Madonna and Child on a Curved Throne

c. 1260/1280

A woman and child sit on an ornate gold, curving throne in front of a shimmering gold background in this vertical painting. Two winged angels in roundels at the upper corners and the woman and child all have peach-colored skin with a gray cast. The woman tips her head toward the child, to our right. She has almond-shaped eyes, a long, straight nose, and her small lips are closed. She looks into the distance over the child’s head. She wears a scarlet-red mantle that covers her head and drapes over her shoulders and body. The azure-blue of her dress beneath is visible at her throat and over one knee. The child sitting on her knee is as tall as a toddler but has adult proportions in his face and body. He holds up his right hand, on our left, and raises the first two fingers. He holds a red scroll in his other hand. He wears a forest-green robe over a salmon-pink garment. The clothing of both the woman and child have geometric gold lines indicating folds in the drapery, and both have gold halos. The child’s halo is marked with three red arms to create a cross above and to the sides of his head. The woman rests her feet on a low stool in front of the opening of the elaborately carved, two-tier throne that nearly encircles the pair. The winged angels in the upper corners have gold halos, brown hair, jeweled, gold garments, and each holds an orb and scepter.

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This painting and the Enthroned Madonna and Child are the oldest paintings on the National Gallery of Art’s walls. They may have been created by the same anonymous artist in Constantinople (now Istanbul, Turkey), then the capital of the Byzantine Empire. Panels such as these were highly influential in the development of Italian painting. They stand at the very beginning of the history of panel painting in Italy. Painting on wooden panel had not been common in medieval Europe as church decorations were mostly on the walls themselves, in fresco or mosaic. Painting on canvas came even later.

Around the 13th century, however, a confluence of events profoundly affected painting in Italy. Focus shifted to a new kind of freestanding imagery: the painted altarpiece. Italy experienced an influx of painted wood panels—and panel painters—from the Byzantine Empire. Following the Fourth Crusade in 1204, many icons (paintings of a sacred personage used as an object of veneration) were brought to Italy from Byzantine sanctuaries in Greece. Byzantine icon painters also left Greece to work in Italy, bringing their techniques and styles with them.

We can see the abstracted style of Byzantine icons here. The gold striations that define folds in clothing, the round volume of Mary’s veiled head, and the frontal pose of Jesus—who looks more like a miniature adult than a child—are all part of the Byzantine tradition. Because their subject is not the temporary appearance of the physical world but a holy and infinite presence, icons avoid direct references to earthly reality and to specific times or places. Instead, their backgrounds are dematerialized with shimmering gold, and figures appear timeless and unchanging.

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Artwork overview

  • Medium

    tempera on linden panel

  • Credit Line

    Andrew W. Mellon Collection

  • Dimensions

    painted surface: 82.4 × 50.1 cm (32 7/16 × 19 3/4 in.)
    overall: 84 × 53.5 cm (33 1/16 × 21 1/16 in.)
    framed: 90.81 × 58.26 × 7.62 cm (35 3/4 × 22 15/16 × 3 in.)

  • Accession

    1937.1.1

More About this Artwork

Scholarly Article:  Italian Paintings of the Thirteenth and Fourteenth Centuries: Madonna and Child on a Curved Throne, c. 1260/1280

