St. Bartholomew, one of the twelve apostles, is identified by his attribute the knife; he was martyred by being flayed alive. This painting was one of thirty panels comprising a monumental, double-sided altarpiece for the church of Sant’Agostino in Perugia. A reconstruction of the altarpiece is displayed in the Galleria Nazionale dell’Umbria, Perugia, which houses twenty of the original panels. It is believed that St. Bartholomew was placed above the panel depicting St. Jerome and Mary Magdalene in the choir side of the altarpiece.
- Titles Saint Bartholomew (Proper)
- Artist Pietro di Cristoforo Vannucci, called Pietro Perugino, Italy, Città della Pieve, ca. 1450 - 1523, Fontignano
- Medium tempera on panel
- Dimensions 34 3/4 x 27 7/8 in. (88.3 x 70.8 cm) frame: 48 × 41 1/8 × 4 3/4 in. (121.9 × 104.5 × 12.1 cm)
- Credit Line Gift of the Samuel H. Kress Foundation, 1961.103
- Work Type painting
- Classification Paintings
- On View
- Signature None
- Marks None
- Inscription None
- Provenance Sant' Agostino, Perugia [see note 1]. Taken to France by Napoleon's army, 1797 [see note 2]. Private Collection, Paris, 1850 [see note 3]. St. Gervais, Paris, 1912-1914 [see note 4]. With Count Alessandro Contini-Bonacossi (1878-1955), Florence; purchased by Samuel H. Kress (1863-1955), New York, September 16, 1938; gift to the National Gallery of Art, Washington, 1939; deaccessioned in 1952 and returned to the Samuel H. Kress Foundation; on loan to the Birmingham Museum of Art, 1952; gift of the Kress Foundation to the Birmingham Museum of Art, 1961
1. According to the bill of sale from Contini-Bonacossi to Kress dated September 16, 1938 in the curatorial files of the Birmingham Museum of Art. Reconstruction of Sant' Agostino, Perugia by Camesasca, Ettore. Tutta La Pittura del Perugino (Milan: Rizzoli, 1959), 131.
2. According to Catalogo de' Capi d'Opera di Pittura, Scultura, Antichità, Libri, Storia Naturale, ed Altre Curiosità Trasportati dall'Italia in Francia. 2nd edition. (Venice, 1799), 13.
3. Mundler, Otto. Essai d’une analyse critique de la Notice des Tableaux Italiens du Musées du Louvre (Paris: Firmin Didot Fréres, 1850), 161 states the painting was "chez un amateur de Paris." There was an error in the provenance of two sources after Mundler. Gnoli [Gnoli, Umberto. Pietro Perugino (Spoleto: Claudio Argentieri, Edizione d’Arte, 1923), 61] and Canuti [Canuti, Fiorenzo. Il Perugino. 2 vols. (Siena: Editrice d’Arte “La Diana,” 1931), 1: 218, and 2:367] erroneously assumed the BMA's painting was in the collection of the Louvre based on the title of Mundler's essay. This mistake was corrected by Camesasca [Camesasca, Ettore. Tutta la Pittura del Perugino. (Milan: Rizzoli Editore, 1959), 131] and Castellaneta [Castellaneta, Carlo, and Ettore Camesasca. L’opera completa del Perugino. (Milan: Rizzoli Editore, 1969), 116.]
4. Bombe, Walter. Geschichte der Peruginer Malerei bis zu Perugino und Pinturicchio. (Berlin: Bruno Cassirer, 1912), 213; Crowe, J. A., and G. B. Cavalcaselle. A History of Painting in Italy, Umbria, Florence and Siena, from the Second to the Sixteenth Century. 6 vols. (New York: Charles Scribner Sons, 1914), 353, 511.