The Annunciation
c. 1423/1424
Painter, Florentine, c. 1383 - 1435 or after
West Building Main Floor, Gallery 4
Artwork overview
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Medium
tempera (and possibly oil glazes) on panel
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Credit Line
-
Dimensions
overall: 148.8 × 115.1 cm (58 9/16 × 45 5/16 in.)
framed: 181.61 × 151.13 × 19.69 cm (71 1/2 × 59 1/2 × 7 3/4 in.) -
Accession
1937.1.16
Artwork history & notes
Provenance
Painted to serve as the altarpiece of the Guardini chapel on the left side of the rood screen in the church of San Niccolò Oltrarno, Florence, and probably in place by 1426;[1] transferred by c. 1567 (the date of the demolition of the rood screen) to the altar of the other chapel of the Guardini family in the same church; moved 1576 to the Sacristy (and replaced by the Annunciation altarpiece newly painted by Alessandro Fei);[2] in a room annexed to the sacristy, probably until the end of the eighteenth century.[3] possibly Francis Weymss-Charteris-Douglas, 9th earl of Wemyss [1796-1883], Gosford House, Longniddry, Scotland;[4] by inheritance to his son, Francis Richard Charteris, 10th earl of Wemyss [1818-1914], Gosford House, by 1886;[5] by inheritance to his son, Hugo Richard Charteris, 11th earl of Wemyss, [1857-1937], Gosford House; sold c. 1915 to (Robert Langton Douglas, London);[6] sold to Henry Goldman [1857-1937], New York, by 1916;[7] (Duveen Brothers, Inc., London and New York);[8] purchased 26 April 1937 by The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[9] gift 1937 to NGA.
[1] As shown by Serena Padovani, "Apunti su alcuni dipinti quattrocenteschi di San Niccolò Oltrano," in Studi di storia dell'arte in onore di Mina Gregori, ed. Elisa Acanfora and Micaela Sambucco Hamoud, Milan, 1994: 39-46, the butcher Michele Guardini dictated his will on 15 July 1417, stipulating the construction of a chapel dedicated to the Annunciation in the church of San Niccolò. This would have been an addition to the new church, built in the early years of the century and roofed at Guardini's expense in 1411 (see Walter and Elisabeth Paatz, Die Kirchen von Florenz, 6 vols., Frankfurt am Main, 1952: 4:359-365, and Giovanna Damiani, "La chiesa quattrocentesca. Ipotesi di ricostruzione," in San Niccolò Oltrarno. La Chiesa, una famiglia di antiquary, ed. Giovanna Damiana, Anna Laghi, et al., 2 vols., Florence, 1982: 1:26). On 8 March 1426, when Guardini replaced his old will with a new one, his chapel must already have been not only built but also decorated, since it appears to be regularly officiated by a chaplain. Thus 1417 and 1426 are post and ante quem dates for the execution of Masolino's altarpiece.
[2] The history of Masolino's panel and its various transfers are given in precise detail in a manuscript dated 1579 by the parish priest of the time (Leonardo Tanci, "Memoriae della chiesa di San Niccolò Oltrarno in Firenze," 1579, Ms. Florence, Archivio parrocchiale di San Niccolò, fol. 116r; see also Damiani 1982: 1:58, who for the first time introduces this text into art historical literature). The claim by Perri Lee Roberts ("Lost and Found: The San Niccolò Annunciation Reconsidered," Southeastern College Art Conference Review 11 (1990): 372-378) that the manuscript names Masolino as author of the painting is the fruit of a misunderstanding.
[3] A marginal note added to the manuscript sheet cited above further specifies: "anzi questa tavola si messe nella squola et voglio dire opera, e in sagrestia in detto luogo si messe quella de Pieri" ("rather this panel [Masolino's Annunciation] was put in the school and I mean vestry board, and in the sacristy in its place was put the Pieri panel [the panel formerly placed above the altar on the other side of the rood screen, patronized by the Pieri family, now lost]"). In a miscellaneous manuscript in the Biblioteca Nazionale in Florence (Notize varie della Città di Firenze, Ms. Palatino 1177, after 1713), a marginal note to Vasari's description of the Annunciation in San Niccolò (fol. 13v) indicates: "Nella Sagrestia piccola una tavola piccola sopra la Porta internamente: dove vi è Santissima Nunziata e vi è bella soffitta con una colonna avanti tirato il tutto con supposta prospettiva" ("In the little sacristy a small panel above the door on the inside: where there is the Holy Virgin Annunciate and there is a beautiful ceiling with a column in front, all of it shown in perspective"). The note is important because it gives an unmistakable description of the panel, and thus definitive proof of its identity as NGA 1937.1.16. The "piccola Sagrestia" is presumably the same room annexed to the sacristy which Tanci referred to as the "squola" and "opera." The note is unfortunately not dated, but since in an earlier sheet (fol. 11r) mention is made of the deceased prince Ferdinando de' Medici, it must have been written after 1713.
