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The polychrome floor, and the architecture, including the base of the Madonna's throne, is depicted with the use of geometrical perspective, an innovation introduced in Italian early Renaissance art. [2] The saints portrayed are St John the Baptist and St Zenobius (patron saints of Florence), St Lucy (titular of the church where the painting ...
Commissioned by the Oratorians for the chiesa Nuova in Rome, it shows that church's traditional founder Gregory the Great at the centre in a cope. To the left are saints Papias and Maurus and to the right saints Domitilla, Nereus and Achilleus - relics of all five are under that church's high altar. [4] However, it was only briefly in that church.
The San Marco Altarpiece (also known as Madonna and Saints) is a painting by the Italian early Renaissance painter Fra Angelico, housed in the San Marco Museum of Florence, Italy. It was commissioned by Cosimo de' Medici the Elder , and was completed sometime between 1438 and 1443.
Pietro Capello is interred in the Church of San Zaccaria and above his tomb was adorned with a painting made around 1500 that was created in the workshop of Giovanni Bellini, but it showed the Presentation in the Temple (titled the Circumcision and now in the National Gallery of Art, London), not the Virgin and Child enthroned. [8] [7]
Catholic art has played a leading role in the history and development of Western art since at least the 4th century. The principal subject matter of Catholic art has been the life and times of Jesus Christ , along with people associated with him, including his disciples , the saints , and motifs from the Catholic Bible .
Annalena Altarpiece with predella by Fra Angelico, c. 1438–40 (frame removed), sometimes considered the "first" instance of the sacra conversazione format [1]. In art, a sacra conversazione (Italian: [ˈsaːkra koɱversatˈtsjoːne]; plural: sacre conversazioni), meaning "holy (or sacred) conversation", is a genre developed in Italian Renaissance painting, with a depiction of the Virgin and ...
This painting was one of the main works produced in this effort, and up to 1898 was the main altarpiece for the church. In his 1872 guide to monuments in the province of Umbria , Mariano Guardabassi takes note of this altarpiece signed Anthonatius Romanus pinxit and dated 1487 in the lower register. [ 1 ]
A panel at the top of the cross bears the inscription "INRI", while the foot of the cross bears a Latin inscription in silver letters: "RAPHAEL/ VRBIN / AS /.P.[INXIT]" ("Raphael of Urbino painted this"). The work is lit from the left, consistent with the illumination of the altarpiece by the windows in the chapel.