Saint Paul and a Group of Worshippers

1333

Bernardo Daddi

Painter, Florentine, active by 1320, died probably 1348

Against a shiny gold background, a man with peach-colored skin nearly fills this tall, narrow, vertical panel above a row of twelve people, significantly smaller in scale, kneeling by his feet and looking up at the man, their hands together in prayer. The top of the panel comes to a point above the man’s head. His body faces us, and he looks at us with brown eyes under furrowed, dark eyebrows. His nose is long and straight, and his mouth is small with a rosy lower lip. He has a brown, trimmed beard, and his hair is receding. He holds up a gold-handled sword with a slate-gray blade in his right hand, on our left, while in his other hand, he cradles a thick black book with a gold-edged pages against his chest. The man wears a floor-length, celery-green tunic with a flowing, rose-pink robe over his left shoulder, on our right, and around his body. The robe is lined with tangerine orange and has a faint, patterned border. The toes of his sandaled feet stick out. On a smaller scale, along the bottom of the painting, six pairs of people kneel facing the center, three couples to each side. Eleven of the people gaze with heads tipped back, up at the man with their hands folded in prayer. To our right, one woman turns and gestures, mouth open, to her neighbor. Their long robes are painted in shades of shell pink, indigo blue, scarlet red, butter yellow, sage green, and chestnut brown. Some wear white fabric over their hair while others are bareheaded. The gold background is incised around the man’s head to create a halo. Molding and a band of alternating strips of slate blue and brick red enclose the pointed panel. Three shapes, like small banners, are painted in red with gold lettering around the man’s head, with an “S” at the top center, “PAU” over his shoulder to our left, and “LUS” to our right. In the blue and red band set into the frame at the lower center, an inscription reads, “NI.MCCCXXXIII M II.ESPLETUM FUIT HC OPUS.” There is a noticeable network of cracks across the painting’s surface, especially on the gold background behind the man.

Media Options

This object’s media is free and in the public domain. Read our full Open Access policy for images.

When this painting was made in 1333, according to the date given on the lower frame, the style was a bit old-fashioned. Saint Paul’s frontal stance, the intensity and fervor of his direct gaze, the inclusion of his name in red-backed gold letters on either side of his head, and the pointed arch all might have been seen in a work from the previous century. Probably this archaizing look is just what was wanted by the 12 men and women whose small figures appear below this imposing saint. These donors were likely members of a lay confraternity that commissioned the image of their patron saint. Its tall, narrow shape suggests that it was hung in front of a church pillar, where confraternity members would gather periodically for prayer and song. Lay confraternities, which performed various kinds of charitable work like caring for the sick and burying the dead, were an important part of religious and civic life. We cannot say for certain, but these six couples may have been part of the Compagnia di San Paolo that administered what later became Florence’s convalescent hospital.

Among their expressions and gestures of praise—much more than in the stern countenance of Paul—we can see Bernardo Daddi’s bent for gentle narrative. Each face is quiet, filled with calm emotion, except the woman at the right who is moved to speak of her devotion to her neighbor, or perhaps to sing. Early in his career, Daddi had worked in the orbit of Giotto, but his figures avoid Giotto’s solemnity in favor of a more lyrical touch as shown in the soft fabric of Saint Paul’s mantle, breaking into sweeping folds that further emphasize the figure’s corporeal substance.

Not on view See artworks now on view

Artwork overview

  • Medium

    tempera on panel

  • Credit Line

    Andrew W. Mellon Collection

  • Dimensions

    painted surface: 224.8 × 77 cm (88 1/2 × 30 5/16 in.)
    overall: 233.53 × 88.8 × 5.3 cm (91 15/16 × 34 15/16 × 2 1/16 in.)

