Moderno's Crucifixion demonstrates his ability to create rhythmic and dramatic compositions on a small scale. The writhing of the crowded figures and tortuous thieves is counterbalanced by the strong, classical body of Christ on the towering vertical of the cross. As the emotional and structural ape
This relief is one of several such painted stucco replicas cast after the marble original of about 1460–65 now in the Pierpont Morgan Library, New York. While this example has suffered old and obvious losses, it still conveys the overall composition and some of the subtlety of modeling of the marble
This cross was originally mounted on a tall pole and carried in religious processions. Therefore, the figures on each side are almost identical. In the center is Christ crucified. Looking on from the elaborate terminals at left and right are the Virgin and Saint John. The bottom terminal shows a dif
Tino da Camaino was active in Siena, Pisa, and Florence after 1311 where he established his reputation as an important and gifted sculptor. In 1323 he was summoned to the Angevin court at Naples, probably by King Robert of Anjou to work on the sepulchral monument of the king's daughter-in-law, Cathe
Figures leading livestock descend the winding rocky landscape in the background while in the foreground, a crowd gathers before the Holy Family. The traveling figures compose the majority of this plaque, communicating the haste and urgency on their journey to see Christ. Above the Holy Family, a rus
This reliquary bust was probably made to house a relic of Saint Louis, Bishop of Toulouse (1274–97), second son of Charles II of Anjou, King of Naples (1288–1309). Renowned for his works of charity, he was made bishop in 1297 and died shortly after at the age of 23. He was canonized in 1317, and his
This half-length Madonna represents one of the finest of about 40 surviving variants, all of which display many characteristics of the Florentine bronze sculptor Lorenzo Ghiberti. These features include serene facial types with narrow eyes and thin eyebrows, the careful arrangement of the Madonna an
During the early 1700s, Roman artists returned to fundamental Christian subjects, especially those focused on the Christ child. This work presents the Holy Family with Christ’s maternal grandparents and baby cousin, John the Baptist, stressing the importance of family relationships. Saints Anne and
These panels depicting Saints Anthony the Abbot and Michael originally flanked a central scene of the Madonna and Child with Angels, now lost, to form a triptych. Giovanni di Cosimo de’Medici of Florence commissioned the ensemble in 1457 as a gift to Alfonso V of Aragon. Fra Filippo Lippi, a Carmeli
The dramatic contrasts of light and dark reveal the long aftereffects of Caravaggio in Naples. Yet, the elegant forms, rich colors, and perfected body of Christ have far more affinities with the idealizing strand of Italian art in the 1600s and 1700s. Solimena sought to improve on nature, based on t
This work was not originally hung on a wall or displayed as part of an altarpiece. It is believed to have formed a panel on a cassone, a storage chest for clothing. This panel may have been part of a travel chest, which was usually less lavish than those meant to be used in the home. The subject, th
The motif shown here depicts the Virgin Mary and the angel Gabriel in a repeating sequence. Both figures kneel above a bed of flowers while a dove representing the Holy Ghost hovers above. The ground of this luxury silk, woven with highlights of gold thread, is now a faded blue. Its original purpose
This relief once framed a tabernacle—a receptacle above and behind an altar for the safekeeping of the Eucharist. The inscription over the doorway, LOCHVS SANCTVS (Holy Place), and below, LAVS DEO (Praise God), confirm the relief’s intended purpose. Originally, a door at center, perhaps in gilt bron
Plaquettes emerged during the Renaissance in connection with the revival of interest in ancient Greek and Roman coins and medallions. This small-scale devotional image provided a personal and private connection between the owner and the religious figures. The two small holes suggest that it may have
With much of Saint Peter’s Basilica obscured by the energetic lines that form the foliage, the building appears integrated into the landscape in this river scene. What stands out is the massive dome jutting from the tree line. Designed by Michelangelo in 1547, the dome was completed in 1590, after h
This image of Madonna with the Christ Child on her lap has been extensively altered by restoration. During the Renaissance, it was important that the Christ Child's genitalia be exposed, for it declared that Christ is the humanization of God, that he experienced temptation, and that in his exposure,
This panel reveals a long history of changes. The initial work was painted on a single slab of wood, with strips left unpainted along the top and bottom. At an unknown time, the panel was probably cut down on the right and left sides, and the two blank strips at the top and bottom were filled in to
Rather than depicting a single moment in time, this gold-ground painting symbolically encapsulates Christ. Seated on a rich throne, the monumental Virgin holds the Christ child. Above, the risen Christ is seen in heaven holding a book, inscribed with the alpha and omega, the first and last letters o
Saint Catherine of Alexandria, a Christian, was martyred for refusing to make sacrifices to idols as decreed by the pagan Roman emperor Maxentius. While Maxentius first attempted to slay Catherine with spiked wheels, the machine broke when she prayed for salvation, and the emperor subsequently behea
The earliest Italian painting in the Lehman Collection, this panel formed part of one of the greatest Italian altarpieces of the third quarter of the thirteenth century. The double-sided altarpiece was probably commissioned for the main altar of the church of San Francesco al Prato in Perugia. This
Because of his simplicity, piety, and devotion to all living creatures, Saint Francis (1181–1226) has remained among the most revered and popular saints. Born to wealthy parents in Assisi, he first lived a life of spendthrift luxury. However, Francis later gave up all worldly goods and embraced an e
Saint Andrew's efforts to introduce Christianity to Greece in the first century CE were met with hostility from local authorities, and he was sentenced to die on the cross because he refused to acknowledge pagan gods. For two days, Andrew preached from his martyr's station to an increasingly sympath
Lorenzetti imbued this familiar biblical subject with a new sense of pathos and dramatic intensity. Details such as the piercing of Christ's side with a spear, the breaking of the legs of the thieves, and the Virgin swooning into the arms of her companions ensure an emotional response from the viewe
On the eve of the Battle of Montaperti in 1260, the Tuscan town of Siena was dedicated to the Virgin; Siena's miraculous victory the following day confirmed its status as the "City of the Virgin" and inspired fervent devotion among its citizens. Marian imagery flourished, and many altarpieces compri
