Saint Anthony Abbot [left panel]

1354

Puccio di Simone

Painter, Florentine, active c. 1330 - 1360

Allegretto Nuzi

Painter, Umbrian, active from c. 1340; died 1373

This altarpiece is made up of three panels, with a single man standing in each of the narrow wings to the left and right and a wider panel at the center, which shows a woman holding a baby as twenty-two people look on. The background behind all the people is gold, and the top of each panel comes to a rounded, pointed arch under a second taller, sharper point. Spiraling columns frame the left and right sides, and rows of semicircular shapes, like inverted scallops, run inside the curving arches. In the central panel, the woman, child, and people around them all have pale skin and blond hair except for two elderly men with gray hair and beards. They all have plate-like gold halos that overlap, sometimes obscuring the face of another person. The woman and child, Mary and Jesus, sit on an unseen chair on two wide steps. They gaze at each other while Mary gently touches Jesus’s chin. Her lapis-blue mantle covers her hair and wraps around her body. The robe is edged with gold and has gold starbursts on one shoulder and on the crown of her head. Jesus’s garment is patterned with blue and gold against a dark orange background, and it wraps around his lower body. He holds a bird in one hand, touches Mary’s robe with the other, and a piece of coral hangs from a cord around his neck. Most of the people on each side wear azure-blue, pale peach, or brick-red garments decorated with gold. There are three inscriptions in this central panel. Mary’s halo is inscribed with “SCA MARIA MATER DEI” and Jesus’s halo reads, “IIS XRO M.” A third inscription across the bottom of the panel is partially damaged, but some of it reads, “LIIII QUESTA TA ATTA FRE FRATE GIOVANNI DA.” In the wing to our left, a balding, bearded man wearing a brown cloak over a black robe stands facing our right almost in profile. His pale skin has a dark, ash-gray cast. The hood of the black robe lies across his shoulders. He holds a wooden crutch with a curved top in the hand closer to us, and holds up his other hand with his palm facing us, fingers slightly curled in. A halo around his head is incised into the gold background and is filled with letters reading, “SaS ANTONIVS O VIENA.” Nearly lost against his dark robes, a black boar or pig stands near his feet. The floor here and in the right panel have a brocade-like pattern with three-lobed, gold designs against a field of brick red. The right wing is filled by a blond, cleanshaven young man standing facing our left as he looks toward Mary and Jesus in the center. He wears a long orange tunic decorated with blue flowers, and has a peacock-blue cloak and matching boots. Flags patterned with gold against black or red backgrounds flutter from a staff he holds with his right hand, farther from us. His other hand rests on the gold belt at his waist. His inscribed halo reads, “SCS. VENANCIVS MRTIRI.” The three panels are separated by spiraling gold columns and topped with triangular gables. The gables are filled with stylized leaves and animals in muted shades of brown against a black background. Near the pointed tops of the panels, the side wings have three-lobed shapes filled with a winged angel on the left and a person with a halo holding a hand to the chest on the right. The central gable has a four-lobed shape showing a man hanging on a cross.

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The creation of works of art during the late Middle Ages and early Renaissance was often a collaborative process. This panel is part of a triptych painted by two artists: Puccio di Simone, who painted the center and right-hand panels, and Allegretto Nuzi, who painted the left-hand panel. The partnership of these two artists is a bit unusual, since they were not based in the same city. Allegretto was from Fabriano in the Marches region along the Adriatic coast. Puccio was regarded among the best artists in Florence—perhaps that is why he was called in to help with this altarpiece that was made for a church in Allegretto’s hometown. The church was dedicated to Saint Anthony Abbot, who appears here twice, in the left-hand wing and again as one of the four saints gathered with the angels at the throne of the Virgin and Child.

It is not difficult to see the difference in style between the two painters. Allegretto’s Anthony is serious—even the colors are sober. Puccio, on the other hand, has a sunnier palette. Notice how Mary who, per tradition, points to her son as the way of salvation, also seems to be chucking his plump, little chin.

Learn more about artistic collaborations during this period from other works in the National Gallery of Art. Huge commissions—like Duccio’s Maestà altarpiece in Siena’s cathedral (see link and link)—absolutely required the participation of workshop assistants. Collaborations between independent masters was also fairly common, especially within families. Brothers-in-law Simone Martini and Lippo Memmi worked together and so did the brothers Jacopo, Andrea, and Nardo di Cione.