  • Accession

    1937.1.3

More About this Artwork

Scholarly Article:  Italian Paintings of the Thirteenth and Fourteenth Centuries: Saint Paul and a Group of Worshippers, 1333

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

The often-repeated statement in the earlier literature that the panel comes from the Florentine monastery of San Felice in Piazza[1] does not seem to be based on any secure, or at any rate documented, evidence. Perhaps more plausible, based at least on the identity of the saint, is the more recent proposal of a provenance either from the Florentine Ospedale di San Paolo or from the nearby church of San Paolino, since a handwritten annotation on an old photograph indicated its provenance “dai padri di San Paolino.”[2] Elia Volpi [1858–1938], Florence, by the early 1900s;[3] (his sale, American Art Galleries, New York, 21-27 November 1916, seventh day, no. 1040, as “Primitive school of Tuscany, early XVth century”); (Bourgeois Galleries, New York);[4] purchased January 1920 by (Duveen Brothers, Inc. London, Paris, and New York);[5] sold 15 December 1936 to The A. W. Mellon Educational and Charitable Trust, Pittsburgh;[6] gift 1937 to NGA.
[1] In the introduction to the 1916 sale catalogue (n.p.), Elia Volpi states that among his pictures which “belong . . . to the School of Italian Primitives, the majority . . . [come] from the sacristy of the convent of St. Felice in Florence.” On this basis both Venturi and several other later authors claimed that the NGA Saint Paul formerly belonged to that church; however, as Lucia Meoni has (1993) pointed out, “nessuna fonte antica o le schede del Carocci testimoniano l’antica collocazione del San Paolo nella chiesa di San Felice. . . .” ("No early source nor the entries in Carocci's Inventory [an inventory compiled in 1892 on behalf of the Soprintendenza of Florence] record the presence of the Saint Paul in the church of San Felice..."). Roberta Ferrazza (Palazzo Davanzati e le collezioni di Elia Volpi, Florence, 1993: 216 n. 52) has found records of sales of art objects from the Conservatorio di San Pier Martire, annexed to the church of San Felice, in the years between 1884 and 1901, as well as a note in the photo archive of the Biblioteca Berenson at I Tatti (Harvard University Center for Italian Renaissance Studies, Florence), according to which Stephan Bourgeois, who bought the panel now in Washington at the Volpi sale, “went to see Mr. Guglielmetti, Mr. Volpi’s secretary, from whom he [Bourgeois] received the information that Mr. Volpi [said he had] bought the picture in 1907 from the administrators of the Monastery of S. Felice in Florence. . . .” NGA systematic catalogue author Miklós Boskovits is inclined, however, to think that the records of Volpi’s secretary were based on the same rather vague memories and should not be considered trustworthy.
[2] According to the unpublished research of Kathleen Giles Arthur (c. 1991; copy in NGA curatorial files) “the Saint Paul most probably was commissioned by one of the major charitable institutions in fourteenth century Florence,” i.e., the Ospedale di San Paolo, and the worshippers of the saint can be identified as the members of the third order of Saint Francis, lay men and women who formed the staff of the hospital. The claim, however, is no more than speculation on the part of the author. The provenance from San Paolino, on the other hand, is asserted by a handwritten note on the reverse of an early photograph in the photo archive of Federico Zeri in Bologna (no. PI 0044/2/32; originally taken c. 1910 apparently by the firm Brogi in Florence); see also Miklós Boskovits, A Critical and Historical Corpus of Florentine Painting. The fourteenth century, The Painters of the Miniaturist Tendency, Sec.III, Vol. IX, Florence,1984: 350 n. 3). San Paolino (originally San Paolo), in the Quartiere Santa Maria Novella, was already a collegiate church in the eleventh century and, after various vicissitudes, was sold to the discalced Carmelites in 1618; they rebuilt the church in its present form later in the seventeenth century and still officiate it. After the suppression of religious orders in 1808, the friars had to abandon the church and its annexed convent, but it was restored to them in 1814, and they remained there until a second suppression of the convent in 1866 (Osanna Fantozzi Micali and Piero Rosselli, Le soppressioni dei conventi a Firenze, Montelupo Fiorentino, 2000: 233). Since the late nineteenth century, however, the church has once again been officiated by the discalced Carmelites; see Walter and Elisabeth Paatz, Die Kirchen von Florenz. Ein kunstgeschichtliches Handbuch, Vols. 1-6, Frankfurt am Main, 1940-1953: 4(1952): 591. There is no documentation of any confraternity dedicated to Saint Paul that met in this church, but the large group of donors at the foot of the NGA panel suggests that a lay confraternity commissioned it. It is known, on the other hand, that Daddi did work for San Paolino: another painting by him, representing the Madonna and Child and now in the Galleria dell’Accademia (no. 3466; see Angelo Tartuferi in Cataloghi della Galleria dell’Accademia di Firenze. Vol. 1: Dipinti, ed. Miklós Boskovits and Angelo Tartuferi, Florence, 2003: 60-63), also comes from this church and can be assumed to be close in date to the Gallery's painting.
[3] After an early career as a painter and restorer, Volpi began to work as an art dealer in Città di Castello towards the end of the nineteenth century. He then moved to Florence, where he purchased the Palazzo Davanzati in 1904 and transformed it into a private museum, furnishing it with paintings and objets d’art from his collection. The museum was opened to the public in September 1910. Presumably by then the panel discussed here was already in Volpi’s possession; the Volpi sale catalogue of 1916 noted that it had come from the Palazzo Davanzati. Luigi Coletti (“Il Maestro colorista di Assisi,” Critica d'Arte 8-9 (1949-1950): 447) claims that the painting passed through the hands of the dealer Stefano Bardini (1836–1922), but Everett Fahy’s research (L’Archivio storico fotografico di Stefano Bardini. Dipinti, disegni, miniature, stampe, Florence, 2000) does not confirm this.
[4] A copy of the sale catalogue in the NGA library is annotated with the Bourgeois name, which is also given in the Duveen prospectus (in NGA curatorial files). See Osvald Sirén, “A great contemporary of Giotto – I,” The Burlington Magazine 35 (December 1919): 229; Fern Rusk Shapley, Catalogue of the Italian Paintings, 2 vols., Washington, D.C., 1979: 152; and note 1 above.
[5] Boskovits 1984, 349-350, and Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 422; reel 45, box 133, folder 1; reel 101, box 246, folder 4; copies from the Duveen records in NGA curatorial files.
[6] 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 painting is attributed to Giotto, with a parenthetical note stating that Bernard Berenson gives it to Daddi.

