Agnolo Bronzino

Agnolo Gaddi

Ambrogio Lorenzetti

Andreadi di Bonaiuto

Andrea del Castagno

Andrea del Sarto

Andrea di Bartolo

Andrea Mantegna

Antonello da Messina

Antonio del Pollaiuolo

Bartolo di Fredi

Bartolomeo di Giovanni

Benozzo Gozzoli

Benvenuto di Giovanni

Bernard Berenson

Bernardo Daddi

Bianca Cappello

Bicci di Lorenzo

Bonaventura Berlinghieri

Buonamico Buffalmacco

Byzantine art



Dietisalvi di Speme

Domenico Beccafumi

Domenico di Bartolo

Domenico di Michelino

Domenico veneziano


Duccio di Buoninsegna

Eleonora da Toledo

Federico Zuccari

Filippino Lippi

Filippo Lippi

Fra Angelico

Fra Carnevale

Francesco di Giorgio Martini

Francesco Pesellino

Francesco Rosselli

Francia Bigio

Gentile da Fabriano


Domenico Ghirlandaio


Giorgio Vasari

Giotto di bondone

Giovanni da Modena

Giovanni da San Giovanni

Giovanni di Francesco

Giovanni di Paolo

Giovanni Toscani

Girolamo di Benvenuto

Guidoccio Cozzarelli

Guido da Siena

Il Sodoma

Jacopo del Sellaio

Jacopo Pontormo

Lippo Memmi

Lippo Vanni

Lorenzo Ghiberti

Lorenzo Monaco

Lo Scheggia

Lo Spagna

Luca Signorelli


masolino da panicale

master of monteoliveto

master of sain tfrancis

master of the osservanza

matteo di giovanni

memmo di filippuccio

neroccio di bartolomeo

niccolo di segna

paolo di giovanni fei

paolo ucello


piero della francesca

piero del pollaiolo

piero di cosimo

pietro aldi

pietro lorenzetti



sandro botticelli

sano di pietro


simone martini

spinello aretino

taddeo di bartolo

taddeo gaddi

ugolino di nerio



Il Perugino, Christ Handing the Keys to St Peter, Cappella Sistina, Vatican, Rome

Il Perugino, Christ Handing the Keys to St Peter, Cappella Sistina, Vatican, Rome


Travel guide for Tuscany

Il Perugino | Christ Handing the Keys to St Peter



Among Perugino's frescoes in the Chapel, the Christ Giving the Keys to St. Peter is stylistically the most instructive. This scene is a reference to Matthew 16 in which the "keys of the kingdom of heaven" are given to St.Peter.[1] These keys represent the power to forgive and to share the word of God thereby giving them the power to allow others into heaven. The main figures are organized in a frieze in two tightly compressed rows close to the surface of the picture and well below the horizon. The principal group, showing Christ handing the silver and gold keys to the kneeling St. Peter, is surrounded by the other Apostles, including Judas (fifth figure to the left of Christ), all with halos, together with portraits of contemporaries, including one said to be a self-portrait (fifth from the right edge). The flat, open square is divided by coloured stones into large foreshortened rectangles, although they are not used in defining the spatial organization. Nor is the relationship between the figures and the felicitous invention of the porticoed Temple of Solomon that dominates the picture effectively resolved. The triumphal arches at the extremities appear as superfluous antiquarian references, suitable for a Roman audience. Scattered in the middle distance are two secondary scenes from the life of Christ, including the Tribute Money on the left and the Stoning of Christ on the right.

The style of the figures is inspired by Andrea del Verrocchio. The active drapery, with its massive complexity, and the figures, particularly several apostles, including St. John the Evangelist, with beautiful features, long flowing hair, elegant demeanour, and refinement recall St Thomas from Verrocchio's bronze group in Orsanmichele. The poses of the actors fall into a small number of basic attitudes that are consistently repeated, usually in reverse from one side to the other, signifying the use of the same cartoon. They are graceful and elegant figures who tend to stand firmly on the earth. Their heads are smallish in proportion to the rest of their bodies, and their features are delicately distilled with considerable attention to minor detail.