On View

West Building Main Floor, Gallery 3

Artwork overview

  • Medium

    tempera on panel

  • Credit Line

    Andrew W. Mellon Collection

  • Dimensions

    painted surface: 89.3 x 33.6 cm (35 3/16 x 13 1/4 in.)
    overall (with cradle): 90 × 35.5 × 2.8 cm (35 7/16 × 14 × 1 1/8 in.)
    framed: 123.8 x 45.7 x 8.3 cm (48 3/4 x 18 x 3 1/4 in.)

  • Accession

    1937.1.6.a

Associated Artworks

This altarpiece is made up of three panels, with a single man standing in each of the narrow wings to the left and right and a wider panel at the center, which shows a woman holding a baby as twenty-two people look on. The background behind all the people is gold, and the top of each panel comes to a rounded, pointed arch under a second taller, sharper point. Spiraling columns frame the left and right sides, and rows of semicircular shapes, like inverted scallops, run inside the curving arches. In the central panel, the woman, child, and people around them all have pale skin and blond hair except for two elderly men with gray hair and beards. They all have plate-like gold halos that overlap, sometimes obscuring the face of another person. The woman and child, Mary and Jesus, sit on an unseen chair on two wide steps. They gaze at each other while Mary gently touches Jesus’s chin. Her lapis-blue mantle covers her hair and wraps around her body. The robe is edged with gold and has gold starbursts on one shoulder and on the crown of her head. Jesus’s garment is patterned with blue and gold against a dark orange background, and it wraps around his lower body. He holds a bird in one hand, touches Mary’s robe with the other, and a piece of coral hangs from a cord around his neck. Most of the people on each side wear azure-blue, pale peach, or brick-red garments decorated with gold. There are three inscriptions in this central panel. Mary’s halo is inscribed with “SCA MARIA MATER DEI” and Jesus’s halo reads, “IIS XRO M.” A third inscription across the bottom of the panel is partially damaged, but some of it reads, “LIIII QUESTA TA ATTA FRE FRATE GIOVANNI DA.” In the wing to our left, a balding, bearded man wearing a brown cloak over a black robe stands facing our right almost in profile. His pale skin has a dark, ash-gray cast. The hood of the black robe lies across his shoulders. He holds a wooden crutch with a curved top in the hand closer to us, and holds up his other hand with his palm facing us, fingers slightly curled in. A halo around his head is incised into the gold background and is filled with letters reading, “SaS ANTONIVS O VIENA.” Nearly lost against his dark robes, a black boar or pig stands near his feet. The floor here and in the right panel have a brocade-like pattern with three-lobed, gold designs against a field of brick red. The right wing is filled by a blond, cleanshaven young man standing facing our left as he looks toward Mary and Jesus in the center. He wears a long orange tunic decorated with blue flowers, and has a peacock-blue cloak and matching boots. Flags patterned with gold against black or red backgrounds flutter from a staff he holds with his right hand, farther from us. His other hand rests on the gold belt at his waist. His inscribed halo reads, “SCS. VENANCIVS MRTIRI.” The three panels are separated by spiraling gold columns and topped with triangular gables. The gables are filled with stylized leaves and animals in muted shades of brown against a black background. Near the pointed tops of the panels, the side wings have three-lobed shapes filled with a winged angel on the left and a person with a halo holding a hand to the chest on the right. The central gable has a four-lobed shape showing a man hanging on a cross.

Madonna and Child Enthroned with Saints and Angels, and Saints Anthony Abbot and Venantius [entire triptych]

