The Crucifixion with the Virgin, Saint John, Saint Jerome, and Saint Mary Magdalene [left panel]

c. 1482/1485

Pietro Perugino

Associated Names
Pietro Perugino
Painter, Umbrian, c. 1450 - 1523
A man stands, leaning on a staff used like a crutch, in a deep, rocky landscape in this round-topped vertical painting. The cleanshaven man has tanned skin and sparse gray hair. He is nude aside from a slate-gray cloth that wraps around his hips. The hand not bracing the crutch is held in a loose fist at his chest. A few plants grow and bloom along the bottom of the panel. The dirt path on which the man stands winds through low, grass-covered mounds to a cave opening at the base of a tall, steep cliff face. A lion stands on the path between the man and the cave. An owl perches in the bare, spike-like branches of a spindly tree growing to our right of the man.

Media Options

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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.

On View
West Building, Main Floor, Gallery M20

Artwork overview

  • Medium

    oil on panel transferred to canvas

  • Credit Line

    Andrew W. Mellon Collection

  • 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 Number

    1937.1.27.a

Associated Artworks

One tall, rectangular panel is flanked by arched panels to each side, all set within a carved, painted, gilded wooden frame. The central panel shows two people at the foot of a wooden cross, to which a man is nailed, and the panels to each side are each occupied by a single person. All the people have pale skin and are shown against landscapes with rocky outcroppings along a river that extends into the deep distance. At the center of the middle panel, the man hangs from the cross from nails in his hands and one nail driven through his overlapping feet. He is nude except for the white loincloth wrapped around his hips, which falls in fluttering ripples alongside his right leg, on our left. Blood drips down his forehead from where a ring of thorns encircles his shoulder-length, chestnut-brown hair. His head tilts to his right, our left, and his eyes are closed or downcast. Blood also drips from his hands and feet, and from a slit over his right ribcage. The woman standing to our left of the cross wears a navy-blue robe edged in gold that covers her head and drapes to her ankles above bare feet. Her head tips down to our right, and she holds her hands clasped loosely, fingers intertwined, at her waist. The person standing to our right of the cross wears a cobalt-blue robe under a vivid, scarlet-red cloak. He has blond curly hair and delicate features, like the woman. With arms nearly straight, he holds his interlaced fingers with palms facing down, close to his body. He looks up at the man on the cross. Low hills dotted with flowers and plants separate the people from a river that runs between rocky hills and outcroppings. Stone buildings line the bank beyond a bridge spanning the river in the distance, and three boats sail near the horizon line, which comes halfway up the composition. The hills and mountains look green and then blue in the deep distance under a sky that fades from nearly white along the horizon to pale, topaz blue along the top edge of the panel, which is also lined with clouds. In the panel to our left, a balding man with gray hair leans on a wooden staff like a crutch, nearly in profile facing our right. He also is nude aside from a slate-gray cloth that wraps around his hips. He holds his loosely fisted right hand up to his chest. A lion stands in front of a cave entrance behind the man. In the panel to our right, a woman wears a mauve-pink dress under a pine-green cloak. She holds her hands clasped with fingers interlaced at her abdomen. A small, gold-colored jar with handles sits on a rock to our left. Both the man and woman in the side panels look up toward the man on the cross. The landscape behind those in the side panels enclose each scene with rocky outcroppings that seem closer to us than the landscape in the central panel. More plants and flowers, and also trees, dot each landscape and soften the caramel-brown boulders with touches of moss and emerald green. The frame encasing the panels is carved and gilded gold around strips of aquamarine blue, which are painted with swirling tendrils, vines, urns, shells, animals, and some mask-like faces.

The Crucifixion with the Virgin, Saint John, Saint Jerome, and Saint Mary Magdalene