The commentary to Vasari's Lives in the Antonelli edition (Giorgio Vasari, Le vite de' più eccellenti pittori, scultori e architetti, ed. Giuseppe Antonelli, 19 vols., Venice, 1828-1833: 2:422) does not yet note the painting's absence from the church--its disappearance is announced only in the edition by Giovanni Masselli and Giovan Paolo Montani (Giorgio Vasari, Opere, ed. Masselli and Montani, 2 vols., Florence, 1832-1838: 252 n. 9)--but it must have been removed from the church by c. 1800, since Tommaso Puccini, writing his unpublished comments on Vasari's Lives, already notes the panel's absence (see "Dialoghi sulle vite dei pittori del Vasari," c. 1800, Archive of the Gallerie Fiorentine, Ms. no. 46, fol. 116). The suspicion, as yet unprovable, is that Masolino's Annunciation as well as Gentile's Quaratesi Madonna, two important documents of early Quattrocento Florentine painting that were unappreciated by collectors of the period, were both purchased by William Young Ottley, the aficionado of Italian primitives, during his stay in Italy between 1791 and 1798 (see Ellis Waterhouse, "Some Notes on W.Y. Ottley's Collection of Italian Primitives," Italian Studies Presented to E.R. Vincent, ed. C.P. Brand, K. Foster, and U. Limentani, Cambridge, 1962: 272-280).
[4] Presumably the work was hanging in the family residence of Gosford House or elsewhere for some time before 1886 (see note 5). When Gustav Friedrich Waagen (see Galleries and Cabinets of Art in Great Britain, London, 1857: 437-441) visited Gosford House he described mainly Dutch paintings and pictures from a later period; but the scholar was admitted only to the "principal apartments" of the house, and it could be that the Annunciation was hanging in a room to which he was not given access. Some years earlier Waagen (Treasures of Art in Great Britain, London, 1854: 2:82) had occasion to see, at Amisfield House, the collection of Lord Elcho, the future 10th earl of Wemyss, whom he describes as an "ardent admirer of the Italian school." However, Masolino's Annunciation was not quoted among the paintings seen in this house either, nor does it appear in a 1771 inventory of the house (transcribed and published in Transactions of the Society of the Antiquaries of Scotland [Archaeologia Scotica], vol. 1 (1792): 77-84). On the collecting by the earls see: Pictures from Gosford House lent by The Earl of Wemyss and March, exh. cat., National Gallery of Scotland, Edinburgh, 1957; "The Earls of Wemyss and March," in Dutch Art and Scotland: A Reflection of Taste, exh. cat., National Gallery of Scotland, Edinburgh, 1992: 171; Shelagh Wemyss, "Francis, Lord Elcho (10th Earl of Wemyss) as a Collector of Italian Old Masters," Journal of the Scottish Society for Art History 8 (2003): 73-76.
[5] The painting appeared in the exhibition of the Royal Academy in London in 1886 as belonging to the collection of the earl of Wemyss.
[6] See Denys Sutton, "Robert Langton Douglas. Part III," Apollo CIX, no. 208 (June 1979): 431, according to whom Douglas first offered the panel for sale to the Fogg Museum in Cambridge, Massachusetts. See also letters from Douglas to Fowles dated 18 February 1937 and 1 May 1941, Duveen Brothers Records, Box 244 (reel 299).
[7] See Bernard Berenson, "The Annunciation by Masolino," Art in America 4 (1916): 305-311; William R. Valentiner, "Die Leihausstellung frühitalienischer Malerei in Detroit," Pantheon 12 (1933): no. 3. According to their prospectus (in NGA curatorial files), Duveen purchased the painting from Goldman's estate.
[8] See Duveen Pictures in Public Collections of America, New York, 1941: no. 28.
[9] Mellon Trust purchase date is according to Mellon collection files in NGA curatorial records and David Finley's notebook (donated to the National Gallery of Art in 1977, now in the Gallery Archives).