Puccio di Simone, Allegretto Nuzi

1354

This altarpiece is made up of three panels, with a single man standing in each of the narrow wings to the left and right and a wider panel at the center, which shows a woman holding a baby as twenty-two people look on. The background behind all the people is gold, and the top of each panel comes to a rounded, pointed arch under a second taller, sharper point. Spiraling columns frame the left and right sides, and rows of semicircular shapes, like inverted scallops, run inside the curving arches. In the central panel, the woman, child, and people around them all have pale skin and blond hair except for two elderly men with gray hair and beards. They all have plate-like gold halos that overlap, sometimes obscuring the face of another person. The woman and child, Mary and Jesus, sit on an unseen chair on two wide steps. They gaze at each other while Mary gently touches Jesus’s chin. Her lapis-blue mantle covers her hair and wraps around her body. The robe is edged with gold and has gold starbursts on one shoulder and on the crown of her head. Jesus’s garment is patterned with blue and gold against a dark orange background, and it wraps around his lower body. He holds a bird in one hand, touches Mary’s robe with the other, and a piece of coral hangs from a cord around his neck. Most of the people on each side wear azure-blue, pale peach, or brick-red garments decorated with gold. There are three inscriptions in this central panel. Mary’s halo is inscribed with “SCA MARIA MATER DEI” and Jesus’s halo reads, “IIS XRO M.” A third inscription across the bottom of the panel is partially damaged, but some of it reads, “LIIII QUESTA TA ATTA FRE FRATE GIOVANNI DA.” In the wing to our left, a balding, bearded man wearing a brown cloak over a black robe stands facing our right almost in profile. His pale skin has a dark, ash-gray cast. The hood of the black robe lies across his shoulders. He holds a wooden crutch with a curved top in the hand closer to us, and holds up his other hand with his palm facing us, fingers slightly curled in. A halo around his head is incised into the gold background and is filled with letters reading, “SaS ANTONIVS O VIENA.” Nearly lost against his dark robes, a black boar or pig stands near his feet. The floor here and in the right panel have a brocade-like pattern with three-lobed, gold designs against a field of brick red. The right wing is filled by a blond, cleanshaven young man standing facing our left as he looks toward Mary and Jesus in the center. He wears a long orange tunic decorated with blue flowers, and has a peacock-blue cloak and matching boots. Flags patterned with gold against black or red backgrounds flutter from a staff he holds with his right hand, farther from us. His other hand rests on the gold belt at his waist. His inscribed halo reads, “SCS. VENANCIVS MRTIRI.” The three panels are separated by spiraling gold columns and topped with triangular gables. The gables are filled with stylized leaves and animals in muted shades of brown against a black background. Near the pointed tops of the panels, the side wings have three-lobed shapes filled with a winged angel on the left and a person with a halo holding a hand to the chest on the right. The central gable has a four-lobed shape showing a man hanging on a cross.

Saint Venantius [right panel]

Puccio di Simone, Allegretto Nuzi

1354

This altarpiece is made up of three panels, with a single man standing in each of the narrow wings to the left and right and a wider panel at the center, which shows a woman holding a baby as twenty-two people look on. The background behind all the people is gold, and the top of each panel comes to a rounded, pointed arch under a second taller, sharper point. Spiraling columns frame the left and right sides, and rows of semicircular shapes, like inverted scallops, run inside the curving arches. In the central panel, the woman, child, and people around them all have pale skin and blond hair except for two elderly men with gray hair and beards. They all have plate-like gold halos that overlap, sometimes obscuring the face of another person. The woman and child, Mary and Jesus, sit on an unseen chair on two wide steps. They gaze at each other while Mary gently touches Jesus’s chin. Her lapis-blue mantle covers her hair and wraps around her body. The robe is edged with gold and has gold starbursts on one shoulder and on the crown of her head. Jesus’s garment is patterned with blue and gold against a dark orange background, and it wraps around his lower body. He holds a bird in one hand, touches Mary’s robe with the other, and a piece of coral hangs from a cord around his neck. Most of the people on each side wear azure-blue, pale peach, or brick-red garments decorated with gold. There are three inscriptions in this central panel. Mary’s halo is inscribed with “SCA MARIA MATER DEI” and Jesus’s halo reads, “IIS XRO M.” A third inscription across the bottom of the panel is partially damaged, but some of it reads, “LIIII QUESTA TA ATTA FRE FRATE GIOVANNI DA.” In the wing to our left, a balding, bearded man wearing a brown cloak over a black robe stands facing our right almost in profile. His pale skin has a dark, ash-gray cast. The hood of the black robe lies across his shoulders. He holds a wooden crutch with a curved top in the hand closer to us, and holds up his other hand with his palm facing us, fingers slightly curled in. A halo around his head is incised into the gold background and is filled with letters reading, “SaS ANTONIVS O VIENA.” Nearly lost against his dark robes, a black boar or pig stands near his feet. The floor here and in the right panel have a brocade-like pattern with three-lobed, gold designs against a field of brick red. The right wing is filled by a blond, cleanshaven young man standing facing our left as he looks toward Mary and Jesus in the center. He wears a long orange tunic decorated with blue flowers, and has a peacock-blue cloak and matching boots. Flags patterned with gold against black or red backgrounds flutter from a staff he holds with his right hand, farther from us. His other hand rests on the gold belt at his waist. His inscribed halo reads, “SCS. VENANCIVS MRTIRI.” The three panels are separated by spiraling gold columns and topped with triangular gables. The gables are filled with stylized leaves and animals in muted shades of brown against a black background. Near the pointed tops of the panels, the side wings have three-lobed shapes filled with a winged angel on the left and a person with a halo holding a hand to the chest on the right. The central gable has a four-lobed shape showing a man hanging on a cross.

