The Nativity with the Prophets Isaiah and Ezekiel

1308-1311

Duccio di Buoninsegna

Painter, Sienese, c. 1250/1255 - 1318/1319

Duccio di Buoninsegna

Attributed to

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.

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This panel is one of two owned by the National Gallery of Art from one of the most important monuments of Western painting: the towering, two-sided altarpiece known as the Maestà by Duccio di Buoninsegna. The Maestà dominated the main altar in Siena’s cathedral for nearly two centuries. The National Gallery of Art is the only institution in the United States to own two panels from this masterpiece. Calling of the Apostles Peter and Andrew is the second panel from the Maestà in the Gallery’s collection.

Standing on either side of this Nativity are two Hebrew prophets, whose writings—quoted on the scrolls they hold—are thought by Christians to foretell Jesus’s birth. The Gallery's Nativity joined other scenes from Jesus’s childhood (and other prophets) that unfolded along the front horizontal base of the altarpiece called the “predella” below a monumental image of the Madonna and Child in majesty, enthroned in a crowd of saints and angels (see Reconstruction). The Virgin was Siena’s patron saint, and devotion to her had a strong civic as well as religious dimension. Before it was installed in June 1311, Duccio’s altarpiece was paraded triumphantly through the streets. Musicians were hired to accompany it, along with all the priests and monks of Siena. A procession of city officials and citizens was followed by women and children ringing bells. Shops were closed all day and alms were given to the poor.

The visibility and authority of the Maestà, along with Duccio’s importance as a teacher, help explain Siena’s sustained taste for the gold and abstraction of the Byzantine style even as artists elsewhere in Tuscany adopted a more naturalistic approach. This Nativity blends Byzantine elements with more contemporary and local trends. The Virgin’s recumbent pose and out-of-scale size recall icons of the Nativity, and like many icon painters Duccio has included two midwives who wash and tend the new infant and confirm his virgin birth. The cave setting also comes via the Greek East, but the manger roof is similar to ones found in the Gothic art of northern Europe. While the effect of gold and brilliant color is highly decorative, Duccio’s elegant lines and flowing brushstrokes soften the austerity of the Byzantine style.

Completed in less than three years, the Maestà was a huge undertaking, for which Duccio received 3,000 gold florins—more than any artist had ever commanded. Although he must have had substantial help from his pupils and workshop assistants, the design and execution indicates that Duccio exercised control over the whole project. Moved to a side altar in 1506, the altarpiece was sawn apart in the 1770s and individual panels subsequently dispersed. This makes it impossible to determine its dimensions with certainty, but it must have been about 15 feet wide, with the gables rising to as much as 17 feet high. In all, there were probably more than 70 individual scenes.

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Artwork overview

  • Medium

    tempera on single poplar panel

  • Credit Line

    Andrew W. Mellon Collection

  • Dimensions

    painted surface (left side image): 43 × 16 cm (16 15/16 × 6 5/16 in.)
    painted surface (center image): 43 × 43.9 cm (16 15/16 × 17 5/16 in.)
    painted surface (right side image): 43 × 16 cm (16 15/16 × 6 5/16 in.)
    overall (including original frame): 48 × 86.8 × 7.9 cm (18 7/8 × 34 3/16 × 3 1/8 in.)
    framed: 56.52 × 96.52 × 15.24 cm (22 1/4 × 38 × 6 in.)

  • Accession Number

    1937.1.8

Associated Artworks

A man stands on a rocky, tan-colored outcropping and gestures to two men in a rowboat, all against a gold background in this square painting. The men’s pale skin is tinged with gray but they have rosy cheeks, and all three have beards. The outcropping rises steeply up along the left edge of the panel. The man who stands on it has long brown hair, a straight nose, and a small mouth. A halo is incised with geometric designs around his head against the gold background. He wears a crimson-red robe under a sea-blue mantle, both of which are edged with a line of gold. He holds up his blue robe with his left hand, farther from us, and holds out his other hand, palm up, to the other men. Those men stand in a wooden rowboat and hold a net heavy with fish over the side. Both of these men have ash-blond hair. The man to our left in the boat wears a sky-blue tunic and holds up one hand to his chest as he faces our left, his other hand holding a line of the net. The second man, to our right, has a longer beard and wears a brick-red robe. He holds the net with both hands, and looks up and to our left. The boat floats on a copper-green sea with several fish swimming in its undulating current. The fish are painted with dark green outlines. Closer inspection reveals two fish with gaping mouths facing us head on.

