Madonna and Child Enthroned with Twelve Angels, and with the Blessing Christ [middle panel]

shortly before 1387

Agnolo Gaddi

Painter, Florentine, c. 1350 - 1396

A woman sitting on a throne supports a baby as twelve winged angels look on, all framed in a carved, gilded pointed arch in this vertical panel. It is the center of a three-panel triptych. The background behind all the people is gold, and the top of the panel comes to a rounded, pointed arch under a second taller, sharper point. Trios of spiraling columns frame the left and right sides. The woman, child, and angels all have pale skin tinged faintly with green, and rosy cheeks. They all have blond hair except for the woman, whose hair is covered, and all have plate-like gold halos that overlap, sometimes obscuring the bodies of others. The woman, Mary, faces us from her ivory-white, carved stone throne. She looks slightly above us with brown eyes under delicate brows. She has a small, straight nose, and her narrow pink lips are closed. The lapis-blue robe that covers her head and body is bordered with gold patterns, and has a starburst on her right shoulder, to our left. The pea-green underside of the mantle is visible where it turns over on the sleeves and down the front, and the robe is worn over an ivory-white dress patterned with gold. The child she holds with both hands, Jesus, stands on her lap and wraps one arm around her neck. His other hand grips the high neckline of her dress. He looks up with dark, close-set eyes. He has curly blond hair, a double chin, and rounded cheeks. Two tiny teeth are barely visible below his pink upper lip. Despite the rounded cheeks, his face looks more like that of an adult, and the proportions of his body are also adult-like. He wears a gold-trimmed, pale pink robe over a blue garment, which stops just short of his bare feet. The twelve angels surrounding the throne are grouped in trios, with three looking on to our upper left, three to our upper right, and then two trios gathered in each lower corner. Their wings and robes are painted in tones of celery green, ruby red, butter yellow, and pale rose pink. Each has a triangular diadem above their foreheads. The floor beneath is patterned with gold against a burgundy-red background. Above Mary and Jesus, a bearded man is shown from the chest up in a shape made of three lobes alternating with three points. That man faces us and holds up his right hand, to our left, with the first two fingers raised. He wears a shell-pink garment under a green robe, and holds up an open book with Latin text with his other hand. The frame around Mary, Jesus, and the gable above is carved and gilded. Barely discernable, the panel is inscribed across the bottom below the throne, “AVE MARIA GRATIA PNELA DOMINUS.” The pages of the books read, “EGO SUM A O PRINCI PIU FINIS EGO SUM VI A. VERITAS VITA.”

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Most early paintings are also mystery stories, making the art historians who study them detectives of a sort. Signatures were not routine, and the inscriptions on this large altarpiece name the saints depicted, not the artist who painted them. In this case, however, the elegant figures, pastel colors, and decorative effects have pointed experts almost unanimously to Agnolo Gaddi, Florence’s most sought-after artist during the late 1300s. The more difficult question is who commissioned it, and for what place? Although hypothetical, one answer seems likely: that it was given by the prominent Florentine family of Benedetto di Nerozzo Alberti for the church of San Miniato, which stands atop one of the city’s highest hills.

We know that Alberti commissioned Gaddi for other works, and that in 1387 he added a codicil to his will providing funds for decorations in San Miniato. It is the inclusion of the particular saints we see here that links the National Gallery of Art’s altarpiece to the Alberti family and perhaps to that document. At left is the apostle Andrew, holding the symbol of his crucifixion and the rope that was used in place of nails to hang him on the cross. He was the patron saint of Alberti’s deceased son. Next to him, Benedict, considered the founder of western monasticism, displays the opening words of the rule that governed the Benedictine monks at San Miniato. Benedict was also Benedetto’s patron saint. Opposite stands Bernard of Clairvaux, the powerful French abbot of the Cistercian order. He was the patron of another of Benedetto’s sons. Finally, we find Catherine of Alexandria on the spiked wheel of her torture. Both Benedetto and his son Bernardo made dedications in her honor, and some medieval etymologies linked her name to catena, Latin for chain, a device that figured on the Alberti coat of arms.

