The Crucifixion with the Virgin, Saint John, Saint Jerome, and Saint Mary Magdalene [left panel]
c. 1482/1485
Painter, Umbrian, c. 1450 - 1523

Pietro Vannucci, called Perugino after the city in which he often lived, collaborated with other celebrated painters in one of the most prestigious commissions of the late fifteenth century -- the decoration of the walls of the Sistine Chapel in 1481-1482. He headed active workshops in Perugia and Florence, where he would eventually be overshadowed by his greatest pupil, Raphael.
Perugino's Crucifixion with Saints, painted for a chapel in the Dominican church in San Gimignano near Siena, shows Christ hanging on the cross with Mary and Saint John the Evangelist at his feet. In the two side panels, Saint Jerome with his lion, and Mary Magdalene gaze up at the figure of Christ. However, the work does not attempt to depict the actual event or place, but is a visual meditation on the theme of the Crucifixion. The serene mood is reflected in the landscape, which also reveals the influence of Flemish painting which had recently been introduced into Florence.
From the late seventeenth to the early twentieth century Perugino's Crucifixion was thought to be the work of his pupil Raphael. When it was discovered that the donor of the triptych died in 1497, when Raphael would have been only fourteen, Perugino's authorship once again became clear.

West Building Main Floor, Gallery 20
Artwork overview
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Medium
oil on panel transferred to canvas
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Credit Line
-
Dimensions
left panel: 95 × 30.1 cm (37 3/8 × 11 7/8 in.)
framed: 134 × 165.1 × 17.15 cm (52 3/4 × 65 × 6 3/4 in.) -
Accession
1937.1.27.a
Associated Artworks

The Crucifixion with the Virgin, Saint John, Saint Jerome, and Saint Mary Magdalene [middle panel]
Pietro Perugino
1482