Associated Names
Exhibition History
1886
Exhibition of Works by the Old Masters. Winter Exhibition, Royal Academy of Arts, London, 1886, no. 185, as by Anonymous, Italian School.
Bibliography
1579
Tanci, Leonardo. “Memoriae della chiesa di San Niccolò Oltr’Arno in Firenze.” 1579. Ms. Florence, Archivio parrocchiale di San Niccolò: fol. 116r.
1584
Borghini, Raffaello. Il Riposo di Raffaello Borgini. Florence, 1584: 313, as by Masaccio.
1677
Bocchi, Francesco. Le bellezze della città di Firenze. (Florence, 1591). Ed. Giovanni Cinelli. Florence, 1677: 272, as by Masaccio.
1713
“Notizie varie della Città di Firenze.” Ms. Palatino 1177 [after 1713]. Florence, Biblioteca Nazionale: fol. 13v.
1800
Puccini, Tommaso. “Dialoghi sulle vite dei pittori del Vasari.” [c. 1800]. Florence, Uffizi Library, Ms. no. 46: fol. 1161r.
1832
Masselli, Giovanni, ed. Le opere di Giorgio Vasari, pittore e architetto aretino. 2 vols. Florence, 1832-1838: 1(1832):252 n. 9.
1845
Baldinucci, Filippo. Notizie dei professori del disegno da Cimabue in qua. 6 vols. Florence, 1681-1728. Ed. F. Ranalli. 5 vols. Florence, 1845-1847: 1(1845):474.
1878
Vasari, Giorgio. Le vite dei più eccellenti pittori, scultori ed architettori. Ed. Gaetano Milanesi. 9 vols. Florence, 1878-1885: 2(1878):290, as by Masaccio.
1895
Schmarsow, August. Masacchio-Studien. 4 vols. Kassel, 1895-1899: 3(1898):69; 5(1899):70, as by Masaccio.
1900
Berenson, Bernard. The Florentine Painters of the Renaissance. 2nd ed. New York and London, 1900: 128.
1902
Berenson, Bernard. “Quelques peintures méconnues de Masolino da Panicale.” Gazette des Beux-Arts 44, no. 27 (1902): 89. Reprinted in Berenson, Bernard. The Study and Criticism of Italian Art. 2nd ser. London, 1902.
1903
Crowe, Joseph Archer, and Giovanni Battista Cavalcaselle. A History of Painting in Italy. 6 vols. Ed. Robert Langton Douglas (vols. 1-4) and Tancred Borenius (vols. 5-6). London, 1903-1914: 4(1911):31 n. 3.
1907
Giglioli, Odoardo. "Masolino." In Ulrich Thieme and Felix Becker, eds. Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart. 37 vols. Leipzig, 1907-1950: 24(1930):210.
1908
Crowe, Joseph Archer, and Giovanni Battista Cavalcaselle. A New History of Painting in Italy, from the II to the XVI Century. 3rd edition. 3 vols. Ed. Edward Hutton. London, 1908-1909: 2(1909)232 n. 2.
1909
Berenson, Bernard. The Florentine Painters of the Renaissance. 3rd ed. London, 1909: 159.
1916
Berenson, Bernard. “The Annunciation by Masolino.” Art in America 4 (1916): 305-311, repro.
Borenius, Tancred. “The Annunciation by Masolino.” The Burlington Magazine for Connoisseurs 24 (1916): 44, 45, repro.
[Cagnola, Guido.] “Una Annunciazione di Masolino.” Rassegna d’Arte 16 (1916): 206, repro.
1922
Valentiner, Wilhelm R. The Henry Goldman Collection. New York, 1922: no. 3, repro.
1923
Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 9(1927):286, repro.
Toesca, Pietro. “Frammento di un trittico di Masolino.” Bollettino d’Arte 3 (1923): 6.
1925
Schmarsow, August. “Neue Beiträge zu Masolino und Masaccio.” Belvedere 7 (1925): 149-151, repro.
1927
Longhi, Roberto. Piero della Francesca. Rome, 1927: 19.
1928
Salmi, Mario. “Gli affreschi nella collegiata di Castiglione Olona.” Dedalo 8 (1927-1928): 242.
Schmarsow, August. Masaccio und Masolino. Leipzig, 1928: 27.
1929
Singleton, Esther. Old World Masters in New World Collections. New York, 1929: 28-32, repro.