Pietro Perugino
1482
A man hangs from a wooden cross at the top center of this vertical painting, with a woman standing at the foot of the cross to our left and a man to our right, all in front of a deep landscape with mountains along a river. All the people have light skin. The feet of the man on the cross, Jesus, line up with the tops of the heads of the people standing below. Jesus hangs by a nail driven through each palm, and his overlapping feet are nailed into a short platform that angles downward. He has shoulder-length brown hair and a short brown beard. His head tips forward, and his eyes are downcast or closed. He has a straight nose, high cheekbones, and his lips are closed. Blood trickles down his forehead from a ring of thorns around his head, from the nails in his hands and feet, and from a short gash over his right ribs, on our left. A white loincloth is wrapped around his hips, and the end of it flutters as if in a breeze to our left. The man’s body is lean but muscular. A slip of paper with the letters “INRI” has been affixed to a small panel on the cross above Jesus’s head. Below and to our left of the cross, a woman stands with her head bowed, looking down with her hands clasped in prayer. Her hair is covered with a tan-colored veil and she wears a gold-edged, navy-blue robe that covers her head and body. She and the cleanshaven, blond man standing to our right of the cross both have bare feet. The man looks up at the cross with his lips parted. His fingers are intertwined and then flipped, palms-down, with his arms straight. His raspberry pink-robe falls over one shoulder and around his hips, over a topaz-blue, ankle-length tunic. The dirt-packed ground on which they stand is lined along the bottom edge of the panel with plants and flowers. The golden-brown land dips beyond the people, leading down to a river that winds into the distance. A castle-like structure perches on cliff-like outcroppings high along the left edge of the painting, and buildings at the foot of that outcropping line the river. Two people walk and one person fishes off a bridge near the town. A few boats, one with full sails unfurled and another possibly with oars out to row, float in the river beyond, which is flanked in the deep distance by mountains painted blue in the haze. The horizon comes about halfway up the composition, crossing the painting just beneath Jesus’s feet. The sky above deepens from pale yellow along the horizon to robin’s egg blue where a few wispy clouds create streaks along the top edge.

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

Pietro Perugino
1482
A young woman with pale skin and flushed cheeks stands in a landscape looking to our upper left in this round-topped vertical painting. Her body faces us in the center of the scene. Her fingers are interlaced at her waist, and her head tips slightly to our left. Honey-brown hair cascades over her shoulders, and her hazel eyes roll up under thin brows. She has a short nose and a small, pale pink mouth. A translucent scarf is tied around the full-length, pine-green mantle that drapes across her shoulders and wraps around the V-neck of her rose-red robe. A wine-red inset fills the neckline, and a matching belt is tied around her waist. She stands barefoot on the dirt ground, which is scattered with pebbles. Plants grow and bloom, including a blue iris, in shallow water along the bottom edge of the composition. A lidded pitcher with a narrow neck and scrolling handles sits on a flat rock next to her right knee. Taller, peanut-brown rock formations pile up beyond her under a powder-blue sky. Tawny-brown and sage-green trees, leafy plants, and shrubs sprout among the rocks. Beyond the woman is an open gate in a wooden fence built into one of the rock formations to our right, and sage-green hills dotted with moss-green trees roll out along the left side of the painting.

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

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

  • Crowe, Joseph Archer, and Giovanni Battista Cavalcaselle. Raphael. His Life and His Works. 2 vols. London, 1882-1885: 1(1882):132 n.

1883

  • Vasilchikoff, A. A. “The Artworks of Raphael in Russia.” Viestnik iziashnych iskusstv 1, no. 3 (1883): 390-393, as by Raphael.

1884

  • Crowe, Joseph Archer, and Giovanni Battista Cavalcaselle. Rafaello. La Sua Vita e Le Sue Opere. 3 vols. Florence, 1884-1891: 1(1884):133 n.

1885

  • Müntz, Eugène. “Sur une crucifixion attribuée a Raphael au Musée Galitzin à Moscou.” La Chronique des Arts et de la Curiosité: Supplément de la Gazette des Beaux-Arts 27 (8 August 1885): 212-213.

1887

  • “Domestic News.” Khudozhestvennyia novosti, supp. to Viestnik iziashnych iskusstv 5, no. 12 (15 June 1887): 340-341, repro.

  • “Domestic News.” Khudozhestvennyia novosti, supp. to Viestnik iziashnych iskusstv 5, no. 10 (15 May 1887): 285-288.

  • D’Annunzio, Gabriele. “Cronaca d’arte.” La Tribuna (19 January 1887). Reprinted in Gabriele D’Annunzio. Le cronache de La Tribuna. Ed. Ruggero Puletti. 2 vols. Bologna, 1992: 1:816-817.

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

  • Harck, Fritz. “Notizen über Italienische Bilder in petersburger Sammlungen.” Repertorium für Kunstwissenschaft 19 (1896): 417-418.

  • The Hermitage. Eighty-Four Photogravures Directly Reproduced from the Original Paintings in the Imperial Gallery at St. Petersburg. Intro. by Sir Martin Conway. London, 1896: 7, pl. 31, as by Raphael.

1899

  • Phillips, Claude. “The Picture Gallery of the Hermitage.” The North American Review 169, no. 4 (October 1899): 460.

  • Somov, Andrei Ivanovich. Ermitage Impérial. Catalogue de la Galerie des Tableaux. Les Écoles d’Italie et d’Espagne, 2nd ed. St. Petersburg, 1899: 106-109, cat. 1666, as by Raphael.