Madonna and Child Enthroned with Four Saints and Eighteen Angels [middle panel]

Puccio di Simone, Allegretto Nuzi

1354

More About this Artwork

Scholarly Article:  Italian Paintings of the Thirteenth and Fourteenth Centuries: Saint Anthony Abbot [left panel], 1354

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 commissioned for the high altar of the demolished church of Sant’Antonio Abate fuori Porta Pisana, Fabriano;[1] apparently by the early years of the nineteenth century it was no longer in this church, presumably having passed into a local private collection.[2] Joseph Russell Bailey [1840-1906], 1st Baron Glanusk, Glanusk Park, Breconshire, Wales; by inheritance to his son, Joseph Henry Russell Bailey [1864-1928], 2nd Baron Glanusk, Glanusk Park; sold in 1915.[3] (sale, Sotheby’s, London, 25 July 1916, no. 137, as by Allegretto Nuzi); purchased by Walter Dowdeswell[4] for (Duveen Brothers, Inc., London, New York, and Paris); Carl W. Hamilton [1886-1967], New York, in the early 1920s; (Duveen Brothers, Inc., London, New York, and Paris), by 1929;[5] sold 15 December 1936 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[6] gift 1937 to NGA.
[1] The church, recorded for the first time in 1313, was officiated by the regular canons of Saint Augustine of Saint-Antoine de Vienne, a Hospitaler company founded by Gaston de Dauphiné in 1095 and transformed by Pope Boniface VIII into a religious order in 1297. It enjoyed a very rapid diffusion throughout Europe (see Italo Ruffino, “Canonici regolari di S. Agostino di S. Antonio di Vienne,” in Dizionario degli istituti di Perfezione 2 [1973]: 134-141; Adalbert Mischlewski, Grundzüge der Geschichte des Antoniterordens bis zur Ausgang des 15. Jahrhunderts, Bonn, 1976). Romualdo Sassi (Le chiese di Fabriano. Brevi cenni storico – artistici, Fabriano, 1961: 11-12) recalls that the church of Sant’Antonio Abate in Fabriano had three altars, of which presumably the high altar was dedicated to the Madonna and one other to the titular saint. In the late eighteenth century, following the decline of the order, the church was transferred to the hospital, which had used it as a mortuary when the city was struck by an epidemic in 1818. By this time the building must already have been stripped of its movable works of art, even though Amico Ricci (Memorie storiche delle arti e degli artisti della Marca di Ancona, Macerata, 1834: 88) records the continuing presence in the sacristy of the panel of Saint Anthony Abbot with a Group of Devotees now in the Pinacoteca of Fabriano and unanimously attributed to Puccio di Simone (see Fabio Marcelli, Pinacoteca Civica “Bruno Molajoli”, Fano, 1997: 26). The church, as Sassi reports, was demolished in 1834. Richard Offner (A Critical and Historical Corpus of Florentine Painting. Sec. III, vol. V, The Fourteenth Century. Bernardo Daddi and his circle, Brattleboro, 1947; 2nd edition by Miklós Boskovits, assisted by Ada Labriola and Martina Ingedaay Rodio, Florence, 2001: 394-399, n. 5) presents the reasons that suggest the provenance of the Washington triptych from the church in Fabriano.
[2] This is suggested by the fact that during the Napoleonic occupation of the Marche (1797-1811) many churches, especially those of religious orders, were expropriated and stripped of their works of art, and by the fact that Luigi Lanzi (Storia pittorica della Italia dal Risorgimento delle Belle Arti fin presso al fine del XVIII secolo (1808), ed. Martino Capucci, Florence, 1968: 266), who records the presence in the church of frescoes signed by Allegretto and dated 136[?] , does not mention the presence of the triptych. The same argument ex silentio can be adduced from Ricci (1834, 88), who claims that even the frescoes formerly situated in the cloister annexed to the church had been lost and similarly fails to mention the triptych: had it been present, it surely would not have escaped his attention.
[3] This information was gleaned by Duveen Brothers, and included in the prospectus they supplied to Andrew Mellon (in NGA curatorial files).
[4] Walter Dowdeswell was the agent for Duveen Brothers at this time (see Edward Fowles, Memories of Duveen Brothers, London, 1976: 64, and passim). The Duveen Brothers “X-Book” entry for the triptych (the painting was their number X 170) begins with “Purchased from Sotheby’s 25/7/1916” (Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 422; see also reel 45, box 133, folder 5; copies in NGA curatorial files). A copy of the sale catalogue in the Frick Art Reference Library, New York (copy in NGA curatorial files), is annotated with Dowdeswell’s name as the buyer.
[5] The “American oil millionaire” Carl W. Hamilton decided in c. 1920 to furnish his New York apartment with works of art furnished by the Duveen Brothers; a few years later, however, he returned most of his collection to Duveen (see Fowles 1976, 98-99, 127-130; Maryle Secrest, Duveen. A Life in Art, New York, 2004: 181-184, 368). Joseph Duveen, head of the firm, had the triptych again by at least 19 January 1929, when he responded to a letter originally sent to the Metropolitan Museum of Art and then on to Hamilton, stating, “The correspondence has been sent to me because Mr. Hamilton no longer possesses the Triptych, which is now in my private collection . . ." (Duveen Brothers Records, reel 125, box 270, folder 3).
[6] The original bill of sale is in Records of The A.W. Mellon Educational and Charitable Trust, subject files, box 2, NGA archives; copy in NGA curatorial files.