1930
Valentiner, Wilhelm R., ed. Unknown Masterpieces in Public and Private Collections. London, 1930: n.p., pl. 2.
Venturi, Lionello. “Contributi a Masolino.” L’Arte 33 (1930): 165.
Beenken, Hermann. “Zum Werke des Masaccio. II: Die Altarbild für S. Maria Maggiore in Florenz.” Zeitschrift fur bildende Kunst 63, no. 2 (1929-1930): 160.
1931
Venturi, Lionello. Pitture italiane in America. Milan, 1931: pl. 156.
Lindberg, Henrik. To the Problem of Masolino and Masaccio. 2 vols. Stockholm, 1931: 1:46, 147-148, as not by Masolino.
Valentiner, Wilhelm R. “Eine Verkündigung Masolino.” Pantheon 8 (1931): 413, 416.
1932
Berenson, Bernard. Italian Pictures of the Renaissance. Oxford, 1932: 338.
Salmi, Mario. Masaccio. Rome, 1932: 73, 125, pl. 163.
Beenken, Hermann. “Masaccios und Masolinos Fresken von S. Clemente in Rom.” Belvedere 9 (July-December 1932): 42.
1933
Venturi, Lionello. Italian Paintings in America. 3 vols. New York and Milan, 1933: 2:188
Oertel, Robert. “Die Frühwerk des Masaccio.” Marburger Jahrbuch für Kunstwissenschaft 7 (1933): 240.
1934
Salmi, Mario. Masaccio. Paris, 1934: 135.
1935
Tietze, Hans. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935: 326, repro.
1936
Berenson, Bernard. Pitture italiane del rinascimento. Milan, 1936: 300.
Robb, David. "The Iconography of the Annunciation in the Fourteenth and Fifteenth Centuries." The Art Bulletin 18 (1936): 519.
1939
Prampolini, Giovanni. L’Annunciazione nei pittori primitivi italiani. Milan, 1939: 53-54, repro.
1940
Longhi, Roberto. “Fatti di Masolino e di Masaccio.” Critica d’Arte 5 (1940): 168-169, 187. Reprint (1975): 21, 32-33.
Paatz, Walter, and Elisabeth Paatz. Die Kirchen von Florenz: ein kunstgeschichtliches Handbuch. 6 vols. Frankfurt am Main, 1940-1954: 4(1952):384 n. 70.
1941
Duveen Brothers. Duveen Pictures in Public Collections of America. New York, 1941: no. 28, repro.
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 126, no. 16.
Richter, George Martin. "The New National Gallery in Washington." The Burlington Magazine for Connoisseurs 78 (June 1941): 177.
1942
Book of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 149.
1945
“Italian Paintings in the Andrew W. Mellon Collection.” Connoisseur 115, no. 496 (June 1945): 112, 113, repro.
1946
Pope-Hennessy, John. “Recent research.” The Burlington Magazine 88 (July 1946): 173.
1948
Salmi, Mario. Masaccio. 2nd ed. Rome, 1948: 110-111, 210-211, pl. 182.
1949
Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 14, repro.
Brandi, Cesare. Quattrocentisti senesi. Milan, 1949: 73.
1951
Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 34-37, repro.
1952
Cairns, Huntington, and John Walker, eds., Great Paintings from the National Gallery of Art. New York, 1952: 12, color repro.
Procacci, Ugo. Tutta la pittura di Masaccio. 2nd ed. Milan, 1952: 35.
1955
Spencer, John R. "Spatial Imagery of the Annunciation in Fifteenth Century Florence." The Art Bulletin 37, no. 4 (December 1955): 279, repro.
1959
Micheletti, Emma. Masolino da Panicale. Milan, 1959: 37-38, 53, pl. 46.
1961
DeWald, Ernest T. Italian Painting 1200-1600. New York, 1961: 196.
Berti, Luciano. “Masaccio 1422?” Commentari 12 (1961): 96.
1962
Parronchi, Alessandro. "'Una nunziatina di Paolo Uccello': Ricostruzione della Cappella Carnesecchi." Studi Urbinati 36, no. 1 (1962): 93-130, as by Paolo Uccello.
Gioseffi, Decio. “Domenico Veneziano, l’esordio masaccesco e la tavola con i SS. Girolamo e Giovanni Battista della National Gallery di Londra.” Emporium 155 (February 1962): 62.
