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The Trinity Altarpiece. The Trinity Altarpiece, also known as the Trinity Altar Panels, is a set of four paintings in oil on wood thought to have been commissioned for the Trinity College Kirk in Edinburgh, Scotland, in the late fifteenth century. [1] The panels are now part of the British Royal Collection and are loaned to the Scottish ...
The Pala delle Convertite or The Trinity with Saints Mary Magdalen and John the Baptist, (the museum's name) or Holy Trinity, is an altarpiece by the Italian Renaissance painter Sandro Botticelli and his workshop, traditionally dated to c. 1491–1493.
The crowded altarpiece depicts the Trinity, with God the Father holding a crucifix with a still-alive Jesus. Above them, in a cloud of light surrounded by cherubim, is the Holy Spirit in the form of a dove. God the Father wears an imperial crown and a wide gilt cloak, lined in green and supported by angels.
The complete altarpiece is composed of six panels, four of which depict Saint Sebastian's martyrdom, including the Saettatura. [1] The others are: the Judgment; the Flagellation; the Deposition – all of Sebastian; While the two remaining panels depict: the Holy Trinity; the Madonna of Humility; One reconstruction of the altarpiece's main face
The altarpiece is composed of a central panel measuring 128.5 x 76 cm and two hinged wings 39 cm wide. The Throne of Grace (in Latin ‘Thronus gratiae’, in German ‘Gnadenstuhl’, in French ‘Trône de grâce’) depicted on the central panel is an iconographical type used c. 1120 in the Cambrai Missal. [1]
The retable was returned to St Mary's Church, Thornham Parva, in 2003, following eight years of restoration by the Hamilton Kerr Institute in Cambridge. [3] Using sturgeon glue, applied with tiny dabs of cotton buds, inch by inch the layers of grime were removed to reveal some of the original gold and a glowing autumnal palette of translucent reds, purples and greens which the original artist ...
The Requin Altarpiece, Musée du Petit Palais, Avignon Quarton was born in the diocese of Laon in northern France, but moved to Provence in 1444, possibly after working in the Netherlands. There he worked in Aix-en-Provence , Arles in 1446, and Avignon , where he was based from 1447 until his death there in about 1466.
The iconography of the Trinity, flanked by Mary and John or including donors, is not uncommon in Italian art of the late 14th and early 15th centuries, and the association of the Trinity with a tomb also has precedents. No precedent for the exact iconography of Masaccio's fresco, combining all these elements, has been discovered, however.