On View

West Building Main Floor, Gallery 2

Artwork overview

  • Medium

    tempera on poplar panel

  • Credit Line

    Andrew W. Mellon Collection

  • Dimensions

    overall: 204 × 80 cm (80 5/16 × 31 1/2 in.)

  • Accession

    1937.1.4.b

Associated Artworks

Two men with gray hair and beards stand under pointed arches with a winged angel in the triangular gable above, all against a gold background and set within a carved, gold frame in this vertical painting. This is the left wing of a three-panel triptych. The people all have pale skin with rosy cheeks, and the men’s faces are shaded with gray. Each man is set within his own pointed arch. Both of their bodies are angled very slightly to our right, toward the central panel, and they both wear long, voluminous robes. The man on the left gazes over our heads with dark eyes. His long, wavy gray hair frames his tan face, and tufts stick out the top and sides. His celery-green cloak is trimmed with gold, and it drapes over his blush-pink robe. He holds a wooden cross slightly taller than he is, tucked into his left elbow and leaning on that shoulder, to our right. In that hand, he holds a coiled, white rope. His other hand is held up by his waist but is covered with the green cloak. The man to our right looks in that direction. He is mostly bald with a fringe of curly hair over his ears. He wears a loose silvery-white robe and holds a bundle of rods in his right hand, resting on that shoulder. In his other hand, he holds an open book facing us so we can read the Latin text. Both men have halos carved into the gold background, and they stand on a floor patterned with gold and burgundy red. The outer columns of the panel have pairs of twisted shafts that support the gable, which has a circle carved into its center. In that roundel is an angel inside a four-lobed quatrefoil. Shown from the waist up, the angel has blond hair, a diadem, gold and crimson-red wings, and wears a shell-pink robe. Facing our right in profile, two fingers of the right hand are raised. Above the angel, a face is surrounded by blood-red wings, set within a shape that has three lobes alternating with three points. Barely discernable, the panel is inscribed across the bottom below the saints, “S. ANDREAS AP L U S; S. BENEDICTUS ABBAS.” The Latin text in the book reads, “AUSCU LTA.O FILI.PR ECEPTA .MAGIS RI.ET.IN CLINA.AUREM CORDIS.T UI A MONITIONE M.PII.PA TRIS.LI BENTE R.EXCIP E.ET.EF.”

Saint Andrew and Saint Benedict with the Archangel Gabriel [left panel]

Agnolo Gaddi

1387

A man with deeply tanned skin and a woman with pale skin stand under pointed arches with a woman wearing blue in the triangular gable above, all against a gold background and set within a carved, gold frame in this vertical painting. This is the right wing of a three-panel triptych. The man on the left is mostly bald but has a fringe of tawny brown hair, a forked beard, and he wears a white robe. His body is angled slightly to our left. He looks down at a book held open in both hands. The cover is decorated with gold against a scarlet-red cover. The woman on the right faces us, looking at us with hazel eyes under thin brows. She wears a gold crown on her blond hair, which is gathered at the back of her neck. A pale pink mantle trimmed in gold wraps around her bronze and off-white brocaded gown which is visible at the neckline and hem. The edge of the mantle is turned back to reveal its goldenrod-yellow lining. She holds a green frond up in her right hand, to our left, and in the other hand holds a book with a forest-green cover embellished with gold. A wood wheel studded with short black spikes encircles her feet. Both saints have halos carved into the gold background, and they stand on a floor patterned with gold and burgundy red. The outer columns of the panel have pairs of twisted shafts that support the gable, which has a circle carved into its center. In that roundel is a woman and a dove inside a four-lobed quatrefoil. Shown from the waist up, the woman faces our left almost in profile. She has blond hair under the hood of her blue robe, and wears a rose-pink dress. Her hands are crossed over her chest, and she looks at a white dove flying next to her. Above the roundel, a face is surrounded by blood-red wings, set within a shape that has three lobes alternating with three points. Barely discernable, the panel is inscribed across the bottom below the saints, “S. BERNARDUS DOCTOR; S. K TERINA VIRGO.”