1900

  • Pesciolini, Ugo Nomi. Le glorie della Terra di San Gimignano. Siena, 1900: 27, 57 n. 103.

1901

  • Venturi, Adolfo. Storia dell’arte italiana. 11 vols. Milan, 1901-1940: 7, part 2(1913):502-504, fig. 380.

1904

  • Rosenberg, Adolf. Raffael: Des Meisters Gemälde. Stuttgart and Leipzig, 1904: XI, pl. 5, as by Raphael.

  • Williamson, G. C. “The Collection of Pictures in the Hermitage Palace at St. Petersburg. Part II.” Connoisseur 10, no. 40 (December 1904): 197-198, repro.

1908

  • Pesciolini, Ugo Nomi. “Le vicende di un quadro attribuito a Raffaello Sanzio.” Le Marche 8 (1908): 147-155.

  • Rosenberg, Adolf. Raffael: Des Meisters Gemälde. 4th ed. Leipzig and Stuttgart, 1908. Reprinted 1909: 252, fig. 212.

1909

  • Néoustroïeff, A. “La Crocifissione di San Gimignano nel Museo Imperiale dell’Ermitage.” L’Arte 12 (March-April 1909): 119-132, repro.

  • Berenson, Bernard. The Central Italian Painters of the Renaissance. 2nd ed. New York, 1909: 222.

  • Wrangell, Baron Nicolas. Les Chefs-d'Oeuvre de la Galérie de Tableaux de l'Hermitage Impérial à St-Pétersbourg. London, 1909: vi, pl. 8.

  • Somof, Andrei. Ermitage Impérial. Catalogue de la galerie des tableaux, Vol. 1: Les écoles d’Italie et d’Espagne. Saint Petersburg, 1909: 108-111, cat. 1666, repro., as by Raphael.

  • Oppé, Adolf. Raphael. London, 1909: 25, 226.

1914

  • Van Dyke, John C. St. Petersburg: Critical Notes on the Hermitage. New York, 1914: 56.

  • Bombe, Walter. Perugino: Des Meisters Gemälde. Stuttgart and Berlin, 1914: 235, fig. 21.

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

  • Gnoli, Umberto. Pittori e miniatori nell’Umbria. Spoleto, 1923: 264-265.

  • Gnoli, Umberto. Pietro Perugino. Spoleto, 1923: 30-31, 65, pl. 7.

  • Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 14(1933):333-334.

  • Weiner, P. P. von. Meisterwerke der Gemäldesammlung in der Eremitage zu Petrograd. Munich, 1923: 12, pl. 23.

1924

  • Venturi, Adolfo. L’arte a San Girolamo. Milan, 1924: 178, fig. 144.

  • The Masterpieces of Raphael. London and Glasgow, 1924: 68.

1925

  • Conway, Martin. Art Treasures in Soviet Russia. London, 1925: 156.

  • Venturi, Adolfo. Grandi artisti italiani. Bologna, 1925: 203-204.

1931

  • Canuti, Fiorenzo. Il Perugino. 2 vols. Siena, 1931: 1:80-81.

1932

  • Berenson, Bernard. Italian Pictures of the Renaissance. Oxford, 1932: 437.

1935

  • Bertini-Casosso, Achille. "Perugino." In Enciclopedia Italiana. 36 vols. Rome, 1929-1939. Rome, 1935: 26:pl.219

1936

  • Berenson, Bernard. Pitture italiane del rinascimento. Milan, 1936: 378.

1937

  • Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: 8, 14.

1941

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 148-149, no. 27.

1942

  • Mather, Frank Jewett. "The Widener Collection at Washington." Magazine of Art 35 (October 1942): 195, as by Raphael.

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 164.

1945

  • “Italian Paintings in the Andrew W. Mellon Collection.” Connoisseur 115, no. 496 (June 1945): 115, 117-118, repro.

1949

  • Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 25, repro.

  • Gamba, Carlo. Pittura umbra del Rinascimento: Raffaello. Novara, 1949: xxxiii.

1951

  • Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 54-57, repro.

1952

  • Cairns, Huntington, and John Walker, eds., Great Paintings from the National Gallery of Art. New York, 1952: 36, color repro.

1955

  • Mazzoni, Mario. S. Gimignano. Siena, 1955: 38.

1957

  • Taylor, Joshua C. Learning to Look: A Handbook for the Visual Arts. Chicago, 1957: 9, 43-57.

  • Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 23.

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.