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

Said to have come from a church, or convent, in Calahorra (province of La Rioja, Spain). Gabriel Dereppe, Madrid;[1] purchased 11 September 1919 by (Duveen Brothers, Inc., London, New York, and Paris);[2] Carl W. Hamilton [1886-1967], New York, early 1920s;[3] (Duveen Brothers, Inc., London, New York, and Paris);[4] sold 15 December 1936 to The Andrew W. Mellon Educational and Charitable Trust, Pittsburgh;[5] gift 1937 to NGA.
[1] The provenance from Calahorra, reported for the first time by Bernard Berenson (“Due dipinti del decimo secondo secolo venuti da Costantinopoli,” Dedalo 2 (1921): 284-304), and then repeated in the subsequent literature, has sometimes been doubted, but, according to NGA systematic catalogue author Miklòs Boskovits, not on any good grounds. (See also the provenance for NGA 1949.7.1.) Writing from Madrid, Dereppe brought the painting to the attention of Duveen Brothers in a letter of 25 May 1918; he commented that he believed it to be by Pietro Cavallini and compared it to the Kahn painting (NGA 1949.7.1) that he had seen in New York. He said the painting at that time was actually with the Goya critic Aureliano de Beruete y Moret; Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 212, box 357, folder 7; copies in NGA curatorial files.
[2] Generally (see Fern Rusk Shapley, Catalogue of the Italian Paintings, 2 vols., Washington, D.C., 1979: 1:96), first Carl Hamilton, and then Duveen Brothers, Inc., are cited as the owners of the painting, but this order needs to be reversed. It is well known that the majority of Hamilton’s paintings came from Duveen. According to Meryle Secrest (Duveen. A Life in Art, New York, 2004: 421, though she confuses the Kahn and Hamilton Madonnas, both with a provenance from Calahorra), Hamilton agreed to purchase NGA 1937.1.1 from Duveen Brothers (who had evidently offered the painting to him) in 1919. This is corroborated by the information on the provenance of the painting collected by Katherine Baetjer of the Metropolitan Museum of Art, New York, when the Duveen papers were held by that institution. She reports (in her letter to Jaroslav Folda of 16 September 1985; copy in the NGA curatorial files) that the Mellon Madonna “was purchased ... for the Paris branch of Duveen ... on 11 September 1919, as a work of Cavallino.” Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reels 8–11, boxes 17–26 (New York Stock Books); reels 36 and 37, boxes 105–109 (Paris Stock Books); reel 422 (the X-book, 1910–1927).
[3] Berenson (1921) reported that the panel was in the Hamilton collection; evidently it was one of the paintings from Duveen Brothers with which “Hamilton was furnishing his [New York] city apartment....on credit” (see Edward Fowles, Memories of Duveen Brothers, London, 1976: 127-129). Indeed, Hamilton refers to the painting as in his possession when he writes to Joseph Duveen on 21 December 1921, enclosing Stephen Pichetto’s translation of Berenson 1921; Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 161, box 306 (copy in NGA curatorial files).
[4] In 1921 Hamilton declared he was unable to pay for the paintings furnished to him on credit by Duveen Brothers, Inc., and returned them, at least in large part (Fowles 1976: 127-129). The panel continued to be cited in the literature for many years as belonging to Hamilton, but it must have been returned to the dealer at least by 1923, when it re-appeared in Duveen’s New York stock books (see the letter of Katherine Baetjer cited in note 2). It was during these years that the painting must have been subjected to a new restoration, the result of which is illustrated by the reproduction in Emilio Cecchi, Trecentisti senesi, Rome, 1928: 12. In the English edition of his study (Studies in Medieval Painting, New Haven, 1930: 4-16), Berenson described the panel as having previously belonged to the Hamilton collection.
[5] The original bill of sale is in Records of The A.W. Mellon Educational and Charitable Trust, Subject Files, Box 2, Gallery Archives, NGA; copy in NGA curatorial files. The provenance "from a convent in Calahorra, Spain" (see note 1) is given on the invoice.

Associated Names

Exhibition History

1997

  • The Glory of Byzantium: Art and Culture of the Middle Byzantine Era A.D. 843-1261, The Metropolitan Museum of Art, New York, 1997, no. 262, repro.

2000

  • The Mother of God: Representations of the Virgin in Byzantine Art, Benaki Museum, Athens, 2000-2001, no. 68, repro.

2004

  • Byzantium: Faith and Power (1261-1557), The Metropolitan Museum of Art, New York, 2004, no. 286, repro.

Bibliography

1921

  • Berenson, Bernard. "Due dipinti del decimosecondo secolo venuti da Costantinopoli." Dedalo 2 (1921): 285-286, 287 (repro.), 289, 290 (repro.), 291 (repro.), 292-304.

  • Marle, Raimond van. La peinture Romaine au Moyen-Age. Strasbourg, 1921: 227-228, fig. 115.

1923

  • Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 1(1923):503-505, fig. 292.

1924

  • Mayer, August L. "Correspondence." Art in America 12 (1924): 234-235.