Saint Bernard and Saint Catherine of Alexandria with the Virgin of the Annunciation [right panel]

Agnolo Gaddi

1387

More About this Artwork

Scholarly Article:  Italian Paintings of the Thirteenth and Fourteenth Centuries: Madonna and Child Enthroned with Twelve Angels, and with the Blessing Christ [middle panel], shortly before 1387

This horizontal painting is made up of three parts: in the center square panel, a woman reclines under a wooden shelter set into a rocky cave, which is surrounded by angels, and narrower wings to either side are each occupied by a standing man. All the people have pale skin, which is tinged with faint green. The three panels are joined with a gold frame, and the gold background behind the central scene and the men in the side panels are covered with a noticeable network of cracks. In the central panel, a cobalt-blue robe nearly envelopes the reclining woman’s body; this is Mary. It covers her head and falls open where she crosses her wrists over her chest to show a pink garment underneath. A flat gold halo encircles her head ,and her body is surrounded by a field of crimson red, almost like an aura. She rests under a wooden structure with a pitched roof, which is surrounded by craggy, barren rock. A swaddled infant lies in a rectangular, tray-like manger. The infant’s head is also surrounded by a gold halo. Fine gold rays emanate down into the structure from a star just above the peak of the roof. A bull and a donkey look down at the baby from the far side of the manger. The interior of the structure behind them is black. In a smaller scale, two women wash a haloed infant in a tub in front of the rocky cave near the lower left corner of this panel. A man with a white beard and hair sits to our left of Mary, holding a pink cloak at his throat and looking toward the infant. Above and around the rocks, seven winged and haloed angels cluster on each side. One angel to the right presents a scroll with black writing to two men accompanied by a dog and several sheep in the lower right. The man in the panel to the left, Isaiah, has a gray beard and long, wavy hair, and he wears a lilac-purple cloak draped over a coral-orange robe. In his right hand, on our left, he holds an unfurled scroll with large black lettering. His other hand is raised with one finger pointing upward. He looks to our left, away from the central scene. On the right, Ezekiel, echoes Isaiah's pose. Ezekiel holds an open scroll with his left hand, on our right, and his other hand is raised. He also wears a coral-colored robe, but his is overlaid with a blue cloak. His receding hair is short and brown, as is his beard. Like Isaiah, he takes up most of the height of the panel and gazes to our left, toward the central panel.