The octagonal temple of Jerusalem and its porches that dominates the central axis must have had behind it a project created by an architect, but Perugino's treatment is like the rendering of a wooden model, painted with exactitude. The building with its arches serves as a backdrop in front of which the action unfolds. Perugino has made a significant contribution in rendering the landscape. The sense of an infinite world that stretches across the horizon is stronger than in almost any other work of his contemporaries, and the feathery trees against the cloud-filled sky with the bluish-gray hills in the distance represent a solution that later painters would find instructive, especially Raphael.

The fresco was believed to be a good omen in papal conclaves: superstition held that the cardinal who (as selected by lot) was housed in the cell beneath the fresco was likely to be elected. Contemporary records indicate at least three popes were housed beneath the fresco during the conclaves that elected them: Pope Clement VII, Pope Julius II, and Pope Paul III.


Perugino's portrait and that of the architect are included in this scene, at a respectful remove from the real dignitaries. The fifth figure from the right in this grouping is a self-portrait. The man holding a square to the right is thought to be a portrait of the architect of the Sistine Chapel.

Art in Tuscany | Italian Renaissance painting

Vatican Museums | Website |

Virtual Visit of the Sistine Chapel |

Arte in Toscana | Giorgio Vasari, Le vite de' più eccellenti pittori, scultori e architettori (1550) | Pietro Perugino

Pietro Perugino and the Trasimeno lake scenary | Renaissance and Mannerism Painting in Città della Pieve, Paciano, Panicale and Castiglione del Lago

[1] The stories of Christ were originally distributed over eight panels, each one presented by a title in the upper frieze. They began with the Nativity painted by Perugino on the altar wall, subsequently destroyed to make room for Michelangelo's Last Judgement. Thus, today, the events of the life of Christ start from his Baptism, which is followed by the Temptations of Christ and the Cleansing of the Leper. The third shows in the foreground the Calling of the Apostles Peter and Andrew, while the Call of James and John is shown in the background. The next fresco illustrates the Sermon on the Mount and the curing of the leper, while the fifth shows the Handing over of the keys, that is to say the transfer of power from Christ to Peter, his vicar, as well as the two episodes of the Payment of the tribute and of the Attempted stoning of Christ in the background. The series on this wall ends with the Last Supper in which, beyond the windows we can see three episodes of the Passion: the Agony in the garden, the Arrest of Jesus, the Crucifixion. The cycle ends with the Resurrection of Christ on the entrance wall.
This page uses material from the Wikipedia article Sistine Chapel, published under the GNU Free Documentation License.

The Val d'Orcia stretches from south of Siena to Monte Amiata. The valley plain is a classic example of the Tuscan landscape, with endless hills, cypresses, wine, corn fields and streams.

Podere Santa Pia is just outside the town walls of Castiglioncello Bandini, a typical medieval borgo in the province of Tuscany.
Santa Pia is within walking distance to the centre of Castiglioncello Bandini, a typical medieval borgo in the province of Tuscany, and enjoys a great dominating position with stunning views over the Maremma countryside.
Nestled in southern Tuscany and Lazio, the Maremma is one of the most picturesque areas central Italy has to offer. Beautiful medieval hilltop towns with wonderful architecture and history to match await you. The Abbey od Sant'Antimo, Montalcino, Pienza and Montepulciano are within easy driving distance.Pienza is a rare example of Renaissance town building, and has some wonderful views over the valley below.

Holiday houses in Tuscany | Podere Santa Pia


Podere Santa Pia
Podere Santa Pia
Podere Santa Pia, garden view, April
Rocca d'Orcia, Rocca di Tentennano
Lago Trasimeno
Rocca d'Orcia
San Quirico d'Orcia, Leonini Gardens

Cypress-Lined Montichiello Road, south of Pienza, Val d'Orcia, Tuscany
Pienza, Piazza Pio II
Cipress road near Montichiello


Even today the Maremma remains a largely undiscovered gem in the heart of Italy, sandwiched between the stunning Monte Amiata on its eastern fringes and the beautiful Tyrrhenian coast to the west.


Podere Santa Pia offers the most exclusive privacy to enjoy a breathtaking view and have a comfortable, regenerating holiday