Vayer, Lajos. Masolino és Róma: Mecénas és múvész a Reneszánsz Kezdetén. Budapest, 1962: 290.
1963
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 298, repro.
Berenson, Bernard. Italian Pictures of the Renaissance. Florentine School. 2 vols. London, 1963: 1:137. 2:pl.557.
Berti, Luciano. “Miniature dell’Angelico (e altro).” Acropoli 3 (1963): 8, 36 n. 64.
1964
Berti, Luciano. Masaccio. Milan, 1964: 140 n. 176, 142 n. 191, 152-153 n. 287.
Parronchi, Alessandro. Studi su la 'dolce prospettiva'. Milan, 1964: 471, as by Paolo Uccello.
Meiss, Millard. “The Altered Program of the Santa Maria Maggiore Altarpiece.” In Studien zur toskanischen Kunst. Festschrift für Ludwig Heinrich Heyendreich. Munich, 1964: 186 n. 53.
Edgerton, Samuel Y. Review of Parronchi, Studi su la 'dolce prospettiva' (1964). The Art Bulletin 49 (1967): 78.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 84.
Neumeyer, Alfred. “The Lanckoronski Annunciation in the M. H. de Young Memorial Museum.” Art Quarterly 28 (1965): 16 nn. 26, 36.
Bianchini, Maria Adelaide. Masolino da Panicale. Milan, 1965: no. 80.
1966
Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:18, color repro.
Parronchi, Alessandro. “Sulla perduta Annunciazione di Masaccio: Ricerche e proposte.” Studi urbinati di urbinati, filosofia, e letteratura 40 (1966): 167-177, as by Paolo Uccello.
Parronchi, Alessandro. “Il dossale dei Santi Cosmè e Damiano.” Arte Antica e Moderna 33 (January-March 1966): 52, 55.
1968
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 74, repro.
Volponi, Pietro, and Luciano Berti. L’opera completa di Masaccio. Milan, 1968: 100.
1972
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 123, 645.
1973
Vasari, Giorgio. Le vite. Ed. Licia and Carlo Ragghianti. Updated by G. Innamorati. 3 vols. Milan, 1971-1976: 4(1949):326 n. 4.
Moretti, Italo. La chiesa di San Niccolò Oltra’Arno. Florence, 1972-1973: 70.
Watkins, Law B. “Technical Observations on the Frescoes of the Brancacci Chapel.” Mitteilungen des Kunsthistorichen Institutes von Florenz 17 (1973): 73.
1974
Parronchi, Alessandro. Paolo Uccello. Bologna, 1974: 149-153, as by Paolo Uccello.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 218, repro.
Fremantle, Richard. Florentine Gothic Painters from Giotto to Masaccio: A Guide to Painting in and near Florence, 1300 to 1450. London, 1975: 485.
Joost-Gaugier, Christiane L. “Jacopo Bellini’s Interest in Perspective and its iconographical significance.” Zeitschrift für Kunstgeschichte 38 (1975): 367.
1976
Watkins, Law B. The Brancacci Chapel: Meaning and Use. Ann Arbor, MI, 1976: 154.
1977
Edgerton, Samuel Y. “Mensurare temporalis facit Geometria spiritualis: Some Fifteenth-Century Italian Notions about When and Where the Annunciation Happened.” In Irving Lavin and John Plummer, eds. Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss. New York, 1977: 122 n. 29.
1979
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:305-306; 2:pl. 218.
Sutton, Denys. "Robert Langton Douglas. Part III." Apollo 109, no. 208 (June 1979): 431 [149], fig. 8.
1980
Wohl, Hellmut. The Paintings of Domenico Veneziano. Oxford, 1980: 148 n. 5.
Arasse, Daniel. “Espace pictural et image religieuse: Le point de vue de Masolino sur la perspective.” In Marisa Dalai Emiliani, ed. La Prospettiva rinascimentale. Codificazioni e trasgressioni. Atti del Convegno internazionale di studi tenutosi al Castello Sforzesco, Civiche raccolta d’arte di Milano, dall’11 al 15 ottobre del 1977. Florence, 1980: 142-143.
Volpe, Carlo. “Paolo Uccello a Bologna.” Paragone 31, no. 365 (1980): 24 n. 1.
1981
Parronchi, Alessandro. “Paolo Uccello nel Chiostro Verde.” In Omar Calabrese, ed. Santa Maria novella. La basilica, il convento, i chiostri monumentali. Rome, 1981: 139, as by Paolo Uccello.