The Calling of the Apostles Peter and Andrew

Duccio di Buoninsegna

1308

More About this Artwork

Scholarly Article:  Italian Paintings of the Thirteenth and Fourteenth Centuries: The Nativity with the Prophets Isaiah and Ezekiel, 1308-1311

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

NGA 1937.1.8 formed part of the front predella of Duccio's double-sided altarpiece the Maestà, which was in the course of execution by October 1308 and was placed on the high altar of the Cathedral of Siena on 30 June 1311;[1] the altarpiece was removed from the cathedral in 1506, first stored by the Cathedral authorities, and then later displayed on the wall of the left transept, close to the altar of Saint Sebastian, but probably by this time the predella and gable panels had already been separated from it;[2] the altarpiece was moved to the church of Sant'Ansano in 1777, where its two sides were separated and returned to the cathedral;[3] in 1798 the gables and eight panels of the predella were reported as being kept in the sacristy of the cathedral, whereas the rest, including NGA 1937.1.8, must already have been in private hands.[4] probably with Charles Fairfax Murray [1849-1919], London and Florence, in the early 1880s,[5] who seems to have been the seller, in 1884, to the Gemäldegalerie der Königliche Museen, Berlin; deaccessioned 1937[6] and exchanged with (Duveen Brothers, Inc., London, New York, and Paris);[7] purchased 26 April 1937 by The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[8] gift 1937 to NGA.
[1] The documents are published in Jane Immler Satkowski, Duccio di Boninsegna. The Documents and Early Sources, ed. Hayden B.J. Maginnis, Atlanta, 2000: 69-81, and in Allesandro Bagnoli et al., eds., Duccio: Siena fra tradizione bizantina e mondo gotico, Siena, 2003.: 577-579.
[2] See Alessandro Lisini, “Notizie di Duccio pittore e della sua celebre ancona,” Bullettino senese di storia patria 5 (1898): 24-25. According to this author, in 1506 the altarpiece "venne confinata in certi mezzanini dell'Opera [del Duomo]...e per introdurvela fu necessario di togliere tutte le cuspidi e gli accessori" ("was stored in certain passages in the Opera del Duomo...and to enter there it was necessary to cut off all the pinnacles and accessories"). This latter term presumably comprises the predella. Lisini stated that only "sulla fine del secolo" - i.e., at the end of the sixteenth century - was the painting brought back to the cathedral. In Giovanna Ragionieri's opinion, however, the altarpiece had already been returned to the cathedral in 1536 and installed near the altar of Saint Sebastian. See Giovanna Ragionieri, in Duccio: Siena fra tradizione bizantina e mondo gotico, ed. Alessandro Bagnoli et al., Siena, 2003: 212.
[3] See Pèleo Bacci, Francesco di Valdambrino, Emulo del Ghiberti e collaboratore di Jacopo della Quercia, Siena, 1936: 185-186. The author did not mention the gables and predella; these had probably been separated earlier from the rest of the altarpiece (see the previous note). After the separation of the two sides of the main panel, the front with the image of the Madonna and Child enthroned in majesty surrounded by saints and angels was hung in its former place in the left transept, and the narrative scenes of the back were hung in the opposite transept.
[4] See Bacci 1936, 187. Vittorio Lusini specified that, apart from the twelve scenes of the gable, eight panels of the predella were present in the sacristy at this time, i.e., one more than the predella panels now preserved in the Museo dell'Opera Metropolitana del Duomo in Siena. The identity of this eighth scene is uncertain, but presumably it was different from those that reappeared in private hands in the second half of the nineteenth century. See Vittorio Lusini, Il Duomo di Siena, 2 vols., Siena, 1911-1939: 2:77. The seven predella panels now in the Siena cathedral museum represent the Adoration of the Magi, the Presentation in the Temple, the Massacre of the Innocents, the Flight into Egypt, and Christ among the Doctors from the front predella, and the Temptation on the Temple and the Wedding at Cana from the rear predella. James Archer Crowe and Giovanni Battista Cavalcaselle, around