The Crucifixion with the Virgin, Saint John, Saint Jerome, and Saint Mary Magdalene [right panel] c. 1482 - 1485

Editor: So here we have a panel from Pietro Perugino's "Crucifixion with the Virgin, Saint John, Saint Jerome, and Saint Mary Magdalene," painted sometime between 1482 and 1485 using oil. This one features Mary Magdalene. It strikes me as very serene, almost meditative. What do you see in this piece, beyond the immediately obvious? Curator: Serene is a wonderful observation. For me, Perugino always whispers of an otherworldly grace, a certain detachment. Look at how Mary Magdalene's figure integrates with that ethereal, almost dreamlike landscape. There’s this fascinating contrast between the immediate human sorrow implied by the title and the eternal calm in her expression. What does that juxtaposition evoke for you? Does it soften the tragedy, perhaps? Editor: It makes the scene feel less…violent? More focused on reflection. But, what about those bizarre rock formations in the background? They seem almost…stylized. Curator: Ah, the rocks! Yes, Perugino adored stage-setting with slightly improbable geological features. They’re not really *of* this world, are they? It’s as if he’s telling us this sorrow plays out not just on Earth but on a different, more painterly plane. I'm curious, does it make the emotion feel any less real, to see grief expressed in this rather staged setting? Editor: Initially, yes, it felt a bit distant, but thinking about it, the landscape almost elevates her grief to something universal, detached from any specific time or place. Curator: Exactly! And for me that's why Perugino continues to move me so profoundly; his work offers not a literal window, but a metaphorical doorway to contemplate human feeling through the prism of divine harmony. Editor: I didn't expect such depth from a "landscape." I'll be thinking about Perugino's landscapes a lot differently now!