1927

  • Toesca, Pietro. Il Medioevo. 2 vols. Storia dell’arte italiana, 1. Turin, 1927: 2:1035 n. 39.

1928

  • Cecchi, Emilio. Trecentisti senesi. Rome, 1928: 12, 125, pl. 1.

1930

  • Berenson, Bernard. Studies in Medieval Painting. New Haven, 1930: 4-16, figs. 2-4.

  • Schweinfurth, Philipp. Geschichte der russischen Malerei im Mittelalter. The Hague, 1930: 377-379.

  • Byron, Robert, and David Talbot Rice. The Birth of Western Painting. London, 1930: 101 n. 1.

1931

  • Fry, Roger. "Mr Berenson on Medieval Painting." The Burlington Magazine for Connoisseurs 58, no. 338 (1931): 245.

1932

  • Marle, Raimond van. Le scuole della pittura italiana. 2 vols. The Hague and Florence, 1932-1934: 1(1932):519, 522-523, 521 fig. 346.

1933

  • Lazarev, Viktor Nikitič. "Early Italo-Byzantine Painting in Sicily." The Burlington Magazine for Connoisseurs 63 (1933): 283-284, pl. 2a.

1934

  • Sandberg-Vavalà, Evelyn. L’iconografia della Madonna col Bambino nella pittura italiana del Dugento. Siena, 1934: 43 no. 115, pl. 26b.

1935

  • D’Ancona, Paolo. Les primitifs italiens du XIe au XIIIe siècle. Paris, 1935: 46-47, fig. 18.

1936

  • Comstock, Helen. "A Dugento Panel at the Toledo Museum." Connoisseur 98 (1936): 231.

  • Lazarev, Viktor Nikitič. "New Light on the Problem of the Pisan School." The Burlington Magazine for Connoisseurs 68 (1936): 61-62.

1937

  • Lazarev, Viktor Nikitič. Istorija vizantijskoj živopisi: v druch tomach. Moscow, 1947-1948: 192, 351 n. 116.

1940

  • Rice, David Talbot. "Italian and Byzantine Painting in the Thirteenth Century." Apollo 31 (1940): 89-90, fig. 2.

1941

  • Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 1, repro., as The Madonna and Child Enthroned by Constantinople School.

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 31, no. 1, as Enthroned Madonna and Child.

  • National Gallery of Art. Book of Illustrations. Washington, 1941: 76 (repro.), 233.

  • Richter, George Martin. "The New National Gallery in Washington." The Burlington Magazine for Connoisseurs 78 (June 1941): 177, pl. 2a.

1942

  • National Gallery of Art. Book of Illustrations. 2nd ed. Washington, 1942: 1, repro. 78, 239, as Enthroned Madonna and Child.

1944

  • Cairns, Huntington, and John Walker, eds. Masterpieces of Painting from the National Gallery of Art. New York, 1944: 14, color repro., as Enthroned Madonna and Child.

1949

  • Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 3, repro., as Enthroned Madonna and Child.

  • Garrison, Edward B. Italian Romanesque Panel Painting: An Illustrated Index. Florence, 1949: repro. 48.

  • Demus, Otto. The Mosaics of Norman Sicily. London, 1949: 363, 365 n. 27.

1950

  • Comstock, Helen. "The Connoisseur in America." Connoisseur 126, no. 517 (1950): 52.

1954

  • Bettini, Sergio. "I mosaici dell’atrio di San Marco e il loro seguito." Arte veneta 8 (1954): 32, n. 6.

  • Shorr, Dorothy C. The Christ Child in Devotional Images in Italy During the XIV Century. New York, 1954: 21, repro. 25.

1956

  • Felicetti-Liebenfels, Walter. Geschichte der byzantinischen Ikonenmalerei. Olten, 1956: 61, pl. 65.

1958

  • Demus, Otto. "Die Entstehung des Paläologenstils in der Malerei." In Berichte zum XI Internationalen Byzantinisten-Kongress. Munich, 1958: 16, 54-55.

  • Demus, Otto. "Zwei Konstantinopler Marienikonen des 13. Jahrhunderts." Jahrbuch der Österreichischen Byzantinischen Gesellschaft 7 (1958): 87-104, fig. 2.