the mid-nineteenth century, were only able to see six predella panels in the sacristy of the cathedral: the much damaged Temptation on the Temple and the eighth panel of unknown subject were no longer there. See Joseph Archer Crowe and Giovan Battista Cavalcaselle, A New History of Painting in Italy from the Second to the Sixteenth Century, 3 vols., London, 1864: 2:44 n. 1. Curt H. Weigelt discovered Temptation on the Temple in the storerooms of the Opera del Duomo in 1909, whereas the eighth panel has so far not been identified. See Curt H. Weigelt, “Contributo alla ricostruzione della Maestà di Duccio di Buoninsegna nel Museo della Metropolitana di Siena,” Bullettino senese di storia patria 16, no. 2 (1909): 191–214. The predella, its many panels now divided among various museums in the world, was probably disposed of by the Opera del Duomo during the eighteenth century, and was at first privately owned in Siena.
[5] No source, as far as Miklós Boskovits knows, claims that Fairfax Murray actually owned the painting; however, James Stubblebine plausibly suggests this (Duccio di Buoninsegna and his school, Princeton, 1979: 37). In fact, in 1883 the English painter-dealer sold two other panels of the predella of the Maestà to the National Gallery in London, those representing the Annunciation and the Healing of the Man Born Blind (nos. 1139, 1140). In 1886 he sold four additional panels of the predella to Robert Benson in London (one of these is NGA 1939.1.141). It seems that he initially had hoped to sell them all to the Gemäldegalerie in Berlin and had tried to convince the gallery to purchase them, offering to give one of the panels as his gift. Significantly, Eduard Dobbert (“Duccio’s Bild 'Die Geburt Christi' in der Königlichen Gemälde - Galerie zu Berlin,” Jakrbuch der Berliner Museen 6 (1885): 153-163) thanked Fairfax Murray for having helped him with information in his hypothetical reconstruction of the Maestà.
[6] Königliche Museen zu Berlin, Beschreibendes Verzeichnis der Gemälde, Berlin, 1891: 77, as no. 1062A. The painting is mentioned as having been relinquished by the Gemäldegalerie ("1937 abgegeben") in the museum's Gesamtverzeichnis, Berlin, 1996: 601. Helmut Ruhemann, The Cleaning of Painting, London, 1968: 41, remembers that the painting was "exchanged [...] for an average Holbein," and Fern Rusk Shapley, Catalogue of the Italian Paintings, 2 vols., Washington, D.C., 1979: 1:172 n. 12, quotes a letter of the same restorer to the National Gallery of Art, according to which the Duccio predella panel "was exchanged in the 1930s by the Gemäldegalerie for a painting by Cranach." This was evidently a slip of the pen; the exchanged picture was the Portrait of a Man with Lute by Holbein, no. 2154 in the Berlin gallery, which came from an American private collection and was acquired by the Gemäldegalerie in 1937 (Gesamtverzeichnis, Berlin, 1996: 60); see the following note.
[7] Duveen Brothers wrote to the director of the paintings department at the Berlin museum on 26 February 1937, offering the portrait by Holbein (then “said to be . . . of Jean de Dinteville,” from Henry Goldman’s collection) in exchange for two paintings in Berlin, this painting by Duccio and the Fra Filippo Lippi Madonna and Child, also in the National Gallery of Art (NGA 1939.1.290; Miklós Boskovits and David Alan Brown, Italian paintings of the Fifteenth Century, Washington, D.C. and New York, 2003: 401-405). Bernard Berenson’s opinion about the painting came in a letter dated 15 March 1937. By April, Duveen’s offices in Paris and New York were exchanging messages concerning conservation work on the painting, and David Finley had seen the painting for Andrew Mellon by early May. Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 48, box 139, folder 4; reel 92, box 237, folder 23; reel 189, box 334, folder 2; reel 192, box 237, folder 23; copies in NGA curatorial files. See also Duveen Brothers, Inc., Duveen Pictures in Public Collections of America, New York, 1941: 6.
[8] The Mellon Trust purchase date is according to Mellon collection records in NGA curatorial files and David Finley's notebook (donated to the National Gallery of Art in 1977, now in Gallery Archives).