Associated Names

Exhibition History

1926

  • Sesquicentennial Exhibition, Philadelphia, 1926.

Bibliography

1922

  • Berenson, Bernard. "Prime opere di Allegretto Nuzi." Bollettino d’arte (1922): 296 (repro.), 297-309.

1923

  • Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 3(1924):395; 5(1925):150.

1924

  • Sirén, Osvald. "Three Early Florentine Trecento Pictures." The Burlington Magazine for Connoisseurs 45 (1924): 285.

1925

  • Serra, Luigi. Le gallerie comunali delle Marche. Rome, 1925: 132.

1927

  • Serra, Luigi. "L’arte nelle Marche. La pittura gotica. La scuola fabrianese." Rassegna marchigiana 6 (1927-1928): 128, 129 (repro.), 130, 136, 138, 146.

  • Offner, Richard. Studies in Florentine Painting: The Fourteenth Century. New York, 1927: 143.

1928

  • Comstock, Helen. "The Bernardo Daddis in the United States." International Studio 38 (1928): 94.

  • Lehman, Robert. The Philip Lehman Collection, New York: Paintings. Paris, 1928: no. LXVII, repro.

  • Molajoli, Bruno. "La scuola pittorica fabrianese." Gentile da Fabriano: bollettino mensile per la quinta commemorazione centenaria a cura della Società Fabrianese per la Tutela del Patrimonio Artistico ed Archeologico 1 (1928): repro. 16.

1929

  • Serra, Luigi. L’arte nelle Marche. Vol. 1 (of 2), Dalle origini cristiane alla fine del gotico. Pesaro, 1929: 280-281, 286, 287, 288, 293, fig. 462.

  • Gnoli, Umberto. "Nuzi, Allegretto." In Enciclopedia italiana di scienze, lettere ed arti. Edited by Istituto Giovanni Treccani. 36 vols. Milan, 1929-1939: 25(1935):86.

1930

  • Berenson, Bernard. Studies in Medieval Painting. New Haven, 1930: 63-73, fig. 51.

  • Salmi, Mario. "Review of L’arte nelle Marche dalle origini cristiane alla fine del Gotico by Luigi Serra." Rivista d’arte 12 (1930): 303, 308.

1931

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

  • Venturi, Lionello. Pitture italiane in America. Milan, 1931: no. 87, 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. 107, repro.

1941

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 128, 142, no. 6, as by Allegretto Nuzi and Master of the Fabriano Altarpiece.

  • Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 21, as by Alegretto Nuzi.

  • Coletti, Luigi. I Primitivi. 3 vols. Novara, 1941-1947: 2(1946):xlix.

1942

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 159, as by Allegretto Nuzi and Master of the Fabriano Altarpiece.

1946

  • Friedmann, Herbert. The Symbolic Goldfinch. Its History and Significance in European Devotional Art. Washington, DC, 1946: 26, 120, 159, pl. 112.

