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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.

Puccio di Simone and Allegretto Nuzi

Madonna and Child Enthroned with Four Saints and Eighteen Angels [middle panel], 1354

West Building, Main Floor — Gallery 3

Medium

tempera on panel

Dimensions

painted surface: 108 x 57.8 cm (42 1/2 x 22 3/4 in.)
overall (with cradle): 108.5 × 59.5 × 3.2 cm (42 11/16 × 23 7/16 × 1 1/4 in.)

framed: 150.5 x 66.7 x 8.3 cm (59 1/4 x 26 1/4 x 3 1/4 in.)

Credit Line

Andrew W. Mellon Collection

Accession Number

1937.1.6.b

Artists / Makers

Puccio di Simone (painter) Florentine, active c. 1330 - 1360

Allegretto Nuzi (painter) Umbrian, active from c. 1340; died 1373

Image Use

This image is in the public domain.
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Overview

The creation of works of art during the late Middle Ages and early Renaissance was often a collaborative process. The partnership of the two artists here—Puccio di Simone (Florentine, active c. 1330 - 1360) painted the center and right-hand panel of this tryptych and Allegretto Nuzi (Umbrian, active from c. 1340; died 1373) the left—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 The Calling of the Apostles Peter and Andrew and The Nativity with the Prophets Isaiah and Ezekiel)—absolutely required the participation of workshop assistants. Collaborations between independent masters was also fairly common, especially within families. Brothers-in-law Simone Martini (Sienese, active from 1315; died 1344) and Lippo Memmi (Sienese, active 1317/1347) worked together and so did the brothers Jacopo, Andrea, and Nardo di Cione (Florentine, active from c. 1340; died 1365/1366).

Inscription

on the Madonna's halo: .S[AN]C[T]A.MARIA.MATER.DEI.; on the Child's halo: IIS . XRO . M;[1] along the base: [MCCC]LIIII.QUESTA TA[VOLA HA F]ATTA F[A]RE. FRATE GIOVANNI DA [...] (1354, this picture was commissioned by Fra Giovanni)

Inscription Notes

[1] Fern Rusk Shapley, Catalogue of the Italian Paintings, 2 vols., Washington, DC, 1979: 1:383, read HS.XRO. [LUX] M[VNDI]. Presumably the first letters were intended to be IHS, the frequently used traditional abbreviation of the name of Jesus, formed, at least partially, of the letters of the Greek version of the name: ΙΗΣΟΥΣ. The second group of letters is again an incorrect transcription of the letters of the word Christus in Greek: ΧΡΙСΤΟС; see Hans Feldbusch, “Christusmonogramm,” in Reallexikon zur deutschen Kunstgeschichte, edited by Otto Schmitt and Zentralinstitut für Kunstgeschichte München, 10 vols., Stuttgart, 1937-2003: 3(1954):707-720. The meaning of the final letter M, which might be an abbreviation of various words, is difficult to interpret.

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 Attributed to 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 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

Bailey, 2nd Baron Glanusk, Joseph Henry Russell
Dowdeswell and Dowdeswell
Duveen Brothers, Inc.
Hamilton, Carl W.
Mellon Educational and Charitable Trust, The A.W.
Sotheby's, London

Exhibition History

1926: Sesquicentennial Exhibition, Philadelphia, 1926.

Bibliography

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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.