1959

  • Shapley, Fern Rusk. Early Italian Painting in the National Gallery of Art. Washington, D.C., 1959 (Booklet Number Three in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 12, color repro., as Enthroned Madonna and Child.

  • Lazarev, Viktor Nikitič. "Constantinopoli e le scuole nazionali alla luce di nuove scoperte." Arte veneta 13-14 (1959-1960): 11-13, fig. 3.

1960

  • The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 6, as Madonna and Child Enthroned.

1961

  • Swoboda, Karl Maria. "In den Jahren 1950 bis 1961 erschienene Werke zur byzantinischen und weiteren ostchristlichen Kunst." Kunstgeschichtliche Anzeigen 5 (1961-1962): 148.

1962

  • Bologna, Ferdinando. La pittura italiana delle origini. Rome, 1962: 80-81.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 297, repro., as Madonna and Child Enthroned.

1964

  • Pallucchini, Rodolfo, ed. La pittura veneziana del Trecento. Venice, 1964: 71-73.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 21, as Enthroned Madonna and Child.

  • Calì, Maria. "L’arte in Puglia." Arte antica e moderna 15 (1965): 389.

1966

  • Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:2-3, color repro.

  • Stubblebine, James H. "Two Byzantine Madonnas from Calahorra, Spain." The Art Bulletin 48 (1966): 379-381, fig. 2.

1967

  • Lazarev, Viktor Nikitič. Storia della pittura bizantina. Turin, 1967: 318-319, 347 n. 177.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 14, repro., as Enthroned Madonna and Child.

  • Rice, David Talbot. Byzantine Painting: The Last Phase. London, 1968: 55.

1969

  • Bologna, Ferdinando. I pittori alla corte angioina di Napoli, 1266-1414, e un riesame dell’arte nell’età fridericiana. Rome, 1969: 22, 247, 354.

  • D’Elia, Pina, and Michele D’Elia, eds. Icone di Puglia. Catalogo della Mostra. Exh. cat. Pinacoteca provinciale. Bari, 1969: no. 33.

1970

  • Beckwith, John. Early Christian and Byzantine Art. The Pelican History of Art. Harmondsworth, Middlesex, 1970: 140, pl. 262.

  • Demus, Otto. Byzantine Art and the West. New York, 1970: 216-218, 251 n. 147, figs. 238, 239.

1971

  • Hutter, Irmgard. Early Christian and Byzantine Art. New York, 1971: 156.

1972

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 230, 311, 647.

1973

  • Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 40, [41] repro.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 50, repro., as Enthroned Madonna and Child.

1976

  • Stoichita, Victor Ieronim. Ucenicia lui Duccio di Buoninsegna. Bucharest, 1976: 30-34, 149-150, fig. 21.

1977

  • Janson, Horst Waldemar. History of Art. 2nd ed. New York, 1977: 214, fig. 303.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:96-99; 2:pl. 65.

1982

  • Belting, Hans. "The 'Byzantine' Madonnas: New Facts about Their Italian Origin and Some Observations on Duccio." Studies in the History of Art 12 (1982): 8ff, repro.

  • Hoenigswald, Ann. "The 'Byzantine' Madonnas: Technical Investigation." Studies in the History of Art 12 (1982): 25-31, figs. 1 (ultraviolet light), 2 (X-radiograph), repro.

  • Belting, Hans. "Introduzione." In Il medio oriente e l’occidente nell’arte del XIII secolo, Atti del XXIV congresso internazionale di storia dell’arte, September 10-18, 1979. Edited by Hans Belting. Bologna, 1982: 4-5, 9 n. 19, pl. 10.

  • Tambini, Anna. Pittura dall’Alto Medioevo al Tardogotico nel territorio di Faenza e Forlì. Faenza, 1982: 32-33.

1984

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 67, no. 2, color repro.

  • Os, Hendrik W. van. Sienese Altarpieces 1215-1460. Form, Content, Function. 2 vols. Groningen, 1984-1990: 1(1984):23, 26, fig. 21.

  • Boskovits, Miklós. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. Sec. III, Vol. 9: The Miniaturist Tendency. Florence, 1984: 24 n. 60.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 22, repro.