Associated Names

Exhibition History

1910

  • Palazzo Davanzati, Florence, between September 1910 and 1916.

1921

  • Loan Exhibition of Painting and Sculpture by Italian Artists of the Fourteenth, Fifteenth and Sixteenth Centuries, Cincinnati Art Museum, 1921, no catalogue.

1933

  • Sixteenth Loan Exhibition of Old Masters. Italian Paintings of the XIV to XVI Century, Detroit Institute of Art, 1933, no. 3.

Bibliography

1919

  • Sirén, Osvald. "A Great Contemporary of Giotto, 1." The Burlington Magazine for Connoisseurs 35 (1919): 228 (repro.), 229, 230, 236.

1920

  • Sirén, Osvald. "The Buffalmaco Hypothesis: Some Additional Remarks." The Burlington Magazine for Connoisseurs 37 (1920): 183.

1923

  • Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 3(1924):276, 277, 287, 290.

1927

  • Offner, Richard. "A Great Madonna by the St. Cecilia Master." The Burlington Magazine for Connoisseurs 50 (1927): 97.

1931

  • Venturi, Lionello. Pitture italiane in America. Milan, 1931: no. 27, repro.

  • Offner, Richard. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. Sec. III, Vol. I: The School of the S. Cecilia Master. New York, 1931: 17.

1933

  • Venturi, Lionello. Italian Paintings in America. Translated by Countess Vanden Heuvel and Charles Marriott. 3 vols. New York and Milan, 1933: 1:no. 34, repro.

