SAINT CONSTANTIUS

In 1495, Pietro Vannucci was at the height of his artistic career. He was given an important commission at this time by the Benedictines in Perugia: the great altar-piece dedicated to the Ascension of Christ. The original structure of the polyptych is not known, although various scholars, first among them Walter Bombe, have attempted a hypothetical reconstruction of the piece. The architectural cornice of the polyptych was suggested almost a decade earlier by Giovanni di Domenico da Verona. It was to hold, besides the central panel of The Ascension and the Twelve Apostles and a lunette depicting God the Father among Angels (Lyon, Musée des Beaus-Arts), two tondi of the prophets Jeremiah and Isaiah (Nantes, Musée des Beaux-Arts). The predella was to feature the scenes of The Adoration of the Magi, The Baptism of Christ, The Resurrection (Rouen, Musée des Beaux-Arts). The episodes from the life of Christ were to have alternated with eight small figures of the saints, shown in half-length portraits, among them San Costanzo. This precious artistic effort, with a value of 500 gold ducats, was finished in 1500. It first suffered damage at the end of the same century when, during the renovation of the church, it was moved back, as was the main altar. At the end of the 18th century the polyptych fell into the hands of the French and was confiscated. Fortunately, the entire work did not leave for Paris. Among the pieces that remained – and are now in the church sacristy – are five of the half-length figures of San Costanzo, Sant’Ercolano, San Mauro, San Pietro Vincioliand Santa Scolastica. Another three, San Benedetto, San Placido and Santa Giustina, now in the Vatican Gallery, had been taken to France with the rest of the polyptych. They were recovered by Antonio Canova in 1815 and retained by the Pope on their return to Italy. As for the panel of San Costanzo, while it repeats a composition scheme that recurs in Perugino’s painting, it was drawn with extraordinary skill and elegant use of color.