  • Corrie, Rebecca W. "Tuscan Madonnas and Byzantine Masters." In Abstracts and Program Statements for Art History Sessions: Seventy-Third Annual Meeting, College Art Association of America, February 14-16, 1985. Los Angeles, 1985: 46.

1986

  • Leone De Castris, Pierluigi. "Pittura del Duecento e del Trecento a Napoli e nel Meridione." In La Pittura in Italia. Il Duecento e il Trecento. Edited by Enrico Castelnuovo. 2 vols. Milan, 1986: 2:463, fig. 717.

1987

  • Folda, Jaroslav. "The Kahn and Mellon Madonnas: Icons or Altarpieces?" In Research Reports and Record of Activities, National Gallery of Art, Center for Advanced Study in the Visual Arts, 7 (1987): 57+.

1988

  • Wheeler, Marion, ed. His Face--Images of Christ in Art: Selections from the King James Version of the Bible. New York, 1988: 126, no. 23, color repro.

1991

  • Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 157, color repro.

  • Campagna Cicala, Francesca. "Messina. Scultura, pittura, miniatura e arti suntuarie." In Enciclopedia dell’arte medievale. Edited by Istituto della Enciclopedia italiana. 12 vols. Rome, 1991-2002: 8(1997):353.

  • Leone De Castris, Pierluigi. “Sicilia: Pittura e miniatura.” In Enciclopedia dell’arte medievale. Edited by Istituto della Enciclopedia italiana. 12 vols. Rome, 1991-2002: 10(1999):619-620.

1993

  • Di Dario Guida, Maria Pia. Icone di Calabria e altre icone meridionali. 2nd ed. Messina, 1993: 115-116 (repros.), 119, 121.

1995

  • Folda, Jaroslav. "The Kahn and Mellon Madonnas: Icon or Altarpiece?" In Byzantine East, Latin West. Art-Historical Studies in Honor of Kurt Weitzmann. Princeton, 1995: 501+, repro.

  • Gombrich, Ernst. The Story of Art. 16th ed. London, 1995: 139, color fig. 88.

  • Weyl Carr, Annemarie. "Byzantines and Italians on Cyprus: Images of Art." Dumbarton Oaks Papers 49 (1995): 352 n. 71.

  • Janson, Horst W., and Anthony F. Janson. History of art. 5th ed. New York, 1995: 241-242, fig. 345.

1996

  • Gordon, Dillian. “Duccio (di Buoninsegna).” In The Dictionary of Art. Edited by Jane Turner. 34 vols. New York and London, 1996: 9:341.

  • Schmidt, Victor M. "Die Funktionen der Tafelbilder mit der thronenden Madonna in der Malerei des Duecento." Mededelingen van het Nederlands Instituut te Rome 55 (1996): 60-63, fig. 16.

  • Corrie, Rebecca W. "The Perugia Triptych and the Transmission of Byzantine Maniera Greca." In Acts: XVIIIth International Congress of Byzantine Studies, vol. 3, Art History, Architecture, Music. Edited by Ihor Ševčenko, Gennady G. Litavrin and Walter K. Hanak. Moscow, 1996: 41, fig. 4.

1997

  • Gebhardt, Volker. Kunstgeschichte Malerei, 1997, no. 5, repro.

  • Evans, Helen C., and William D. Wixom, eds. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843-1261. Exh. cat. Metropolitan Museum of Art. New York, 1997: 391, 396 (repro.), 397.

  • Maginnis, Hayden B. J. Painting in the Age of Giotto: A Historical Reevaluation. University Park, PA, 1997: 77.

  • Martin, Frank, and Gerhard Ruf. Die Glasmalereien von San Francesco in Assisi: Entstehung und Entwicklung einer Gattung in Italien. Regensburg, 1997: 70 n. 33, 72 n. 142.

1998

  • Bellosi, Luciano. Cimabue. Edited by Giovanna Ragionieri. 1st ed. Milan, 1998: 58-59, 62 n. 19, 63 n. 22.

1999

  • Lauria, Antonietta. "Una Madonna tardoduecentesca tra Roma e Assisi." in Arte d’Occidente: temi e metodi. Studi in onore di Angiola Maria Romanini. Edited by Antonio Cadei. 3 vols. Rome, 1999: 2:642.