Associated Names

Bibliography

1885

  • "Fragment von Duccios Dombilde." Kunstfreund 1 (1885): 75.

  • Dobbert, Eduard. "Duccio’s Bild Die Geburt Christi in der Königlichen Gemälde-Galerie zu Berlin." Jahrbuch der Preußischen Kunstsammlungen 6 (1885): 153-163.

  • Thode, Henry. Franz von Assisi und die Anfänge der Kunst der Renaissance in Italien. Berlin, 1885: 75.

1890

  • Schubring, Paul. Moderner Cicerone, vol. 1, das Kaiser Friedrich-Museum, Berlin. Stuttgart [u.a.], 1890: 81, repro. 83.

1891

  • Meyer, Julius, Hugo von Tschudi, and Wilhelm von Bode. _Beschreibendes Verzeichniss der Gemälde. Königliche Museen, Berlin _. 3rd ed. Berlin, 1891: 72, repro.

1893

  • Pératé, André. "Études sur la peinture Siennoise. Duccio, 1." Gazette des Beaux-Arts S. 3, v. 9 (1893): 89.

  • Pératé, André. "Études sur la peinture Siennoise. Duccio, 2." Gazette des Beaux-Arts S. 3, v. 10 (1893): 178, 200.

1898

  • Lisini, Alessandro. "Notizie di Duccio pittore e della sua celebre ancona." Bollettino senese di storia paria 5 (1898): 25, 27.

1909

  • Posse, Hans. Die Gemäldegalerie des Kaiser-Friedrich-Museums: vollständiger beschreibender Katalog mit Abbildungen sämtlicher Gemälde, vol. 1, die romanischen Länder. Berlin, 1909: 15 (repro.), 16.

1911

  • Lusini, Vittorio. Il Duomo di Siena. Siena, 1911: 128, 148 n. 115.

1913

  • Posse, Hans, ed. Die Gemäldegalerie des Kaiser-Friedrich-Museums: vollständiger beschreibender Katalog mit Abbildungen sämtlicher Gemälde. Berlin, 1913: 15 (repro.), 16.

1916

  • Millet, Gabriel. Recherches sur l’iconographie de l’évangile aux XIVe, XVe et XVIe siècles, d’après les monuments de Mistra, de la Macédoine et du Mont-Athos. Bibliothèque des Écoles françaises d’Athènes et de Rome ... fasc 109. Paris, 1916: 110.

1918

  • Péladan, Joséphin. "Au Louvre. Les maitres qui manquent." Les Arts 169 (1918): repro. 6.

1919

  • Schottmüller, Frieda. "Italienische Schulen." In Das Kaiser Friedrich Museum. Führer durch die Staatlichen Museen zu Berlin. 4th ed. Berlin, 1919: 146 (repro.). 147-148.

1930

  • Staatliche Museen Berlin. Die Gemäldegalerie, vol. 2, die italienischen Meister 13. bis 15. Jahrhundert. Berlin, 1930: repro. 44.

1934

  • Kunze, Irene. Führer durch die Gemäldegalerie: die italienischen Meister. Berlin, 1934: 4.

1937

  • Cecchi, Emilio. Giotto. Milan, 1937: 117-122.

1941

  • Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 6, repro.

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 59, no. 8.

  • National Gallery of Art. Book of Illustrations. Washington, 1941: 98 (repro.), 233.

1942

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 100.

1946

  • Carli, Enzo. Vetrata duccesca. Florence, 1946: 39.

1949

  • Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 4, repro.

1951

  • Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 16.

1957

  • Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 5.

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.): 14, color repro.

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): 10, as Nativity with Two Prophets.

1962

  • Cairns, Huntington, and John Walker, eds. Treasures from the National Gallery of Art. New York, 1962: 10, color repro.

1963

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

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 44.

