of the Fine A rts, ii, 078.
Peru'dah (Hpb. Perudah', X'lllB, core; Sept. ^aCovpi'i ; Ezra ii, 55. In Neh. vii, 57 the name is writ- ten PeriJah' , XT^~3 ; Sept. <I>(Tf|0f((5« v. r. ^tpiEi'i), one of "Solomon's servants," whose posterity returned from the exile. B.C. ante 536.
PeiTigia, Giovanni Niccolo da, an Italian painter, was born at Perugia, according to Pascoli, about 1478. He was probabl}- a scholar of Pietro Perugino. Lanzi says, "He was a good colorist, and therefore was willinglj' received by Pietro to assist him in his works, however inferior to that artist in de- sign and perspective. His works are recognised in the Capella del Cambio near the celebrated Sala of Perugino, where he painted John the Baptist. In the church of S. Tommaso is his picture of that saint about to touch the wounds of the Saviour, and, with the ex- ception of a sameness of the heads, it possesses much of the character of Perugino." He died in 1544. See Spooner, Biog. Hist, of the Fine Arts, ii, 678.
Perugia, Mariano da, an Italian painter, who, according to jNIariotti, was a reputable artist, and exe- cuted some works for the churches at Perugia and An- cona. There are notices of him from 1547 to 1576. That writer commends an altar-piece by him in the church of S. Domenico at Perugia, and another pict- ure by him in the church of S. Agostino at Ancona. He was also called Mariino di Ser Eusterio. See Spooner, Biog. Hist, of the Fine Arts, ii, 678.
Perugia, Sinabaldo da, an Italian painter, was a native of Perugia. He is highly commended by Mariotti, who flourished in the first part of the 16th centuiy. There are notices of him from 1505 to 1528. Lanzi saj'S, "He must be esteemed an excellent painter from his works in his native place, and still more from those in the cathedral at Gubliio, where he painted a fine picture in 1505, and a gonfalon still more beauti- ful, which would rank him among the first artists of the ancient school." See Spooner, Biog. Hi>t. of the Fine A rts, ii, 678.
Perugino, Domenico, an Italian painter, was a native of Perugia, and, according to Baglioni, flourished in the latter part of the 16th and first part of the 17tli centuries. Lanzi saj's he painted small wood scenes, or landscapes, and that he is scarcely known at Peru- gia ; though it is believed that one of his pictures re- mains in the church of S. Angelo Magno at Ascoli. His name also occurs at Siena, and he is mentioned by authors as the master of Antiveanto Grammatica. See Spooner, Biog. Jlist. of the Fine Arts, ii, 679.
Perugino, Lello, an old Italian painter, who was a native of Perugia, decorated, in conjunction with Ugo- lino Orvietano and other artists, the cathedral of Or- vieto in 1321. See Spooner, Biog. Hist, of the Fine A rts, ii, 679.
Perugino, Pietro "Vanucci, a celebrated Italian painter, was born of very humble parentage at Citta della Pieve, in L^mbria, about 1446, but as he estab- lished himself in the neighboring and more important city of Perugia, he is commonly called II Perugino. It is generally thought that he studied under Andrea Ve- rocchio at Florence. He executed numerous excellent works in various cities, particularlj' in Florence, Siena, Pavia, Naples, Bologna, Rome, and Perugia. Sixtus IV employed him in the Cappella Sistina ; and his fres- co of Christ giving the Keys to Peter is by far the best of those painted on the side-walls of that chapel. Pe- rugino also, along with other contemporary' painters, decorated the stanze of the Vatican ; and his works there are the only frescos that were spared when Raf- faelle was commissioned to substitute his own works for those formerly painted on the walls and ceilings. The fact of his having had Raft'aelle for his pupil has no doubt in one way increased the reputation of Pe- rugino, but it has also in some degree tended to lessen it, as in many of his best productions the work of Raf- faelle is confidently pointed out by connoisseurs, and, indeed, many important pictures at one time acknowl- edged as Pcrugino's are now ascribed to his great pupil. His high standing as a ])ainter, however, is established by many admirable works, in which no hand superior