1982
Damiani, Giovanna, Anna Laghi, et al, eds. San Niccolò Oltr’Arno. La chiesa, una Famiglia di antiquari. 2 vols. Florence, 1982: 1:25-45.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 76, no. 25, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 251, repro.
Joannides, Paul. “A Masolino Partially Reconstructed.” Source 4 (1985): 1, 2, 4.
1987
Boskovits, Miklós. “Il percorso di Masolino: Precisazioni sulla cronologia e sul catalogo.” Arte Cristiana 75 (1987): 53.
Proto Pisani, Rosanna Caterina, ed. Masolino a Empoli. Exh. cat. Chiesa di S. Stefano degli Agostiniani, Empoli, 1987: 23-24.
1988
Berti, Luciano, et al. Masaccio. Florence, 1988: 28, 38.
Joannides, Paul. “The Colonna Triptych by Masolino and Masaccio: Collaboration and Chronology.” Arte Cristiana 76 (1988): 341, 346 n. 2.
Boskovits, Miklós, ed. Arte in Lombardia tra Gotico e Rinascimento. Exh. cat. Palazzo Reale, Milan, 1988: 202.
1989
Berti, Luciano, and Rossella Foggi. Masaccio. Catalogo completo dei dipinti. Florence, 1989: 22, repro.
1990
Baldini, Umberto. Masaccio. Florence, 1990: 134.
Roberts, Perri Lee. “Lost and Found: The San Niccolò Annunciation Reonsidered.” Southeastern College Art Conference Review 11 (1990): 372-378, repro.
Berti, Luciano. “Il decennio di Masaccio.” In Luciano Berti and Antonio Paolucci, eds. L’età di Masaccio. Il primo Quattrocento a Firenze. Exh. cat. Palazzo Vecchio, Florence, 1990: 148.
1991
Manca, Joseph. “Mary Versus the Open Door: Moral Antithesis in Images of the Annunciation.” Source 10 (1991): 1, fig .4.
1993
Roberts, Perri Lee. Masolino da Panicale. Oxford, 1993: 98, repro.
1996
Spike, John T. Fra Angelico. New York, London, and Paris 1996: 37, repro.
2003
Boskovits, Miklós, David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, 2003: 466-471, color repro.
2006
Fahy, Everett. "Early Italian paintings in Washington and Philadelphia." The Burlington Magazine 148, no. 1241 (August 2006): 537.
2010
Rowley, Neville. “Pittura di luce: La manière claire dans la peinture du Quattrocento.” Ph.D. Diss., Université Paris-Sorbonne, 2010: 34 n. 77, 64 n. 188, fig. 30.
2022
Badino, Grazia. “Firenze, 7 gennaio 1422: Masaccio, ‘pictor populi Sancti Nicholai’.” In Angelo Tartuferi, Lucia Bencistà, and Nicoletta Matteuzzi, eds. Masaccio e i maestri del Rinascimento a confronto. Per celebrare 600 anni del Trittico di San Giovenale. Exh. cat., Museo Masaccio d’Arte Sacra, Reggello (Florence), 2022: 82-83, 88 n. 13.
2024
De Marchi, Andrea. "Masolino da Panicale, un irregolare." In Silvia De Luca, Andrea De Marchi, and Francesco Suppa, eds. Empoli 1424: Masolino e gli albori del rinascimento. Exh. cat. Museo della Collegiata di Sant'Andrea and Chiesa di Santo Stefano degli Agostiniani, Empoli, 2024: 75, 77.
De Luca, Silvia, Andrea De Marchi and Francesco Suppa, eds. Empoli 1424: Masolino e gli albori del rinascimento. Exh. cat. Museo della Collegiata di Sant'Andrea and Chiesa di Santo Stefano degli Agostiniani, Empoli, 2024: 144.
Inscriptions
on the Virgin's prayerbook: virgo / [c]oncipiet / [e]t p[a]ri[et] / fili[um et vocabitur nomen eius] em[m]anuel / butirum et / mel come / dit u[t] fiat / [rep]roba[re] (Propter hoc dabit Dominus ipse vobis signum. Ecce virgo concipiet, et pariet filium, et vocabitur nomen eius Emmanuel. Butyrum et mel comedet, ut sciat reprobare malum, et eligere bonum; from Isaiah 7:14-15)
Wikidata ID
Q3618180