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.
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- 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]. Looted 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, D.C., 1939, deaccessioned, 1952; returned to the Samuel H. Kress Foundation; on loan to the Birmingham Museum of Art, Alabama, 1952; gift of the Kress Foundation to the Birmingham Museum of Art, Alabama, 1961
1. According to the bill of sale from Contini-Bonacossi to Kress dated September 16, 1938. Ettore Camesasca, Reconstruction of Sant' Agostino, Perugia,Tutta La Pittura del Perugino (Milan: Rizzoli, 1959), p. 131. See object file.
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), p. 13.
3. Otto Mundler, Essai d’une analyse critique de la Notice des Tableaux Italiens du Musées du Louvre (Paris: Firmin Didot Fréres, 1850), p. 161 states the painting was "chez un amateur de Paris." There was an error in the provenance of two sources after Mundler. Umberto Gnoli, Pietro Perugino (Spoleto: Claudio Argentieri, Edizione d’Arte, 1923), p. 61 and Fiorenzo Canuti, Il Perugino. (Siena: Editrice d’Arte “La Diana,” 1931), 1: p. 218, and 2: p. 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 Ettore Camesasca,Tutta la Pittura del Perugino (Milan: Rizzoli Editore, 1959), p. 131 and Carlo Castellaneta and Ettore Camesasca. L’opera completa del Perugino. (Milan: Rizzoli Editore, 1969), p. 116.
4. Walter Bombe, Geschichte der Peruginer Malerei bis zu Perugino und Pinturicchio. (Berlin: Bruno Cassirer, 1912), p. 213; J. A. Crowe and G. B. Cavalcaselle, A History of Painting in Italy, Umbria, Florence and Siena, from the Second to the Sixteenth Century (New York: Charles Scribner Sons, 1914), p. 353, 511.