Scholarly Series:  Italian Paintings of the Thirteenth and Fourteenth Centuries

Artwork history & notes

Provenance

Probably in the sacristy of the church of San Miniato al Monte, Florence, from whence the triptych may have been removed shortly after 1830.[1] Bertram Ashburnham [1797-1878], 4th earl of Ashburnham, Ashburnham Place, Battle, Sussex;[2] by inheritance to his son, Bertram Ashburnham [1840-1913], 5th earl of Ashburnham, Ashburnham Place; by inheritance to his daughter, Lady Mary Catherine Charlotte Ashburnham [1890-1953], Ashburnham Place; (Robert Langton Douglas, London);[3] purchased 19 June 1919 by(Duveen Brothers, Inc., London, New York, and Paris);[4] sold 15 December 1936 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[5] gift 1937 to NGA.
[1] Miklós Boskovits, Pittura fiorentina alla vigilia del Rinascimento, 1370-1400, Florence, 1975: 118-121, proposed this provenance. The Alberti family were patrons of the church, and Benedetto di Nerozzo Alberti left funds for its decoration in a codicil dated 1387 that was appended to his will of 1377 (now lost and known only from a seventeenth-century abstract); see Luigi Passerini, Gli Alberti di Firenze. Genealogia, storia e documenti, Florence, 1869: 2:187. Three of the four saints depicted in the side panels are associated with the Alberti family, providing further argument in support of the proposed provenance. Although in 1975 Boskovits erroneously asserted that Saint John Gualbert was represented in the altarpiece to the right of the Virgin, he corrected this in the NGA systematic catalogue by identifying the saint instead as Bernard of Clairvaux, the patron saint of Benedetto Alberti's son Bernardo, who in his will dated 1389 left money for masses to be celebrated annually for his soul in the family chapel in San Miniato, which had evidently already been consecrated (see Stefan Weppelmann, Spinello Aretino, Florence, 2003: 381). The representation of Saint Andrew, who was the patron saint of a predeceased son of Benedetto Albert also links the altarpiece to the sacristy of San Miniato, and Catherine of Alexandria, shown standing on a broken wheel, was evidently much venerated in the Alberti family. In Benedetto's will he bequeathed money for the decoration of an oratory near Florence (Santa Caterina dell'Antella) dedicated to Catherine, and his son, Bernardo, wished to build a monastery and a church in her honor (see Weppelmann 2003).
Although this provenance remains a hypothesis, it still seems a quite plausible one that, if correct, would provide the certainty that by 1830 the altarpiece was still on the altar of the sacristy. An altarpiece can apparently be seen still in place in a sketch of the sacristy's altar wall made in that year by Christoph Roller (1805-1858), in his _Tagebuch einer italienschen Reise_ (Burgdorfer Heimatsmuseum, Burgdorf, Switzerland). Unfortunately, the sketch, kindly brought to the attention of Miklós Boskovits by Stefan Weppelmann, is very small and not sufficient for identifying the Gallery's painting. What may be said for certain is only that an altarpiece composed of five panels stood on the altar of the sacristy of San Miniato in 1830, but by 1836 this altarpiece was no longer there (Weppelmann 2003, 184). It was removed and sold, presumably by the Pia Opera degli Esercizi Spirituali, which had owned the furniture and decorations of the church since 1820; see "Regesto dell' Abbazia florentina di S. Miniato," _La Graticola_ 4 (1976): 117-135.

[2] The collection, formed originally by George, 3rd earl of Ashburnham, was enlarged by his son, Bertram, after whose death no further paintings were added. See The Ashburnham Collections. Part I. Catalogue of Paintings and Drawings ..., Sotheby’s, London, sale of 24 June 1953: 3-4.
[3] According to Denis Sutton (“Robert Langton Douglas. Part III,” _ Apollo_ 109 (1979): 452, Douglas was in contact with the Ashburnham family around 1919. See also letter from Douglas to Fowles dated 1 May 1941, Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: box 244, reel 299.
[4] Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 422. The painting was first entered in the Duveen "X-Book" (number X 149) as by Starnina, but this was crossed out and replaced with the attribution "Agnelo [sic] Gaddi."
[5] The original Duveen Brothers invoice is in the Records of The A.W. Mellon Educational and Charitable Trust, Subject Files, Box 2, Gallery Archives, NGA; copy in NGA curatorial files. The painting is listed as by Gherardo Starnina, influenced by Agnolo Gaddi, with the additional note that Bernard Berenson gave the painting to Gaddi.

Associated Names

Exhibition History

1933

  • Italian Paintings of the XIV to XVI Century, Detroit Institute of Arts, 1933, no. 11, repro., as Altarpiece by Gherardo Starnina.

Bibliography

1931

  • Venturi, Lionello. Pitture italiane in America. Milan, 1931: no. 52, repro.

1933

  • Venturi, Lionello. Italian Paintings in America. Translated by Countess Vanden Heuvel and Charles Marriott. 3 vols. New York and Milan, 1933: 1:no. 63, repro.

  • Valentiner, Wilhelm R. "Die Leihausstellung frühitalienischer Malerei in Detroit." Pantheon 12 (1933): 238.

  • Procacci, Ugo. "Gherardo Starnina." Rivista d’arte 15 (1933): 160.