  • Valentiner, Wilhelm R. "Die Leihausstellung frühitalienischer Malerei in Detroit." Pantheon 12 (1933): 238, repro. 239.

1935

  • Valentiner, Wilhelm R. "Giovanni Balducci a Firenze e una scultura di Maso." L’Arte 38 (1935): 29, fig. 25.

1937

  • "The Mellon Gift. A First Official List." Art News 35 (20 March 1937): 15.

  • Cecchi, Emilio. Giotto. Milan, 1937: 174, pl. 177.

1940

  • Paatz, Walter, and Elisabeth Paatz. Die Kirchen von Florenz: ein kunstgeschichtliches Handbuch. 6 vols. Frankfurt am Main, 1940-1954: 2(1941):51.

1941

  • Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 12, repro., attributed to Giotto, as St. Paul with Twelve Adorers.

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 80-81, no. 3, as by Follower of Giotto.

  • National Gallery of Art. Book of Illustrations. Washington, 1941: 114 (repro.), 233.

  • Richter, George Martin. "The New National Gallery in Washington." The Burlington Magazine for Connoisseurs 78 (June 1941): 177 n. 3.

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

1942

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 116, as by Follower of Giotto.

  • Coletti, Luigi. "Contributo al problema Maso-Giottino." Emporium 98 (1942): 463-464.

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: 7, 39, 42 n. 1, 94 n. 1.

1949

  • Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 7, repro., as by Follower of Giotto.

  • Coletti, Luigi. "Il Maestro colorista di Assisi." Critica d’arte 8-9 (1949-1950): 447.

1950

  • Florisoone, Michel. Giotto. Paris, 1950: 116 n. 6.

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: 2:1604, 1606.

1952

  • Salvini, Roberto, ed. Tutta la pittura di Giotto. Biblioteca d’arte Rizzoli. Milan, 1952: 52.

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: 46 n. 2.

1963

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

  • Berenson, Bernard. Italian Pictures of the Renaissance. Florentine School. 2 vols. London, 1963: 1:58.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 36.

1966

  • Vigorelli, Giancarlo, and Edi Baccheschi. L’opera completa di Giotto. 1st ed. Milan, 1966: repro. 122-123.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 29, repro.

1969

  • Wilkins, David G. "Maso di Banco: A Florentine Artist of the Early Trecento." Ph.D. dissertation, University of Michigan, Ann Arbor, 1969. Ann Arbor, MI, 1979: 214.

1972

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 63, 437, 645.

1973

  • Preiser, Arno. Das Entstehen und die Entwicklung der Predella in der italienischen Malerei. Hildesheim and New York, 1973: 37, 38, fig. 10.

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

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 90, repro.

  • Boskovits, Miklós. Pittura fiorentina alla vigilia del Rinascimento, 1370-1400. Florence, 1975: 22, 195 n. 47, 243 n. 201.

  • Fremantle, Richard. Florentine Gothic Painters from Giotto to Masaccio: A Guide to Painting in and near Florence, 1300 to 1450. London, 1975: 47, 50, fig. 92.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:152-153; 2:pl. 107.

1981

  • Salvini, Roberto. Giotto: Werkverzeichnis. Die großen Meister der Malerei. Frankfurt, 1981: 94, fig. 191.

1982

  • Tambini, Anna. Pittura dall’Alto Medioevo al Tardogotico nel territorio di Faenza e Forlì. Faenza, 1982: 112.

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: 265 n. 11, 275 n. 23.

1984

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 73, no. 12, color repro.

  • Boskovits, Miklós. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. Sec. III, Vol. 9: The Miniaturist Tendency. Florence, 1984: 71, 349-350, pls. 177b, 178.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 111, repro.

  • Ferrazza, Roberta. "Elia Volpi e il Commercio dell’arte nel primo Trentennio del Novecento." In Studi e ricerche di Collezionismo e Museografia, Firenze 1820-1920. Pisa, 1985: 414 n. 50.

