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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.

Pietro Perugino

The Crucifixion with the Virgin, Saint John, Saint Jerome, and Saint Mary Magdalene [middle panel], c. 1482/1485

West Building, Main Floor — Gallery 20

Medium

oil on panel transferred to canvas

Dimensions

middle panel: 101.5 × 56.5 cm (39 15/16 × 22 1/4 in.)

framed: 134 × 165.1 × 17.15 cm (52 3/4 × 65 × 6 3/4 in.)

Credit Line

Andrew W. Mellon Collection

Accession Number

1937.1.27.b

Artists / Makers

Pietro Perugino (painter) Umbrian, c. 1450 - 1523

Image Use

This image is in the public domain.
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Overview

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.

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, St. 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, St. 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

Buzzi, Dr.
Colnaghi & Co., Ltd., P. & D.
Golitzyn, Alexander Mikhailovich
Golitzyn, Sergei Mikhailovich
Golitzyn, Theodore Alexandrovich
Knoedler & Company, M.
Mellon Educational and Charitable Trust, The A.W.
Mellon, Andrew W.
Napoleon I, Emperor of the French
San Domenico, Church of
State Hermitage Museum
The Matthiesen Gallery

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.

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

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.

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

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

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

1923: 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.

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

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

1925: 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.

1937: Jewell, Edward Alden. "Mellon's Gift." Magazine of Art 30, no. 2 (February 1937): 82.

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

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

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

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

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

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

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

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

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

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.

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

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

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.

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

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

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

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, 645.

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

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

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

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

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

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

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

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

1984: 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.

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

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

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

1985: 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: 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.

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

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

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

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

1989: 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.

1992: 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.

1994: 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.

1997: 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.

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

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

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.

1998: Shefer, Elain. "Death." In Encyclopedia of Comparative Iconography, edited by Helene E. Roberts. 2 vols. Chicago, 1998: 1:231.

1999: 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.

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

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

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

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

2004: 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.

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

2004: 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.

2011: 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.

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

2011: 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.

2014: Lane, Barbara G. “Hans Memling: vita e opere.” In Memling: Rinasimento fiammingo, ed. Till-Holger Borchert. Exh. cat. Scuderie del Quirinale, Rome, 2014-2015. Milan, 2014: 46-47, color fig. 8. the NGA painting was in the exhibition.)

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.