The Crucifixion with the Virgin, Saint John, Saint Jerome, and Saint Mary Magdalene [right panel]
Pietro Perugino
1482
Artwork history & notes
Provenance
Probably commissioned by Bartolommeo Bartoli (or di Bartolo), Bishop of Cagli [d. 1497];[1] by gift from him to the church of San Domenico, San Gimignano; seized 1796/1797 by Napoleonic troops; acquired 1796/1797 by Dr. Buzzi, and sold soon thereafter to Prince Alexander Mikhailovich Galitzin [1772-1821], Russian ambassador to Rome; by inheritance to his son, Theodore Alexandrovich Galitzin [d. 1848], Palazzo Galitzin, Rome; by inheritance to his nephew, Sergei Mikhailovich Galitzin [1843-1915], Moscow; displayed from 1865 at the Museum of Western European Painting of Prince S.M. Galitzin, Moscow;[2] purchased 1886 with the Galitzin collection by the Imperial Hermitage Gallery, Saint Petersburg; purchased April 1931 through (Matthiesen Gallery, Berlin; P. & D. Colnaghi & Co., London and New York; and M. Knoedler & Co., New York and London) by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 5 June 1931 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[3] gift 1937 to NGA.
[1] The frame on the painting is modern and thus the coats-of-arms decorating it have no bearing on the provenance.
[2] A.A. Vasilchikoff, "The Artworks of Raphael in Russsia," Viestnik iziashnych iskusstv [Fine Arts Herald] I, no. 3 (1883): 390-393, provides this history of ownership. He also notes that Buzzi had the French artist Baron François Xavier Fabre treat the picture, and that after Theodore Galitzin's death, the painting languished in a storage closet of his palace until 1862. According to Brüiningk and Somov (E. Brüiningk and Andrei Ivanovich Somov, Ermitage Impérial. Catalogue de la Galerie des Tableaux. Les Écoles d'Italie et d'Espagne, Saint Petersburg, 1891: 134), a Livornese painter named Gazzarini offered a somewhat different account of the pre-Galitzin ownership of the picture, which cannot today be substantiated. See also R.P. Gray, "The Golitsyn and Kushelev-Bezborodko Collections and their Role in the Evolution of Public Art Collections in Russia," Oxford Slavonic Papers n.s. 31 (1998): 54-57 [51-67].
[3] Mellon purchase date and date deeded to Mellon Trust are according to Mellon collection files in NGA curatorial records and David Finley's notebook (donated to the National Gallery of Art in 1977, now in the Gallery Archives).
Associated Names
- Church of San Domenico
- Napoleon I, Emperor of the French
- Buzzi, Dr.
- Golitzyn, Alexander Mikhailovich
- Golitzyn, Theodore Alexandrovich
- Golitzyn, Sergei Mikhailovich
- The State Hermitage Museum
- P. & D. Colnaghi & Co., Ltd.
- The Matthiesen Gallery
- Mellon, Andrew W.
- M. Knoedler & Company
- The A.W. Mellon Educational and Charitable Trust
Exhibition History
1983
Raphael and America, National Gallery of Art, Washington, D.C., 1983, no. 52, pl. 7.
2002
The Flowering of Florence, National Gallery of Art, Washington, D.C., 2002, no. 4, repro.
2004
Golitzyn Museum in Volkhonka Street, State Pushkin Museum of Fine Arts, Moscow, 2004.
2023
Il meglio maestro d’Italia: Perugino e il suo tempo, Galleria Nazionale dell’Umbria, Perugia, 2023, no. II.8, repro.
Bibliography
1695
Coppi, Giovanni Vincenzo. Annali, memorie ed huomini illustri di San Gimignano. 2 vols. Florence, 1695: 2:80.
1768
Targioni Tozzetti, Giovanni. Relazioni d’alcuni viaggi fatti in derverse parti della Toscana. 12 vols. 2nd ed. Florence, 1768-1779: 8(1775):266.
1829
Quatremère de Quincy [Antoine Chrysostôme]. Istoria della vita e delle opere di Raffaello Sanzio da Urbino. Trans and ed. Francesco Longhena. Milan, 1829: 7: 7 n., as by Raphael.
1839
Rosini, Giovanni. Storia della pittura italiana esposta coi monumenti. 7 vols. in 9 parts. Pisa, 1839-1855: 1(1839-1840):pl.70, as by Perugino and Raphael; 4(1843):21.
1853
Pecori, Luigi. Storia della Terra di San Gimignano. Florence, 1853: 521.
1864
Jameson, Anna Brownwell. The History of Our Lord as Exemplified in Works of Art. Completed by Lady Eastlake. 2 vols. London, 1864: 2:154-155.
1882
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1883
Vasilchikoff, A. A. “The Artworks of Raphael in Russia.” Viestnik iziashnych iskusstv 1, no. 3 (1883): 390-393, as by Raphael.
1884
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1885
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1887
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1891
Brüiningk, E., and Andrei Somof. Eremitage Impérial. Catalogue de la Galerie des Tableaux. Les Écoles d’Italie et d’Espagne. St Petersburg, 1891: xxiii, 131-135, cat. 1666, as by Raphael.
1896
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1899
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1900
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1901
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1904
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1908
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1909
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1914
Bombe, Walter. Perugino: Des Meisters Gemälde. Stuttgart and Berlin, 1914: 235, fig. 21.
Van Dyke, John C. St. Petersburg: Critical Notes on the Hermitage. New York, 1914: 56.
1916
The Imperial Hermitage Museum. A Brief Catalog of the Picture Gallery. Petrograd, 1916: 105.
1921
Marri, Ezio. S. Gimignano. Guida. Florence, 1921: 14.
1923
Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 14(1933):333-334.
Gnoli, Umberto. Pietro Perugino. Spoleto, 1923: 30-31, 65, pl. 7.
Gnoli, Umberto. Pittori e miniatori nell’Umbria. Spoleto, 1923: 264-265.
Weiner, P. P. von. Meisterwerke der Gemäldesammlung in der Eremitage zu Petrograd. Munich, 1923: 12, pl. 23.
1924
The Masterpieces of Raphael. London and Glasgow, 1924: 68.
Venturi, Adolfo. L’arte a San Girolamo. Milan, 1924: 178, fig. 144.
1925
Venturi, Adolfo. Grandi artisti italiani. Bologna, 1925: 203-204.
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1931
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1932
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1935
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1936
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1937
Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: 8, 14.
1941
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1942
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1945
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1949
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1951
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1952
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1955
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1957
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1959
Shapley, Fern Rusk. Early Italian Painting in the National Gallery of Art. Washington, D.C., 1959 (Booklet Number Three in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 32, color repro., as The Crucifixion with Saints.
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1960
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1963
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1965
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1966
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1968
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1969
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1970
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1972
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1975
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1976
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1977
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1979
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1980
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1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 106, no. 77, color repro.
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1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 302, repro.
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1986
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1987
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1988
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1989
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1991
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1992
National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 23, repro.
Hall, Marcia B. Color and Meaning. Practice and Theory in Renaissance Painting. Cambridge and New York, 1992: 87-88, fig. 29.
1993
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1994
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1996
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1997
Neverov, Oleg, and Mikhail Piotrovsky. The Hermitage: Essays on the History of the Collection, Saint Petersburg, 1997, p. 166, repro.
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1998
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1999
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2000
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2002
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2003
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2004
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2005
Todini, Filippo. “Il Perugino, le sue botteghe e i suoi seguaci: ‘Volendo fare di sua mano, lui è il meglio maestro d’Italia’.” In Rosanna Caterina Proto Pisani, ed. Perugino a Firenze: Qualità e fortuna d’uno stile. Exh. cat. Cenacolo di Fuligno, Florence, 2005: 59.
2006
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2009
Odom, Anne, and Wendy R. Salmond, eds. Treasures into Tractors: The Selling of Russia's Cultural Heritage, 1918-1938. Washington, 2009: 131, 135 n. 62.
2011
Fiedler, Susanne, and Torsten Knuth. "Vexierbilder einer Biographie: Dr. Heinz Mansfeld (1899-1959)." Mecklenburgische Jahrbücher 126 (2011):308.
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Hojer, Annette. “‘Die wahre Methode ihrer Ausführung’: Peruginos Landschaften und das Naturideal des Humanismus.” In Andreas Schumacher, ed. Perugino. Raffaels Meister. Exh. cat. Alte Pinakothek, Munich, 2011: 56-58, fig. 28.
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2013
Semyonova, Natalya, and Nicolas V. Iljine, eds. Selling Russia's Treasures: The Soviet Trade in Nationalized Art 1917-1938. New York and London, 2013: 138, 139, 212-213, repro..
2019
Campbell, Stephen J. The Endless Periphery: Toward a Geopolitics of Art in Lorenzo Lotto’s Italy. Chicago and London, 2019: 288 n. 68.
2023
Martelli, Cecilia. “Dopo il successo della Sistina: le opere di Perugino degli anni ottanta.” In Marco Pierini and Veruska Picchiarelli, eds. Il meglio maestro d’Italia. Perugino e il suo tempo. Exh. cat., Galleria Nazionale dell’Umbria, Perugia, 2023: 256, 264-266, figs. 17-19.
Wikidata ID
Q46624418