1947

  • Offner, Richard. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. Sec. III, Vol. V: Master of San Martino alla Palma; Assistant of Daddi; Master of the Fabriano Altarpiece. New York, 1947: 141, 144, 145, 148, 149, 150, 179–184, pls. XXXVII(1–3).

1949

  • Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 9, repro., as by Master of the Fabriano Altarpiece and Alegretto Nuzi.

1951

  • Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 23 n. 1.

  • Galetti, Ugo, and Ettore Camesasca. Enciclopedia della pittura italiana. 3 vols. Milan, 1951: 3:1779.

  • Toesca, Pietro. Il Trecento. Storia dell’arte italiana, 2. Turin, 1951: 677.

  • Meiss, Millard. Painting in Florence and Siena after the Black Death. Princeton, 1951: 53, 137 n. 20.

  • Marabottini, Alessandro. "Allegretto Nuzi." Rivista d’arte 27 (1951-1952): 35-37, 47-48, fig. 6.

1952

  • Kaftal, George. Saints in Italian Art. Vol. 1 (of 4), Iconography of the Saints in Tuscan Painting. Florence, 1952: 1001.

1954

  • Shorr, Dorothy C. The Christ Child in Devotional Images in Italy During the XIV Century. New York, 1954: 112 n. 9, 168 n. 2.

1958

  • Offner, Richard. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. Sec. III, Vol. VIII: Workshop of Bernardo Daddi. New York, 1958: 4, 228.

1959

  • Longhi, Roberto. "Qualità e industria in Taddeo Gaddi ed altri." Paragone 10, no. 111 (1959): 9-10.

1962

  • Klesse, Brigitte. "Literatur zur Trecentomalerei in Florenz." Zeitschrift für Kunstgeschichte 25 (1962): 266.

1963

  • Dal Poggetto, Paolo, ed. Arte in Valdelsa dal sec. XII al sec. XVIII. Exh. cat. Museo di Palazzo Pretorio, Certaldo. Florence, 1963: 28.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 85, as by Allegretto Nuzi and Master of the Fabriano Altarpiece.

  • Marcucci, Luisa. Gallerie nazionali di Firenze. Vol. 2, I dipinti toscani del secolo XIV. Rome, 1965: 71.

  • Longhi, Roberto. "Una ‘riconsiderazione’ dei primitivi italiani a Londra." Paragone 16 (1965): 13.

1967

  • Klesse, Brigitte. Seidenstoffe in der italienischen Malerei des 14. Jahrhunderts. Bern, 1967: 51, 135, 140, 142 (repro.), 222, 242, 335.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 74, repro., as by Allegretto Nuzi and Master of the Fabriano Altarpiece.

  • Berenson, Bernard. Italian Pictures of the Renaissance. Central Italian and North Italian Schools. 3 vols. London, 1968: 2:304.

  • Aliberti Gaudioso, Filippa M., ed. Mostra di opere d’arte restaurate. Exh. cat. Palazzo Ducale, Urbino, 1968: 18.

  • Molajoli, Bruno. Guida artistica di Fabriano. Fabriano, 1968: 64.

  • Vitalini Sacconi, Giuseppe. Pittura marchigiana: la scuola camerinese. Trieste, 1968: 219 n. 57.

1971

  • Pittura nel Maceratese dal Duecento al tardo gotico. Exh. cat. Chiesa di S. Paolo, Macerata, 1971: 62.

  • Boskovits, Miklós. "Notes sur Giovanni da Milano." Revue de l’art 11 (1971): 58 n. 2.

1972

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 4, 128, 316, 370, 453, 645.

  • "Allegretto Nuzi" and "Puccio di Simone." 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: 1(1972):80; 9(1975):260.

1973

  • Boskovits, Miklòs. Pittura umbra e marchigiana fra Medioevo e Rinascimento: studi nella Galleria Nazionale di Perugia. Florence, 1973: 39 n. 97.

1974

  • Davies, Martin. "Italian School." In European Paintings in the Collection of the Worcester Art Museum. Vol. 1, Text. Edited by Worcester Art Museum. Worcester, MA, 1974: 389.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 220, repro., as by Master of the Fabriano Altarpiece and Alegretto Nuzi.

  • Boskovits, Miklós. Pittura fiorentina alla vigilia del Rinascimento, 1370-1400. Florence, 1975: 197-198 nn. 71-72.

  • Fremantle, Richard. Florentine Gothic Painters from Giotto to Masaccio: A Guide to Painting in and near Florence, 1300 to 1450. London, 1975: 92, fig. 181.