  • Wilkins, David G. Maso di Banco: a Florentine Artist of the Early Trecento. New York, 1985: 209.

1986

  • Offner, Richard, and Miklós Boskovits. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. Sec. III, Vol. I: The School of the S. Cecilia Master. 2nd ed. Florence, 1986: 309.

1989

  • Offner, Richard, Miklós Boskovits, and Enrica Neri Lusanna. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. Sec. III, Vol. III: The Works of Bernardo Daddi. 2nd ed. Florence, 1989: 35 n. 15, 37, 87, 391.

1991

  • Offner, Richard, and Miklós Boskovits. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. Sec. III, Vol. IV: Bernardo Daddi, His Shop and Fllowing. 2nd ed. Florence, 1991: 166 n. 3, 513.

1992

  • Boskovits, Miklós, ed. The Martello Collection: Further Paintings, Drawings and Miniatures 13th-18th Centuries. Florence, 1992: 54.

  • Labriola, Ada. "Daddi, Bernardo." In Allgemeines Künstlerlexikon: Die bildenden Künstler aller Zeiten und Völker. Edited by Günter Meissner. 87+ vols. Munich and Leipzig, 1992+: 23(1999):356.

1993

  • Ferrazza, Roberta. Palazzo Davanzati e le collezioni di Elia Volpi. Florence, 1993: 128, 174 fig. 165, 216 n. 52, 220 n. 70.

  • Meoni, Lucia. San Felice in Piazza a Firenze. Florence, 1993: 41 fig. 27, 44.

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: 1:99, 108, 110 n. 174; 2:punch chart 5.3.

  • Conti, Alessandro. "Maso, Roberto Longhi e la tradizione offneriana." Prospettiva 73-74 (1994): 36, 38 fig. 6, 43 n. 19.

  • Ladis, Andrew and Hayden B. J. Maginnis. "Sculpture’s Pictorial Presence: Reflections on the Tabernacles of Orsanmichele." Studi di storia dell’arte 5-6 (1994-1995): 45, 49 n. 3, 53 fig. 6.

1996

  • Neri Lusanna, Enrica. "Daddi, Bernardo." In The Dictionary of Art. Edited by Jane Turner. New York and London, 1996: 8:442.

2001

  • 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: 635.

2004

  • Strehlke, Carl Brandon. Italian Paintings, 1250-1450, in the John G. Johnson Collection and the Philadelphia Museum of Art. Philadelphia, 2004: 102 n. 4.

  • Secrest, Meryle. Duveen: A Life in Art. New York, 2004: 444.

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: 70.

2008

  • Skaug, Erling S. "Bernardo Daddi’s Chronology and Workshop Structure as Defined by Technical Criteria." In Da Giotto a Botticelli: pittura fiorentina tra gotico e rinascimento. Atti del convegno internazionale Firenze, Università degli Studi e Museo di San Marco, May 20-21, 2005. Edited by Francesca Pasut and Johannes Tripps. Florence, 2008: 82-83.

2013

  • Walmsley, Elizabeth. "Italian Renaissance Paintings Restored in Paris by Duveen Brothers, Inc., c. 1927-1929." Facture: conservation, science, art history 1 (2013): 58-77, fig. 14.

2016

  • Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 64-72, color repro.

  • Bent, George R. Public Painting and Visual Culture in Early Republican Florence. Cambridge, 2016: 185-186, pl. XXV.

2023

  • Wood, Christopher S. The Embedded Portrait: Giotto, Giottino, Angelico. Princeton and Oxford, 2023: 55, 59, color fig. 2.11.

Inscriptions

above the saint's halo: S[ANCTUS]; above the saint's shoulders: PAU LUS; on the lower frame below the worshippers: [ANNO DOMI]NI.MCCCXXXIII M...II.ESPLETUM FUIT H[O]C OPUS (In the year of the Lord 1333... this work was finished) [1]

Wikidata ID

Q20173083

You may be interested in

Loading Results