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lower center on the tablet of the pedestal: CLAVDIA CASTA FVI NEC VVLGVS CREDIDIT AMEN / ET TAMEN ID QVOD ERAM TESTIS MIHI PRORA PROBAVIT / CONSILIVM ET VIRTVS SVPERANT MATERQVE DEORVM / ALMA PLACET POPVLO ET PER ME HVNC ORATA TVETVR (I was Claudia the chaste, but men trusted not in my troth. And yet that which I was, the prow proved as my witness. Prudence and virtue triumph, and the Mother of the Gods [Cybele], she, the gracious one, is pleasing to the people and protects them when invoked through me)


Probably commissioned by the Piccolomini family, Siena. art market, Florence, c. 1850/1860; Louis Charles Timbal [1821-1880], Paris; sold 1872 with his collection to Gustave Dreyfus [1837-1914], Paris;[1] his heirs;[2] purchased 1930 with the entire Dreyfus collection by (Duveen Brothers, Inc., London and New York); purchased 15 December 1936 by The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[3] gift 1937 to NGA.

Exhibition History

Exhibition of Italian Renaissance Art, Wadsworth Atheneum and Morgan Memorial, Hartford, 1932, no. 16, as The Vestal Virgin, Claudia Quinta.
Francesco di Giorgio e il Rinascimento a Siena 1450-1500, Chiesa di Sant'Agostino, Siena, Italy, 1993, no. 103b, repro.
Renaissance Sienna: Art for a City, National Gallery, London, 2007-2008, no. 72, repro.


Mayer, August L. "Die Sammlung Gustave Dreyfus." Pantheon 7 (January 1931):17, repro.
Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: nos. 121-122, repros.
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 128, 139-140, no. 12.
Book of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 158.
Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 18, repro.
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 300, repro.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 97.
Berenson, Bernard. Italian Pictures of the Renaissance. Central Italian and North Italian Schools. 3 vols. London, 1968: 1:252, 293, as entirely by Neroccio except for the background, by the Master of the Griselda Panels.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 85, repro.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 254, repro.
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:345-347; 2:pl. 252.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 293, repro.
Chelazzi Dini, Giulietta, Alessandro Angelini, and Bernardina Sani. Sienese Painting From Duccio to the Birth of the Baroque. New York, 1997: 318-319.
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: 2:905.
Boskovits, Miklós, David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, 2003: 536-539, color repro.
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 38, no. 27, color repro.
Sallay, Dóra. Corpus of Sienese Paintings in Hungary 1420-1510. Florence, 2015: 272, 274-276, fig. 5d.

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