  • Camesasca, Ettore. Tutta la pittura del Perugino. Milan, 1959: 54-55, pl. 37.

1960

  • The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 24.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 88, repro.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 100.

  • Negri Arnoldi, Francesco. Perugino. I Maestri del colore. Milan, 1965: fig. 8.

1966

  • Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:122, color repro.

1968

  • Berenson, Bernard. Italian Pictures of the Renaissance. Central Italian and North Italian Schools. 3 vols. London, 1968: 1:333. 3:pl.1097.

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 88, repro.

1969

  • Hartt, Frederick. History of Italian Renaissance Art. New York, 1969: 325-326.

  • Camesasca, Ettore. L’opera completa del Perugino. Milan, 1969: 90, cat. 22.

1970

  • Oppé, Adolf. Raphael. Rev. ed. edited by Charles Mitchell. New York, 1970: 25, fig. 36.

1972

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 161, 292, 645.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 262, repro.

1976

  • Zeri, Federico. Italian Paintings in the Walters Art Gallery. 2 vols. Baltimore, 1976: 1:174.

  • Laclotte, Michel, and Elisabeth Mognetti. Avignon, Musée du Petit Palais: peinture italienne. 2nd ed. Paris, 1976: under no. 280.

1977

  • Levi d'Ancona, Mirella. The Garden of the Renaissance: Botanical Symbolism in Italian Painting. Florence, 1977: 33, 73-74, 105, 175, 187-188, 322, 398.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:360-361; 2:pl. 259.

  • Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 32, pl. 15.

  • Hartt, Frederick. History of Italian Renaissance Art: Painting, Sculpture, Architecture. 2nd ed. New York, 1979: 372-373, fig. 411.

1980

  • Williams, Robert C.. Russian Art and American Money, 1900-1940. Cambridge, MA, 1980: 173.

  • Ewing, Dan. “A New Crucifixion by Jan de Beer.” Jaarboeck Koninklijk Museum voor Schone Kunsten-Antwerpen (1980): 56-58, fig. 10.

  • Friedmann, Herbert. A Bestiary for Saint Jerome: Animal Symbolism in European Religious Art. Washington, DC, 1980: 278, figs. 66, 180.

1984

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 106, no. 77, color repro.

  • Gualdi Sabatini, Fausta. “La pale di Perugino.” In Pittura a Fano 1480-1550. Exh. cat. Chiesa di Santa Maria Nuova and Palazzo Malatestiano, Fano, 1984: 22.

  • Scarpellini, Pietro. Perugino. Milan, 1984: 33, 34, 36, 60, 80, 81-82, cat. 38, pl. 5, fig. 56

  • Pittura a Fano 1480-1550. Exh. cat. Chiesa di Santa Maria Nuova and Palazzo Malatestiano, Fano 1984: 25.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 302, repro.

  • Wood, Jeryldene Marie. “The Early Paintings of Perugino.” Ph.D. diss., University of Virginia, 1985: 85, 151-167, 176-177, 204 n., 206 n., 242-243 n., fig. 34.

1986

  • Russell, Francis. “Perugino and the Early Experiecne of Raphael.” Studies in the History of Art 17 (1986): 189.

1987

  • Toledano, Ralph. Francesco di Giorgio Martini. Pittore e scultore. Milan, 1987: 18.

  • Hartt, Frederick. History of Italian Renaissance Art. 3rd ed. New York, 1987: 360-361, fig. 379.

  • Bellosi, Luciano. “Un omaggio di Raffaello al Verrocchio.” In Micaela Sambucco Hamoud and Maria Letizio Strocchi, eds. Studi sul Raffaello. Atti del congresso internazionale. Urbino, 1987: 414-415.

1988

  • Pinacoteca di Brera. Scuole lombarda e piemontese 1300-1535. Milan, 1988: 156.

1989

  • Wood, Jeryldene Marie. “Perugino and the Influence of Northern Art on Devotional Pictures in the Late Quattrocento.” Kunsthistorisk Tidskrift 58 (1989): 7-18.

  • Mosjakin, Alexander. “Die Madonna Alba und Andere.” Lettre international 7 (Winter 1989): 71.

  • Todini, Filippo. La pittura umbra dal Duecento al primo Cinquecento. 2 vols. Milan, 1989: 1:273.

1991

  • Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 91, 92, color repro.

1992

  • Hall, Marcia B. Color and Meaning. Practice and Theory in Renaissance Painting. Cambridge and New York, 1992: 87-88, fig. 29.

  • National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 23, repro.