  • Cooper, Frederick A. "A Reconstruction of Duccio’s Maestà." The Art Bulletin 47 (1965): 156 n. 11, figs. 2, 3.

1966

  • Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:4, color repro.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 37, repro.

  • Ruhemann, Helmut. The Cleaning of Paintings: Problems and Potentialities. London, 1968: 41.

1973

  • Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 36 repro., 37.

1974

  • Pesenti, Franco Renzo. "Dismembered works of art - Italian painting." In An Illustrated Inventory of Famous Dismembered Works of Art: European Painting. Paris, 1974: 20, 26-27, repro.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 112, repro.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:168-172; 2:pl. 119.

  • Amico, Leonard N. "Reconstructing an Early Fourteenth Century Pentaptych by Ugolino di Nerio: St. Catherine Finds Her Niche." Bulletin Krannert Art Museum 5, no. 1 (1979): 13, repro. 14.

1984

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 67, no. 8, color repro.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 136, repro.

1992

  • National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 11, repro.

1996

  • Gordon, Dillian. “Duccio (di Buoninsegna).” In The Dictionary of Art. Edited by Jane Turner. 34 vols. New York and London, 1996: 9:344.

  • Bock, Henning, and Rainald Grosshans, eds. Gemäldegalerie Berlin: Gesamtverzeichnis. Berlin, 1996: 601.

1997

  • Shaw-Eagle, Joanna. "Christ's Birth Gave Birth to Astounding Images: Gallery Glitters with holy Masterpieces." Washington Times (21 December 1997): D5.

1998

  • Apostolos-Cappadona, Diane. "Virgin/Virginity." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:906.

2004

  • Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 2-3, 6-7, no. 2, color repros.

2006

  • Hartt, Frederick, and David G. Wilkins. History of Italian Renaissance Art: Painting, Sculpture, Architecture. 6th ed. Upper Saddle River, 2006: 105-107, color figs. 4.3, 4.8.

2010

  • Giorgi, Rosa. “L’iconografia della Natività nella tradizione e la novità del Lippi.” In Filippo Lippi: La Natività. Exh. cat. Museo Diocesano, Milan, 2010: 55-57, color figs. 2, 3.

2011

  • Gordon, Dillian. The Italian Paintings Before 1400. National Gallery Catalogues. London, 2011: 174-175, under no. NG1330, color fig. 1.

2013

  • Dunlop, Ann. "Carrying the Weight of Empire." in Matters of Weight: Force, Gravity, and Aesthetics in the Early Modern Period. Edited by David Young Kim. Emsdetten and Berlin, 2013: 87 n. 11.

  • "Vasari and the National Gallery of Art." National Gallery of Art Bulletin 48 (Spring 2013): 10-11, repro.

2016

  • National Gallery of Art. Highlights from the National Gallery of Art, Washington. Washington, 2016: 36, repro.

  • Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 81-102, color repro.

2023

  • Gardner von Teuffel, Christa. "Botticelli, Ugolino di Nerio and a Sassetti Memorial Portrait: A New Proposal." Mitteilungen des Kunsthistorischen Institutes in Florenz 65, no. 2 (2023): 335, repro., 336.

Inscriptions

left section, on the scroll of Isaiah: ECCE VIR / GO CONCI / PIET [et] PA / RIET FILIU[M] / [et] VOCABI / TUR NOM / EN EIUS / [E]MANUE[L] (Behold a Virgin shall conceive and bear a son, and his name shall be called Immanuel; from Isaiah 7:14); middle section, on the scroll of the announcing angel: A[nnunti]o / Vobis / Gaudiu[m] / Magnu[m] (Behold, I bring you tidings of great joy; variant of Luke 2:10); right section, on the scroll of Ezekial: VIDI PORTA[M] / I[N] DOMO D[OMI]NI / CLAUSA[M] / VIR / NO[N] TR[AN]SIBIT / P[ER] EA[M] DOM / IN[US] SOLUS / I[N]TRAT ET[?] / IT [?] P[ER] EA[M] (I saw a door in the house of the Lord which was closed and no man went through it. The Lord only enters and goes through it; variant of Ezekial 44:2)

Wikidata ID

Q3873252

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