The three panels were used as predella compartments of an unidentified altarpiece, probably dedicated to Saint Jerome as well. The small paintings, dating back to
On a black background, four figures stand out: the Madonna (whose simple and austere face recalls the traits of Chiara Fancelli, Perugino’s wife) is seated
Commissioned by Isabella D’Este for her studiolo in 1497, the work shows an allegorical-mythological subject, the Combat between Love and Chastity: the painting was the
The painting, dating back to about 1490, depicts the god Apollo, standing on the right, while observing a flute player sitting on the left, identified
The scene takes place outdoors, in a large square, whose perspective view is emphasized by white squares on the darker pavement.In the foreground the episode
The work, which dates back to 1498/1502, shows Saint Jerome penitent in the desert: he is in fact kneeling at the feet of the crucifix,
The panel, realized around 1500 and 1515 in collaboration with one of his assistants, Giovanni Battista Caporali, was originally commissioned to Perugino by the Augustinian
The panel, dating to about 1490, was realized in collaboration with Andrea D’Assisi, called L’Ingegno, who according to Vasari was the best student of Perugino.The
The two panels, depicting Saint John the Baptist and Saint Lucy (or Saint Illuminata from Todi) were part of one of the largest and most
The small panel, along with four other panels depicting episodes from the life of Christ, currently preserved at the Art Institute of Chicago, once constituted