  • Polzer, Joseph. "Some Byzantine and Byzantinising Madonnas Painted During the Later Middle Ages, 1." Arte cristiana 87 (1999): 85.

  • Polzer, Joseph. "Some Byzantine and Byzantinising Madonnas Painted During the Later Middle Ages, 2." Arte cristiana 87 (1999): 167-182, fig. 12.

  • Velmans, Tania, Vojislav Korać, and Marica Šuput. Bisanzio: lo splendore dell’arte monumentale. Milan, 1999: 202.

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: 179-181, fig. 187, 189.

  • Labriola, Ada. "Lo stato degli studi su Cimabue e un libro recente." Arte cristiana 88 (2000): 343, 350 nn. 18-19.

  • Vassilaki, Maria, ed. The Mother of God: Representations of the Virgin in Byzantine Art. Exh. cat. Benaki Museum, Athens. Milan and London, 2000: 438-439, 439 repro.

2001

  • Folda, Jaroslav. "Reflections on the Mellon Madonna as a Work of Crusader Art." In Dei gesta per Francos: Études sur les croisades dédiées à Jean Richard/Crusade Studies in Honour of Jean Richard. Edited by Michel Balad, Benjamin Kedar and Jonathan Riley-Smith. Aldershot, UK and Burlington, VT, 2001: 361-371.

2002

  • Folda, Jaroslav. "Icon to Altarpiece in the Frankish East: Images of the Virgin and Child Enthroned." In Italian Panel Painting of the Duecento and Trecento. Edited by Victor M. Schmidt. Studies in the History of Art 61 (2002): repro. 122, 131-135, 139, fig. 8.

  • Polzer, Joseph. "The ‘Byzantine’ Kahn and Mellon Madonnas: Concerning their Chronology, Place of Origin, and Method of Analysis." Arte cristiana 90 (2002): 401-410, repro. 403.

2004

  • Evans, Helen C., ed. Byzantium: Faith and Power (1261-1557). Exh. cat. Metropolitan Museum of Art, New York. New Haven, 2004: 476-477, repro.

2005

  • Corrie, Rebecca W. "The Khan and Mellon Madonnas and their Place in the History of the Virgin and Child Enthroned." In Images of the Mother of God: Perceptions of the Theotokos in Byzantium. Edited by Maria Vassilaki. Aldershot, UK and Burlington, VT, 2005: 293-300, fig. 24.2.

  • Folda, Jaroslav. Crusader Art in the Holy Land: From the Third Crusade to the Fall of Acre, 1187-1291. New York, 2005: 457-458, 557, fig. 300.

2006

  • Herbert, Lynley Anne. "Duccio di Buoninsegna: Icon of Painters, or Painter of “Icons"?." Ph.D. dissertation, University of Delaware, Newark, 2006: 4, 11.

2008

  • Folda, Jaroslav. Crusader Art: The Art of the Crusaders in the Holy Land, 1099-1291. Adershot, England, and Burlington, VT, 2008: 9, repro. 128, 130, 163 n. 28.

2013

  • Nelson, Robert S. "A Painting Becomes Canonical: Bernard Berenson, Royall Tyler, and the Mellon Madonna." In Renaissance Studies in Honor of Joseph Connors. Edited by Machtelt Israëls and Louis A. Waldman. 2 vols. Florence, 2013: 1:696-701, 969-970, fig. 1.

2015

  • Folda, Jaroslav, with a contribution by Lucy J. Wrapson. Byzantine Art and Italian Panel Painting: The Virgin and Child "Hodegetria" and the Art of Chrysography. Cambridge, England, 2015: 105, 122-131, 193, pl. 20, 323-329 notes.

2016

  • Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 44-55, color repro.

2020

  • Castiñeiras, Manuel. "Un nuovo contesto per la Madonna Kahn? Michele VIII, l'unione delle Chiese e la sconcertante connessione con Calahorra." Arte Medievale serie 4, 10 (2020): 261-282, figs. 2a, 2b, and 4.

Wikidata ID

Q20172916

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