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The Funeral of Saint Anthony Abbot
Tempera on poplar panel. 1426 - 1430
Angelico, Fra
The Funeral of Saint Anthony Abbot
Tempera on poplar panel. 1426 - 1430
Angelico, Fra

This scene is from the predella of an altarpiece dedicated to Saint Anthony Abbot, the founder of the eremitic movement. Its technical and formal characteristics suggest a dating close to that of The Virgin with the Pomegranate. Like that work, it was acquired in Florence in 1817 by Carlos Miguel Fitz-James Stuart y Silva, 14th Duke of Alba de Tormes.

The Continence of Scipio
Oil on panel. 1496
Aspertini, Amico; Aspertini, Guido
The Continence of Scipio
Oil on panel. 1496
Aspertini, Amico; Aspertini, Guido

This painting and The Rape of the Sabines (P524) were part of the decoration of two cassoni commissioned in May 1496 in Bologna by Lodovico da Sala from the painter Guido Aspertini. These paintings were commissioned for the betrothal of his daughter Angelica to Giovan Battista Bolognetti held in August of that year. Certain elements of The Continence of Scipio also suggest that these panels are as

The Virgin with the Pomegranate
Tempera on panel. Ca. 1426
Angelico, Fra
The Virgin with the Pomegranate
Tempera on panel. Ca. 1426
Angelico, Fra

The Virgin with the Pomegranate is an exceptional work painted during one of the key periods in the history of art, in Florence, cradle of the Renaissance, in the first quarter of the fifteenth century, by one of its principal protagonists. Guido di Pietro, known as Fra Angelico and probably trained with Lorenzo Monaco, is first documented as an independent master in 1418. Between that date and 14

Scenes from The Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro
Scenes from The Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro

These panels (P02838, P02839, P02840), along with a fourth one in a private collection, illustrate the Story of Nastagio degli Onesti, the eighth novel of the fifth day of Boccaccio´s Decameron. This is the story of Nastagio, a young man from Ravenna who was rejected by the daughter of Paolo Traversari and abandoned the city to settle on its outskirts. This first panel shows Nastagio taking leave

The Death of the Virgin
Mixed method on panel. Ca. 1462
Mantegna, Andrea
The Death of the Virgin
Mixed method on panel. Ca. 1462
Mantegna, Andrea

The Virgin Mary lies on her deathbed, surrounded by eleven Apostles. Through the window, the Borgo di San Giorgio and the Laguna of Mantua can be seen in the background. This scene depicts the Virgin Mary´s final moment on earth. According to the Apocrypha, her body and soul were carried up to Heaven by Jesus following her earthly death. This moment is also known as the “Dormition of the Virgin”.

Scenes from the Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro
Scenes from the Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro

These panels (P02838, P02839, P02840), along with a fourth one in a private collection, illustrate the Story of Nastagio degli Onesti, the eighth novel of the fifth day of Boccaccio´s Decameron. This is the story of Nastagio, a young man from Ravenna who was rejected by the daughter of Paolo Traversari and abandoned the city to settle on its outskirts. In the second Panel, Nastagio runs away in fr

The Dead Christ supported by an Angel
Mixed method on panel. 1475 - 1476
Messina, Antonello Da
The Dead Christ supported by an Angel
Mixed method on panel. 1475 - 1476
Messina, Antonello Da

Antonello was trained in Naples, the Italian city most influenced by Flemish painting. He later worked in Sicily and mainland Italy. In 1475 he traveled to Venice and, while this work was painted on his return to Messina, the city visible in the background, it would not be understandable without reference to Giovanni Bellini. Bellini painted versions of the Pietà that gave Antonello a compo

The seven Liberal Arts
Tempera on panel. Ca. 1435
Ponte, Giovanni Dal
The seven Liberal Arts
Tempera on panel. Ca. 1435
Ponte, Giovanni Dal

This decoration of the front of a chest depicts the seven Liberal Arts, accompanied by an equal number of figures that represent the most relevant personages in each discipline. All are being crowned with laurel wreaths by small angels. Astronomy presides over the composition, carrying the heavenly sphere, with Ptolomy (first and second centuries A.D.) sitting at his feet and reading one of the th

Scenes from the Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro
Scenes from the Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro

These panels (P02838, P02839, P02840), along with a fourth one in a private collection, illustrate the Story of Nastagio degli Onesti, the eighth novel of the fifth day of Boccaccio´s Decameron. This is the story of Nastagio, a young man from Ravenna who was rejected by the daughter of Paolo Traversari and abandoned the city to settle on its outskirts. The third panel shows the guests´ reaction to

Saint Eligius in his Goldsmith's Workshop
Tempera, Gilded on panel. Ca. 1370
Master Of The Madonna Della Misericordia
Saint Eligius in his Goldsmith's Workshop
Tempera, Gilded on panel. Ca. 1370
Master Of The Madonna Della Misericordia