  • Valentiner, Wilhelm R., ed. The Sixteenth Loan Exhibition of Old Masters: Italian Paintings of the XIV to XVI Century. Exh. cat. Detroit Institute of Arts. Detroit, 1933: no. 11, repro.

1935

  • Salvini, Roberto. "Per la cronologia e per il catalogo di un discepolo di Agnolo Gaddi." Bollettino d’arte 29 (1935-1936): 287.

1941

  • Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: nos. 24-25, repro., as by Gherardo Starnina.

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 69, no. 4.

  • National Gallery of Art. Book of Illustrations. Washington, 1941: 104 (repro.), 233.

  • Richter, George Martin. "The New National Gallery in Washington." The Burlington Magazine for Connoisseurs 78 (June 1941): 177.

1942

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 106.

1946

  • Friedmann, Herbert. The Symbolic Goldfinch. Its History and Significance in European Devotional Art. Washington, DC, 1946: 143.

1949

  • Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 8, repro.

1951

  • Galetti, Ugo, and Ettore Camesasca. Enciclopedia della pittura italiana. 3 vols. Milan, 1951: 3:2351 repro.

1960

  • Labriola, Ada. "Gaddi, Agnolo." In Dizionario biografico degli italiani. Edited by Alberto Maria Ghisalberti. 82+ vols. Rome, 1960+: 51(1998):146.

1963

  • Berenson, Bernard. Italian Pictures of the Renaissance. Florentine School. 2 vols. London, 1963: 2:69.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 54.

1967

  • Klesse, Brigitte. Seidenstoffe in der italienischen Malerei des 14. Jahrhunderts. Bern, 1967: 316.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 46, repro.

  • Boskovits, Miklós. "Some Early Works of Agnolo Gaddi." The Burlington Magazine 110 (1968): 210 n. 9.

1969

  • Cole, Bruce. Agnolo Gaddi. Ph.D. diss. Bryn Mawr College, 1969. Ann Arbor, MI, 1977: 73-75, 85, 208, 209.

1972

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 77, 301, 315, 369, 378, 381, 645.

  • Boskovits, Miklós. "Gaddi, Agnolo." In _Dizionario Enciclopedico Bolaffi dei pittori e degli Incisori italiani: dall’XI al XX secolo _. Edited by Alberto Bolaffi and Umberto Allemandi. 11 vols. Turin, 1972-1976: 5(1974)186.

1973

  • Fraser, Ian, Edith Whitehill Clowes, George Henry Alexander Clowes, and Carl J. Weinhardt. A Catalogue of the Clowes Collection. Indianapolis Museum of Art Bulletin. Indianapolis, 1973: 6.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 140, repro.

  • Boskovits, Miklós. Pittura fiorentina alla vigilia del Rinascimento, 1370-1400. Florence, 1975: 118-121, 123, 216 n. 84, 234 n. 140, 304, pl. 127.

  • Fremantle, Richard. Florentine Gothic Painters from Giotto to Masaccio: A Guide to Painting in and near Florence, 1300 to 1450. London, 1975: 271, fig. 553.

1976

  • Cole, Bruce. Giotto and Florentine Painting, 1280-1375. Icon Editions. 1st ed. New York, 1976: 140, 141, pl. 52.

1977

  • Cole, Bruce. Agnolo Gaddi. Oxford, 1977: 26-30, 40, 41, 89, pls. 81, 82.

1978

  • Boskovits, Miklós. "Review of Agnolo Gaddi by Bruce Cole." The Art Bulletin 60 (1978): 708.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:192-194; 2:pl. 134.

  • Sutton, Denys. "Robert Langton Douglas. Part III." Apollo 109 (June 1979): 447 [165] fig. 1, 452 [170].

1982

  • Barucca, Gabriele. “San Benedetto negli insiemi iconografici della Toscana dal XIV al XVI secolo.” In Patrizia Castelli, ed. Iconografia di San Benedetto nella pittura della toscana. Immagini e aspetti culturali fino al XVI secolo. Florence, 1982: 238-239, cat. 87.

1984

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 73, no 16, color repro.