1993

  • Gagliardi, Jacques. La conquête de la peinture: L’Europe des ateliers du XIIIe au XVe siècle. Paris, 1993: 640, fig. 809.

1994

  • De Peverelli, Maria, and Ludovico Pratesi. Dentro l’immagine. Paesaggio, arredi e dettagli nella pittura del Rinascimento italiano. Cinisello Balsamo, 1994: 66-73.

  • Zuffi, Stefano. Perugino. Milan, 1994: 10, 20-21, 59, figs. 4, 5.

1996

  • Ferino Pagden, Sylvia. "Perugino." In Jane Turner, ed. The Dictionary of Art. 34 vols. New York and London, 1996: 24:522.

1997

  • Antenucci Becherer, Joseph. "Perugino in America: Masterpieces, Myths, and Mistaken Identities." In Joseph Antenucci Becherer, ed. Pietro Perugino: Master of the Italian Renaissance. Exh. cat., The Grand Rapids Art Museum, Grand Rapids, 1997: 108-110, 114, fig. 40.

  • Neverov, Oleg, and Mikhail Piotrovsky. The Hermitage: Essays on the History of the Collection, Saint Petersburg, 1997, p. 166, repro.

  • Garibaldi, Vittoria. Perugino. Florence, 1997: 25, fig. 27.

  • Bradshaw, Marilyn. "Pietro Perugino: An Annotated Chronicle." In Joseph Antenucci Becherer, ed. Pietro Perugino: Master of the Italian Renaissance. Exh. cat., The Grand Rapids Art Museum, Grand Rapids, 1997: 260-261.

1998

  • Christiansen, Keith. "The View From Italy." In Maryan W. Ainsworth and Keith Christiansen, eds. From Van Eyck to Bruegel: Early Netherlandish Painting in the Metropolitan Museum of Art. Exh. cat. Metropolitan Museum of Art, New York, 1998: 41-43, fig. 22.

1999

  • Benzi, Fabio, and Luigi Berliocchi. Paesaggio mediterraneo. Metamorfosi e storia dall’antichità preclassical al XIX secolo. Milan, 1999: 64.

  • Hiller von Gaetringen, Rudolf. Raffaels Lernerfahrungen in der Werkstatt Peruginos. Berlin, 1999: 46-54.

  • Bellosi, Luciano. “The Landscape alla fiamminga.” In Victor M. Schmidt et. al., eds. Italy and the Low Countries—Artistic Relations. The Fifteenth Century. Proceedings of the Sympsoium Held at Museum Catharijneconvent, Utrecht, 14 March 1994. Florence, 1999: 100-101.

  • Garibaldi, Vittoria. Perugino: Catalogo completo. Florence, 1999: 25, fig. 27.

2000

  • Brown, David Alan. “Italian Medieval and Renaissance Paintings.” In Connaissance des Arts. National Gallery of Art (special issue). Paris, 2000: 19.

2002

  • Hirschauer, Gretchen. “Meditations on a Theme: Plants in Perugino’s Crucifixion.” In Lucia Tongiorgi Tomasi and Gretchen A. Hirschauer, eds. The Flowering of Florence: Botanical Art for the Medici. Exh. cat. National Gallery of Art, Washington, 2002: 108-117.

2003

  • Boskovits, Miklós, David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, 2003: 552-556, color repro.

2004

  • Neverov, Oleg Yakovlevich. Great Private Collections of Imperial Russia. New York and Saint Petersburg, 2004: 42-43, ill. 41.

  • Galassi, Cristina. “‘Le prince de l’art chrétienne’ al tempo delle requisizioni francesi.” In Vittoria Garibaldi and Francesco Federico Mancini, eds. Perugino: il divin pittore. Exh. cat. Galleria Nazionale dell'Umbria, Perugia, 2004: 430.

  • Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 34-35, no. 24, color repro.

  • Nuttall, Paula. From Flanders to Florence: The Impact of Netherlandish Painting, 1400-1500. New Haven and London, 2004: 239.

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

  • Hartt, Frederick, and David G. Wilkins. History of Italian Renaissance Art: Painting, Sculpture, Architecture. 6th ed. Upper Saddle River, 2006: 377-378, color fig. 14.19.

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.

  • Kustodieva, Tat'jana. Museo Statale Ermitage: La pittura italiana dal XIII al XVI secolo. Milan, 2011: 18.

  • 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.

  • Schumacher, Andreas. “‘Il Perugino’: Ein umbrischer Klassiker in Florenz.” In Andreas Schumacher, ed. Perugino. Raffaels Meister. Exh. cat. Alte Pinakothek, Munich, 2011: 19.

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

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