The panels which make up the main tier – The Coronation of the Virgin, Adoring Saints: Left Main Tier Panel and Adoring Saints: Right Main Tier Panel – were originally constructed and painted as a single panel. At either side an angel with a flame, representing the Holy Ghost, looks on. Other panels from the same altarpiece survive in the National Gallery and in other collections. It is not recorded in the Bible but is described in the Golden Legend, a medieval compilation of saints' biographies. Image Details 735 x 1000 pixels. This was one of the largest and most expensive altarpieces made in fourteenth-century Florence, for the Benedictine convent church of San Pier Maggiore, one Florence’s most important and oldest churches. The Coronation of the Virgin with Adoring Saints, left panel: Saint Benedict: robe during cleaning showing traces of old grey repaint and abrasion of original Date 1407-1409 Help keep us free by making a donation today. "Acquisitions/1983." Mary – identifiable by her red robes and her long, flowing hair – had gone to Christ’s tomb to anoint his body with spices. This scene is mirrored on a panel on the other side of the central image. As a charity, we depend upon the generosity of individuals to ensure the collection continues to engage and inspire. On the left Benedict tells Saint Maurus to rescue Saint Placidus, who has fallen in the lake while fetching water. In this painting, we see two stories from the life of Saint Benedict happening at once. The decorative details of their costumes and instruments add pattern and richness to the scene. The scene shows Christ and the Virgin Mary seated on an elaborate marble throne lined with a blue and gold cloth, known as a cloth of honour. This is the coronation of the Virgin, a popular subject in medieval Italy where Mary was especially revered. panel with Adoring Saints (NG 21 5) is first record-ed in the Fesch Collection in 1839, 14 and the corre-sponding panel with Adoring Saints (NG 216) was purchased from J. Freeman in Rome at an unknown date by William Coningham,15 and presented to the National Gallery, together with NG 215, in 1848 (Figs, i and 2). You may view this object in Mirador – a IIIF-compatible viewer – by clicking on the IIIF icon below the main image, or by dragging the icon into an open IIIF viewer window. The altarpiece played an important part in the ecclesiastical life of the city: new bishops of Florence would process to the church on the way back from their ordination at the cathedral, and it served as the backdrop to a ceremony in which the bishop would become symbolically married to the church. Download a low-resolution copy of this image for personal use. 1370, Siena (? Above this main tier was another level of pictures, showing scenes from Christ’s life and after his death: the Nativity and Adoration of the Kings, the Resurrection and events after it, Christ’s ascension to heavenand Pentecost. Though the painting is relatively small in size, it is apparently not a modello or study for a larger work—the use of a labor-intensive wooden support, along with the painting’s very elaborate finish, indicate that it was an autonomous work. 20121 Milano, © 2020 Pinacoteca di Brera. Swirling, shimmering, jewel-toned draperies enliven the composition and accentuate the otherworldliness of the subject. According to medieval Christian legend, her soul was carried up to heaven after her death and she was crowned as Queen of Heaven. To avoid potential data charges from your carrier, we recommend making sure your device is connected to a Wi-Fi network before downloading.
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