  • Os, Hendrik W. van. Sienese Altarpieces 1215-1460. Form, Content, Function. 2 vols. Groningen, 1984-1990: 2(1990):66, fig. 48.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 162, repro.

  • Brown, Howard Mayer. "Catalogus. A Corpus of Trecento Pictures with Musical Subject Matter, pt. 2." Imago Musicae 2 (1985): 200, 201.

1986

  • Ford, Terrence, compiler and ed. Inventory of Music Iconography, no. 1. National Gallery of Art, Washington. New York 1986: 1, no. 5.

  • Ricci, Stefania. "Gaddi, Agnolo." In La Pittura in Italia. Il Duecento e il Trecento. Edited by Enrico Castelnuovo. 2 vols. Milan, 1986: 2:572.

1988

  • Causa, Stefano. "La Sagrestia." in La Basilica di San Miniato al Monte a Firenze. Edited by Francesco Gurrieri, Luciano Berti and Claudio Leonardi. Florence, 1988: 228, 229.

1989

  • Bellosi, Luciano. "Gaddi, Agnolo." In Dizionario della pittura e dei pittori. Edited by Enrico Castelnuovo and Bruno Toscano. 6 vols. Turin, 1989-1994: 2(1990):471.

1990

  • Boskovits, Miklós, and Serena Padovani. Early Italian Painting 1290-1470. The Thyssen-Bornemisza Collection. London, 1990: 116 n. 1.

1992

  • Chiodo, Sonia. "Gaddi, Agnolo." In Allgemeines Künstlerlexikon: Die bildenden Künstler aller Zeiten und Völker. Edited by Günter Meissner. 87+ vols. Munich and Leipzig, 1992+: 47(2005):113, 114.

1994

  • Skaug, Erling S. Punch Marks from Giotto to Fra Angelico: Attribution, Chronology, and Workshop Relationships in Tuscan Panel Painting with Particular Consideration to Florence, c. 1330-1430. 2 vols. Oslo, 1994: 1:262, 263; 2:punch chart 8.2

1995

  • Halpine, Susana M. "An Investigation of Artists' Materials Using Amino Acid Analysis: Introduction of the One-Hour Extraction Method." Studies in the History of Art 51 (1995): 41-48, 61, repro. no. 7, 64-65 nn. 41-55.

  • Frosinini, Cecilia. "Agnolo Gaddi." in La Sacra Cintola nel Duomo di Prato. Prato, 1995: 226.

  • Skerl Del Conte, Serena. Antonio Veneziano e Taddeo Gaddi nella Toscana della seconda metà del Trecento. Pasian di Prato (Udine), 1995: 52-54, 56, 62, 65 n. 13, 66 n. 23, repro.

1996

  • Symposium, Early Italian Paintings Techniques and Analysis, Maastricht, 1996: 81, repro.

  • Gold Backs: 1250-1480. Exh. cat. Matthiesen Fine Art, London. Turin, 1996: 80.

1997

  • Bustin, Mary. "Recalling the Past: Evidence for the Original Construction of Madonna Enthroned with Saints and Angels by Agnolo Gaddi." Studies in the History of Art 57 (1997): 35-64, repro. no. 2.

  • Bakkenist, Tonnie, René Hoppenbrouwers, and Hélène Dubois, eds. Early Italian Paintings: Techniques and Analysis. Maastricht, Netherlands, 1997: 81, repro.

  • Halpine, Susana M. "Analysis of Artists’ Materials Using High-Performance Liquid Chromatography." In Early Italian Paintings: Techniques and Analysis. Edited by Tonnie Bakkenist, René Hoppenbrouwers and Hélène Dubois. Maastricht, Netherlands, 1997: 22, 23.

1998

  • Frinta, Mojmír S. Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998: 100, 244, 283, 290, 322, 481.

  • Labriola, Ada. “La decorazione pittorica.” In L’Oratorio di Santa Caterina: osservazioni storico-critiche in occasione del restauro. Edited by Maurizio De Vita. Florence, 1998: 52.