  • Donnini, Giampiero. "On Some Unknown Masterpieces by Nuzi." The Burlington Magazine 117 (1975): 536 n. 11.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:383-386; 2:pl. 276.

1982

  • Donnini, Giampiero. "La pittura del XIII al XVIII secolo." In La città della carta: ambiente, società, cultura nella storia di Fabriano. Edited by Giancarlo Castagnoli. Fabriano, 1982: 393-394.

1983

  • Volpe, Carlo. "Il lungo percorso del ‘dipingere dolcissimo e tanto unito.’" In Storia dell’arte italiana 2: dal Medioevo al Novecento. pt. 1, dal Medioevo al Quattrocento. Edited by Federico Zeri, Giulio Bollati and Paolo Fossati. Turin, 1983: 281 n. 30, 299.

1984

  • Boskovits, Miklós. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. Sec. III, Vol. 9: The Miniaturist Tendency. Florence, 1984: 78 n. 305.

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 73, no. 17, color reproduction, as by Master of the Fabriano Altarpiece and Allegretto Nuzi

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 320, repro.

1986

  • Biagi, Enza. "Puccio di Simone." In La Pittura in Italia. Il Duecento e il Trecento. Edited by Enrico Castelnuovo. 2 vols. Milan, 1986: 2:655.

1988

  • Boskovits, Miklós, ed. Frühe italienische Malerei: Gemäldegalerie Berlin, Katalog der Gemälde. Translated by Erich Schleier. Berlin, 1988: 148, 149.

  • Dal Poggetto, Paolo, ed. Capolavori per Urbino: Nove dipinti già di collezione Cini, ceramiche Roveresche, e altri Acquisti dello Stato (1983-1988). Exh. cat. Palazzo Ducale, Urbino. Florence, 1988: 48.

  • Zampetti, Pietro. Pittura nelle Marche. Vol. 1 (of 4), Dalle origini al primo Rinascimento. Florence, 1988: 120.

1989

  • Baiocco, Simone. "Puccio di Simone." In Dizionario della pittura e dei pittori. Edited by Enrico Castelnuovo and Bruno Toscano. 6 vols. Turin, 1989-1994: 4(1993):465.

1990

  • Monnas, Lisa. "Silk Textiles in the Paintings of Bernardo Daddi, Andrea di Cione and their Followers." Zeitschrift für Kunstgeschichte 53 (1990): 53.

1991

  • Freuler, Gaudenz, ed. Manifestatori delle cose miracolose: arte italiana del ’300 e ’400 da collezioni in Svizzera e nel Liechtenstein. Exh. cat. Villa Favorita, Fondazione Thyssen-Bornemisza, Lugano-Castagnola. Einsiedeln, 1991: 192.

  • Ghisalberti, Carla. "Allegretto Nuzi." In Enciclopedia dell’arte medievale. Edited by Istituto della Enciclopedia italiana. 12 vols. Rome, 1991-2002: 1(1991):400.

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: 1:136, 137; 2:punch chart 6.1.

1995

  • De Benedictis, Cristina. "Firenze. Pittura. Sec. 14°." In Enciclopedia dell’arte medievale. Edited by Istituto della Enciclopedia italiana. 12 vols. Rome, 1991-2002: 6(1995):252.

1996

  • Friedman, Joan Isobel, "Nuzi, Allegretto," and Richards, John, "Puccio di Simone." In The Dictionary of Art. Edited by Jane Turner. 34 vols. New York and London, 1996: 23:323; 25:691.

1997

  • Fornari Schianchi, Lucia, ed. Galleria Nazionale di Parma. Vol. 1, Catalogo delle opere dall’antico al Cinquecento. Milan, 1997: 47.

  • Marcelli, Fabio. Pinacoteca Civica “Bruno Molajoli”. Fano, 1997: 26.

1998

  • Frinta, Mojmír S. Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998: 205, 217, 223, 381, 427.

  • Bruderer Eichberg, Barbara. Les neufs choeurs angéliques: origine et évolution du thème dans l’art du Moyen Âge. Poitiers, 1998: 22, 59, fig. 133.

  • Kustodieva, Tatiana K. "Una Madonna dell’Umiltà dalla collezione dell’Ermitage." Paragone 49 (1998): 7, 8, fig. 7.

