In Perugia, one of the cities where devotion to San Bernardino was most felt, an oratory named after him was erected next to the Church of S. Francesco al Prato, right where the saint used to harangue the crowds. In this oratory, adorned with a splendid facade designed by Agostino di Duccio, there must have been a niche dedicated to the saint, from which the eight tablets in which some miracles he performed are represented. The reconstruction of the appearance and decoration of the niche, which according to sources was to house either a statue of the saint or end with the banner depicting San Bernardino of Siena recommends the Perugians to Jesus Christ by Benedetto Bonfigli (also preserved at the National Gallery Umbria), as well as the authorship of the individual tablets, are topics still debated among scholars. The vertical sequence of the episodes is ensured by the perfect match of the horizontal frames and the incidence of painted light, consistent with a single light source from above and from outside the niche. On the left side, from bottom to top, San Bernardino heals the daughter of Giovannantonio Petrazio da Rieti from an ulcer, dated 1473, San Bernardino gives sight to a blind man, San Bernardino frees a prisoner and San Bernardino resurrects a dead man found under a tree, to which they corresponded in a mirror position San Bernardino heals Nicola di Lorenzo da Prato overwhelmed by a bull, San Bernardino resurrects a stillborn child, the Restoration of Giovanni Antonio Tornano and the Miracle of Giovanni Antonio da Parma wounded by a shovel. This reconstruction is confirmed by the sgraffito motif on gold - partially reinstated - on only one side of each tablet, along the left thickness of the first four and on the right of the others, so as to decorate the outer edge of the niche. The Stories of San Bernardino were a decisive junction for Renaissance painting, not only Umbrian, and marked the peremptory affirmation of a new language in Perugia, in which, thanks to the young Perugino, the echoes of Domenico Veneziano's luminous painting and influences , between 1465-1468, by Piero della Francesca, grafted onto the most modern luminous geometries of Verrocchio. The work was created by a company of several masters, coordinated by a single director who prepared the architectural settings in all the scenes right down to the detail, with the use of engravings. As acknowledged by Adolfo Venturi (1913), the young Perugino, directly responsible for the Restoration of the ulcerated woman and the Miracle of the blind, led this society, two episodes in which the coherence between conception and execution, between setting and narration, is absolute. His Verrocchian militancy explains the preponderant Florentine culture of the tablets, both in the architecture in which decorative details abound, and in the landscapes, characterized by a descriptive and atmospheric attention of Flemish ancestry. The two Perugian scenes were surmounted by the Liberation of the prisoner and the Miracle of the man found dead under a tree, recognized to the young Pintoricchio, under the guidance of Perugino, by Adolfo Venturi (1913). The frankly Perugian score is followed by Bernardino with impressive complicity - as it will be on the stages of the Sistine Chapel -, tracing in detail solutions and motifs already encountered in the Restoration of the ulcerata and in the Miracle of the blind. But the hand of Pintoricchio is revealed in the most minute design that makes the silhouettes lighter and longer; Perugino's dry and essential narration is as though shattered by the restless temperament of the young Bernardino, who stands out, even in the treatment of the drapery, for a more snappy rhythm. More debated was the authorship of the Miracle of the man overwhelmed by the bull and the Miracle of the stillborn child, of which Zeri exalted the "dazzling" quality, contesting the reference to Bartolomeo Caporali hypothesized by Venturi and Berenson and proposing the name of Pier Matteo of Amelia. Rather - as Laura Teza acknowledged - the "crystalline clarity" highlighted by Zeri returns in the Triptych of Justice, paid in 1475-1476 to Bartolomeo Caporali and Sante by Apollonio del Celandro, but executed entirely by the second. In the two Bernardinian stories, the recognition of Sante's hand is not immediate, because the master is galvanized by the confrontation with Perugino, who provided him with ideas and drawings, reused many years later by Vannucci himself, such as the courtyard of the Miracle of the child born death replicated in counterpart in the Annunciation Ranieri (National Gallery of Umbria). This experience was the beating heart of Sante's Verrocchismo, drawn through Perugino and exhibited programmatically in the following works, starting with the Trittico della Giustizia, where the taste for glazed surfaces and pe