This is a set of two scenes (P02842, P02841) referring to one of the first known stories of Saint Eloy, a French saint from the late sixth and early seventh century and a great goldsmith who served kings Clotaire II and Dagobert and became Bishop of Rouen. In the second panel, Saint Eloy in his Goldsmith´s workshop (P02841), the saint chisels the piece along with other officials and apprentices fr

Saint Eligius before King Chlothar II
Tempera, Gilded on panel. Ca. 1370
Master Of The Madonna Della Misericordia
Saint Eligius before King Chlothar II
Tempera, Gilded on panel. Ca. 1370
Master Of The Madonna Della Misericordia

This is a set of two scenes (P02842, P02841) referring to one of the first known stories of Saint Eloy, a French saint from the late sixth and early seventh century and a great goldsmith who served kings Clotaire II and Dagobert and became Bishop of Rouen. In Saint Eloy before King Clotaire (P02842), the Merovingian king, Clotaire, who knows the saint´s fame and skills as a metal worker, commissio

Triptych, open: Bust of Christ, Saints John the Baptist and Peter. Closed: Saints John the Evangelist and Columba
Tempera on panel. Ca. 1495
Antoniazzo Romano (Antonio Di Benedetto Aquili)
Triptych, open: Bust of Christ, Saints John the Baptist and Peter. Closed: Saints John the Evangelist and Columba
Tempera on panel. Ca. 1495
Antoniazzo Romano (Antonio Di Benedetto Aquili)

This triptych consists of five panels, the central one depicting a bust of Christ with a halo incorporating a cross. He presides over the composition, flanked on the inside of the lateral panels by Saint Peter with his keys and Saint John the Baptist wearing his hair shirt. On the exterior of the lateral panels are Saint John the Evangelist holding a pen and his Gospel, and Saint Columba (9th cent

The Virgin of the Knight of Montesa
Oil on panel. 1472 - 1476
San Leocadio, Paolo Da
The Virgin of the Knight of Montesa
Oil on panel. 1472 - 1476
San Leocadio, Paolo Da

In the bay of a Renaissance cloister, Mary is seated on a throne with her Son on her lap. On the left is Saint Benedict and on the right, Saint Bernard, patrons of the Order of Montesa. The latter protects the donor, a knight of this military order, probably Luis Despuig, Grand Master between 1472 and 1482 and Viceroy of Valencia between 1472 and 1478. The painter, who was Italian from Emilia and

The Rape of the Sabines
Oil on panel. 1496
Aspertini, Amico; Aspertini, Guido
The Rape of the Sabines
Oil on panel. 1496
Aspertini, Amico; Aspertini, Guido

These paintings (P524, P525) decorated two cassoni and were commissioned in 1496 in Bologna by Ludovico da Sala from Guido Aspertini for the betrothal of his daughter Angelica to Giovan Battista Bolognetti. It is generally agreed that Guido’s brother, Amico, participated in their execution, which would explain the quotations from classical statuary. Both scenes from classical Rome contained lesson

Saint Francis
Oil on poplar panel. Ca. 1495
Francia, Francesco
Saint Francis
Oil on poplar panel. Ca. 1495
Francia, Francesco

The Bolognese painter Francesco Francia depicted Saint Francis of Assisi on numerous occasions, both in compositions with other figures and alone. This version is an example of the latter type and is closely comparable to a work in the Galleria Borghese, although in this case the panel has been reduced at the lower edge, cutting off the left hand and part of the book held by the saint.

The Annunciation
Tempera on panel. Ca. 1426
Angelico, Fra
The Annunciation
Tempera on panel. Ca. 1426
Angelico, Fra

This altarpiece was painted for the monastery of Santo Domenico in Fiesole, near Florence. The central panel shows the Archangel Gabriel’s Annunciation to Mary under a portico. On the left, Adam and Eve are being expelled from Paradise. The damnation and salvation of Humanity. The predella has scenes from the life of the Virgin; Mary’s Birth, Her Wedding with Saint Joseph, Mary’s Visit to her cous

Bust of Christ
Tempera on panel. Ca. 1495
Antoniazzo Romano (Antonio Di Benedetto Aquili)
Bust of Christ
Tempera on panel. Ca. 1495
Antoniazzo Romano (Antonio Di Benedetto Aquili)

Scenes from the Life of the Virgin
Tempera on panel. Ca. 1426
Angelico, Fra
Scenes from the Life of the Virgin
Tempera on panel. Ca. 1426
Angelico, Fra

Painted for San Domenico in Fiesole, near Florence, where Fra Angelico lived as a Dominican friar, the principal panel of this altarpiece (P15/1) depicts the cycle of Man’s fall and salvation through the episodes of Adam and Eve expelled from Eden and the Annunciation to Mary, respectively. The predella panels (P15/2) depict scenes from the life of the Virgin.

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