2001

  • Fehlmann, Marc, and Gaudenz Freuler. Die Sammlung Adolf von Stürler: in memoriam Eduard Hüttinger (1926-1998). Schriftenreihe Kunstmuseum Bern Nr 7. Bern, 2001: 84-85.

  • Offner, Richard, Miklós Boskovits, Ada Labriola, and Martina Ingendaay Rodio. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. Sec. III, Vol. V: Master of San Martino alla Palma; Assistant of Daddi; Master of the Fabriano Altarpiece. 2nd ed. Florence, 2001: 18 n. 43, 21, 339, 341, 342, 345, 346, 347, 348, 349, 357, 361, 370, 383, 391-402, 415, 455, 475, 483, 501, 521, 595.

2003

  • Boskovits, Miklós, and Angelo Tartuferi, eds. Dipinti. Vol. 1, Dal Duecento a Giovanni da Milano. Catalogue of the Galleria dell'Accademia, Florence. 1st ed. Florence, 2003: 237.

  • Moretti, Fabrizio, ed. Da Ambrogio Lorenzetti a Sandro Botticelli. Exh. cat. Galleria Moretti, Florence, 2003: 38, 42-43.

2004

  • Strehlke, Carl Brandon. Italian Paintings, 1250-1450, in the John G. Johnson Collection and the Philadelphia Museum of Art. Philadelphia, 2004: 22.

  • Marcelli, Fabio. Allegretto di Nuzio: pittore fabrianese. Fabriano, 2004: 12-14 (repro.), 34, 36.

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: 192.

  • Tartuferi, Angelo, ed. Da Puccio di Simone a Giottino: restauri e conferme. Exh. cat. Galleria dell’Accademia, Florence, 2005: 17, 50, 52.

  • Moretti, Fabrizio, and Gabriele Caioni, eds. Da Allegretto Nuzi a Pietro Perugino. Exh. cat. Galleria Moretti, Florence, 2005: 30, 36.

  • Costanzi, Costanza, ed. Le Marche disperse: repertorio di opere d’arte dalle Marche al mondo. Cinisello Balsamo (Milan), 2005: 120.

2008

  • Tartuferi, Angelo, ed. L’eredità di Giotto: arte a Firenze 1340-1375. Exh. cat. Galleria degli Uffizi, Florence, 2008: 128, 132.

  • Gregori, Mina. "Angeli e Diavoli: genesi e percorso di Giovanni da Milano." In Giovanni da Milano: capolavori del gotico fra Lombardia e Toscana. Edited by Daniela Parenti. Exh. cat. Galleria dell’Accademia, Florence, 2008: 37.

  • Boskovits, Miklós, and Johannes Tripps, eds. Maestri senesi e toscani nel Lindenau-Museum di Altenburg. Exh. cat. Santa Maria della Scala, Siena, 2008: 218.

2009

  • Boskovits, Miklós, ed. The Alana Collection, Newark, Delaware, USA. Vol. 1, Italian Paintings from the 13th to 15th Century. Florence, 2009: 12, 172, 175.

  • Tomei, Alessandro, ed. Giotto e il Trecento: il più Sovrano Maestro stato in dipintura. 2 vols. Exh. cat. Museo Centrale del Risorgimento, Rome. Milan, 2009: 2:226.

2016

  • Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 338-348, color repro.

2017

  • De Marchi, Andrea. "La poesia discreta di Allegretto Nuzi, ovvero la sapienza della provincia." In Lucia Biondi and Andrea De Marchi, eds. Elogio del Trecento fabrianese: Materiali per Allegretto Nuzi e dintorni. Florence, 2017: 24-25, 26, 27 fig. 10, 29, 47 n. 7.

2021

  • Mazzalupi, Matteo. "Allegretto e il Trecento fabrianese: un nuovo sguardo." In Andrea De Marchi and Matteo Mazzalupi, eds. Allegretto Nuzi e il '300 a Fabriano: oro e colore nel cuore dell'Appennino. Exh. cat. Pinacoteca civica Bruno Molajoli, Fabriano, 2021: 55-57, 59, 78 n. 59, fig. 5.

2023

  • Zappasodi, Emanuele. “Sulla prima maturità di Allegretto Nuzi e qualche aggiunta al suo catalogo.” Prospettiva 118 (October 2022): 4, 7, 9, 16-17 n. 10, fig. 15.

Inscriptions

on Saint Anthony's halo: .S[AN]C[TU]S.ANTONIVS.D[E].VIENA

Wikidata ID

Q20173197

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