2000

  • Kirsh, Andrea, and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. Materials and Meaning in the Fine Arts 1. New Haven, 2000: 108-109, color fig. 102, 103.

2001

  • Merzenich, Christoph. Vom Schreinerwerk zum Gemälde: Florentiner Altarwerke der ersten Hälfte des Quattrocento. Berlin, 2001: 89, 189, fig. 49.

2003

  • Weppelmann, Stefan. Spinello Aretino und die toskanische Malerei des 14. Jahrhunderts. Florence, 2003: 184.

2004

  • Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 11, no. 6, color repro.

  • Secrest, Meryle. Duveen: A Life in Art. New York, 2004: 438.

  • Medicus, Gustav. "Gaddi, Agnolo." In Medieval Italy: An Encyclopedia. 2 vols. Edited by Christopher Kleinhenz. New York, 2004: 1:393

  • Skaug, Erling S. "Towards a Reconstruction of the Santa Maria degli Angeli Altarpiece of 1388: Agnolo Gaddi and Lorenzo Monaco?" Mitteilungen des Kunsthistorischen Institutes in Florenz 48 (2004): 255.

2005

  • Boskovits, Miklós, and Daniela Parenti, eds. Da Bernardo Daddi al Beato Angelico a Botticelli: dipinti fiorentini del Lindenau-Museum di Altenburg. Exh. cat. Museo di San Marco. Florence, 2005: 80.

2006

  • Sander, Jochen. "The ‘Standard Altarpiece’ of the Gothic Period: The Polyptych." In Kult Bild: das Altar- und Andachtsbild von Duccio bis Perugino. Exh. cat. Städelsches Kunstinstitut, Frankfurt am Main. Petersberg, 2006: 95, 96.

2008

  • Löhr, Wolf-Dietrich, and Stefan Weppelmann, eds. Fantasie und Handwerk: Cennino Cennini und die Tradition der toskanischen Malerei von Giotto bis Lorenzo Monaco. Exh. cat. Gemäldegalerie, Berlin. Munich, 2008: 291.

2009

  • Boskovits, Miklós, ed. The Alana Collection, Newark, Delaware, USA. Vol. 1, Italian Paintings from the 13th to 15th Century. Florence, 2009: 4, repro. 10.

  • Damiani, Giovanna, ed. Le arti a Firenze tra gotico e Rinascimento. Exh. cat. Museo Archeologico, Aosta. Florence, 2009: 76.

  • Tartuferi, Angelo, ed. L’Oratorio di Santa Caterina all’Antella e i suoi pittori. Exh. cat. Santa Caterina dell’Antella, Bagno a Ripoli-Ponte a Ema. Florence, 2009: 159.

2010

  • Boskovits, Miklós, and Daniela Parenti, eds. Cataloghi della Galleria dell’Accademia di Firenze: Dipinti. Vol. 2, Il tardo Trecento: dalla tradizione orcagnesca agli esordi del gotico internazionale. Florence, 2010: 16.

2011

  • Gordon, Dillian. The Italian Paintings Before 1400. National Gallery Catalogues. London, 2011: under 220, no. NG568.

2012

  • Natali, Antonio, Enrica Neri Lusanna, and Angelo Tartuferi, eds. Bagliori dorati: Il Gotico Internazionale a Firenze 1375-1440. Exh. cat. Galleria degli Uffizi, Florence, 2012: 102.

2016

  • Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 121-130, color repro.

Inscriptions

across the bottom: AVE MARIA GRATIA PLENA DOMINUS [TECUM] (Hail, Mary, full of grace, the Lord is with thee; from Luke 1:28); on the book held by the Redeemer in the gable: EGO SUM / A[ET] O PRINCI / PIU[M] [ET] FINIS / EGO SUM VI / A. VERITAS / [ET] VITA (I am Alpha and Omega, the beginning and the end, I am the way, the truth, and the life; from John 14:6; Revelations 22:13)

Wikidata ID

Q20173280

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