The Early Renaissance is considered to be a self aware, individualized movement with roots of Classicism, which includes aesthetics and philosophies dating back to Greek and Roman culture. There was a shift from the Gothic and Romanesque Period with roots in medieval values derived from chivalry and nobility to a rebirth of individual expression, self reliance, and civic virtue. Artists were looking for new styles, while continuing to be inspired by ideas and forms of Ancient Greece and Rome. One artist who became inspired by using form to convey messages in his work is Pietro Perugino. After closely examining his painting, Christ Delivering the Keys of the Kingdom to Saint Peter, a fresco done in 1481 which is located in the Sistine Chapel, and is 335 cm x 550 cm (131.9 in x 216.5 in), it is clear the forms he created have meaning deeper than what first may appear. The humanistic and naturalistic forms in this fresco help to emphasize the meaning of how any person could acquire the keys to heaven though their devotion to and belief in Christianity. The balance between the forms on the left and right sides and the posture of the figures emphasize the linear perspective, which draws the eye to the center of the fresco where the church is.
Ideal characteristics of Renaissance paintings such as balance, harmony, and the illusion of a three-dimensional space can all be observed in this painting. Identifying these elements can be quite simple when educated about the ideals of the Renaissance and what the values were. However, when a meaning is derived from what the forms collectively contribute to the painting, is when the work of art is fully understood. This fresco exhibits the philosophy of humanism, which places emphasis on the individual. By including elements of humanism, viewers of the painting could focus on the “here and now” aspect of life on earth. That way, the painting was relatable to every individual, and in many cases by religious means. Perugino also makes use of naturalistic forms in his work, which means he pays great attention to detail, and makes his forms lifelike and realistic. This allows viewers to feel connected to the work because it closely resembles what they see in their everyday life.
PWhile Perugino uses humanistic and naturalistic forms to create a connection between his work and the viewers, he also reveals the deeper meaning behind his fresco. The dress of the figures appears to be contemporary for most of them, which creates the sense of what an ordinary “everyday human” looks like. When individuals during that time period looked at figures that resembled themselves, they may have been more inclined to feel a connection to the piece. In this particular case, the forms of the figures may invoke people to believe they could have access to heaven, just like the figures in the fresco do.
During the Renaissance, the religious values of individuals were very strong, and earning their way to heaven was a necessity. When seeing this painting, it was reassuring to see Perugino crafted the forms of the figures to closely resemble those of real people. It made the message resonate with viewers more easily. All of the figures also had a sense of individuality in their forms. Each figure had different facial features, expressions, clothing, and hairstyles. This was another example of a shift from Medieval art to more stylized Renaissance art. By giving each figure different forms and features, Perugino made his art more relatable to individual people. Not every human has the same features, in fact, every individual has their own defining features that set them apart from everyone else. Which is exactly what Perugino aims to do with the figures in his painting. Because they all look different, it makes it easier for people to see themselves in the place of the figures, and how they too, could gain entrance to heaven.
Another way Perugino uses form to create meaning in his work is through linear perspective. Linear perspective is a way to create an illusion of depth by the use of a vanishing point, which is usually located in the center of the work. The work also has implied lines called orthogonals that extend through space to the vanishing point. By using this technique of perspective, the illusion of a three-dimensional space will be created in a piece. In this fresco, the horizon line is located in the center, where the door to the church is. The orthogonals follow the alignment of the figures, to the ground, and all the way to the church door. This form of perspective creates depth, but also has another meaning. By leading the viewer's eye to the door of the church, it makes them envision themselves getting there, and earning their way to heaven. By drawing the eye of the viewer into the center where the church is, it creates a physical focal point, but also the desire to have faith in the church to gain entrance to heaven. It also makes them believe it’s possible in conjunction with the relatable forms of the figures.
When comparing this fresco to other works of the time period, Raphael’s fresco, The School of Athens, done between 1509 and 1510, which is located in the Vatican seems to have many similarities regarding how meaning can be hidden with forms. This fresco was created a few decades after Perugino’s Christ Delivering the Keys of the Kingdom to Saint Peter, making it a part of the High Renaissance. During this time, humanism continued to develop and still remained an important element of Renaissance art. Just like in Perugino’s fresco, we can see that Raphael gives each figure an individual identity, making it easier for viewers to connect with them. By making every figure unique, viewers can also give identities to some of them. Great scholars of the time can be spotted, and upon close examination of their forms, assumptions about Raphael’s intent can be made about their philosophies. Scholarly individuals were very highly regarded during the Renaissance, and viewers of this painting wanted to be like them. Just like in Perugino's fresco, the “everyday human” qualities some of the figures have, made viewers feel a connection to the painting. They wanted to be valued just like those pictured in the painting were, and be on the same level with scholars in the painting such as Plato and Aristotle. Raphael also makes use of linear perspective in a similar way to Perugino. The eye of the viewer is drawn up to where Plato and Aristotle stand, emphasizing their importance to people of the time even further. Although these paintings have significant contrast in overall meaning, it can be seen that Raphael and Perugino use some of the same elements of form to create deeper meaning.
After analyzing Perugino’s Christ Delivering the Keys of the Kingdom to Saint Peter in great depth, it becomes quite clear how much hidden meaning the fresco has within the forms. By making the choices to include humanistic and naturalistic forms of the figures, and the use of linear perspective, Perugino can convey much deeper meaning to viewers that reflect important concepts of the time period. Viewers were able to understand the connection they felt to the painting as a representation of earning their way to heaven just like the figures.
Works Cited
Gravatt, Laren. “Humanistic Influence in Raphael's The School of Athens.” Lauren Gravatt's Blog, 11 June 2014,
Pritchard, Shannon. “Perugino, Christ Giving the Keys of the Kingdom to St. Peter.” Khan Academy, Khan Academy,
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