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Predella

A predella is the lowest part of an altarpiece, typically forming a platform or step that supports the main structure, and often featuring a series of small painted panels or sculpted reliefs depicting narrative scenes related to the central imagery above.^[1] These panels, arranged horizontally, commonly illustrate episodes from the lives of Christ, the Virgin Mary, or saints portrayed in the primary tiers of the altarpiece, serving to expand the devotional or storytelling elements of the work.^[2] The term derives from the Italian predella, meaning "footrest" or "altar step," rooted in Langobardic origins and first recorded in English usage around 1853.^[1] Predellas emerged prominently in Italian art during the later Middle Ages, particularly from the 14th century onward, as part of the polyptych format of altarpieces painted in tempera on wooden panels with gold grounds.^[2] Influenced by Byzantine traditions and evolving Gothic styles, they provided artists with greater creative freedom compared to the more rigidly iconic upper sections, allowing for inventive narratives, emotional depth, and naturalistic details.^[3] By the Renaissance, predellas became a standard feature in works by masters such as Duccio di Buoninsegna and Giotto di Bondone, enhancing the altarpiece's role in church liturgy by drawing worshippers' attention to supplementary sacred stories at eye level.^[2] Though most associated with Italian Renaissance and late Gothic art, the form occasionally appeared in other European traditions, underscoring its function in elevating both the physical and symbolic prominence of the altar.^[4]

Definition and Terminology

Core Definition

A predella is the lowest register of an altarpiece, consisting of a horizontal series of small painted or sculpted panels that form an integral part of the overall composition.^[2] These panels typically depict narrative scenes connected to the central theme of the main altarpiece above, serving as a visual extension of its iconography.^[5] Physically, the predella often functions as a step-like platform or base that elevates the primary altarpiece for better visibility in liturgical settings, while the decorative elements along this base reinforce the religious narrative.^[6] The term derives from its role as a foundational support, literally meaning "platform" or "step" in Italian.^[7] In distinction from the upper tiers of the altarpiece, predella panels are subordinate in hierarchy and scale, usually measuring 20 to 50 cm in height to emphasize their auxiliary role rather than standing as independent artworks.^[8] They extend the thematic content without dominating the viewer's focus on the central imagery. Beyond altarpieces, the term predella occasionally refers to the base or lower section of stained-glass windows or the platform of altar steps in ecclesiastical architecture, where it lacks narrative painting or sculpture.^[9]^[10] The term "predella" originates from the Italian word of the same spelling, denoting a footrest or altar step, which itself derives from the Lombardic *predel- or *pretel-, referring to a lath, board, or low platform akin to a stool.^[1]^[11] This etymological root reflects the object's initial function as a raised base or platform in ecclesiastical settings, evolving by the 14th century in Tuscan artistic usage to specifically describe the decorated lower register of an altarpiece.^[12] In art historical terminology, "predella" typically encompasses the entire horizontal platform or step beneath the main panels of a polyptych, often featuring narrative reliefs or paintings, whereas "predella panel" refers to the individual scenes or sections composing that base.^[13] It differs from a "socle," which denotes a plain, undecorated pedestal or base supporting a sculpture or structure without narrative elements.^[14] Similarly, a "predella step" emphasizes the purely architectural aspect—a simple raised ledge—lacking the figurative decoration characteristic of artistic predelle.^[15] The predella as an artistic form first emerged around 1300 in descriptions of early polyptychs, with the terminology becoming standardized in 14th- and 15th-century treatises on painting and altarpiece design.^[16] English-language scholarship adopted the term in the 18th century, with the earliest recorded use dating to 1757, primarily through early art historical descriptions and analyses of Renaissance altarpieces, retaining its Italian form to preserve specificity.^[12]^[17] Regionally, German art history employs "Predella" when discussing Italian examples but uses "Fußbank" (meaning footrest or bench) for comparable northern European altar bases, highlighting adaptations in non-Italian traditions.^[18]

Historical Context

Origins and Early Development

The predella emerged in 13th-century Italian churches primarily as a functional platform to elevate altars above the church floor, facilitating liturgical access while symbolically distinguishing the sacred space. This early form was influenced by Byzantine iconostases, which employed screens to separate the altar area from the congregation, and by Romanesque altar bases that provided sturdy, decorative foundations often carved with simple motifs. These structural elements addressed practical needs in medieval ecclesiastical architecture, where altars required height for visibility during Mass and to accommodate relics or Eucharistic vessels.^[19]^[20] A pivotal precursor to the predella's artistic evolution is evident in Nicola Pisano's marble pulpit for the Pisa Baptistery, completed between 1259 and 1260. This structure incorporated low-relief narrative panels at its base depicting scenes such as the Nativity and the Presentation in the Temple, blending classical influences with Christian storytelling in a horizontal format accessible to viewers below eye level. Pisano's innovative use of sculpted bases for illustrative purposes laid groundwork for the predella's later role in altarpieces, transitioning from mere support to a medium for devotional narrative.^[21]^[22] By the late 13th century, particularly in Sienese workshops, predelle began integrating rudimentary artistic elements, such as painted or relief donor portraits and symbolic motifs like lilies or Eucharistic symbols, to personalize altarpieces for patrons while reinforcing theological themes. These additions reflected the growing emphasis on lay devotion in Tuscan religious life. By the early 14th century, narrative predelle appeared in Tuscany, with the earliest recorded example in Cimabue's lost 1301 altarpiece for S. Chiara in Pisa, followed by Duccio's Maestà (1311) as the first surviving comprehensive narrative predella featuring sequential scenes from saints' lives or biblical events to enhance accessibility for illiterate worshippers; this development was shaped by Cistercian and Franciscan ideals of humility, poverty, and vivid storytelling to convey spiritual lessons directly to the congregation.^[23]^[24]

Peak in Renaissance Art

During the 14th and 15th centuries, the predella reached its zenith in Italian Renaissance art, evolving from an occasional feature to a standard element of polyptych altarpieces, particularly in central Italian cities like Florence, Siena, and Venice. This boom reflected the growing complexity of altarpiece design, where the predella served as a narrative base, often depicting sequential scenes from the lives of Christ, the Virgin Mary, or patron saints to complement the main panels above. Pioneering artists such as Duccio di Buoninsegna and Giotto di Bondone played pivotal roles in this development; Duccio's Maestà altarpiece (1308–1311), commissioned for Siena Cathedral, introduced the predella as a dedicated row of panels with detailed cycles illustrating Christ's ministry and Passion, marking the earliest known comprehensive example. Similarly, Giotto incorporated predelle in works like the Ognissanti Polyptych (c. 1310) in Florence, featuring infancy scenes of Christ that emphasized emotional depth and spatial coherence, influencing subsequent generations of painters.^[16]^[25]^[26] Patronage significantly drove this proliferation, with guilds, confraternities, and nobility commissioning predelle-rich altarpieces for cathedrals and chapels to assert civic piety and prestige. In Siena, the Opera del Duomo—a guild overseeing cathedral construction—funded Duccio's Maestà, where the predella narrated saintly and biblical lives to engage worshippers during liturgy, exemplifying how such works reinforced communal devotion. Florentine guilds, such as the Arte dei Medici e Speziali, similarly sponsored Giotto's altarpieces, while Venetian patrician families and the Republic contributed to polyptychs that integrated predelle into grand civic spaces, blending religious narrative with displays of wealth and humanism. These commissions peaked in the 14th century, underscoring the predella's role in storytelling that humanized sacred figures for diverse audiences.^[25]^[27]^[28] Technically, predelle advanced through the consistent use of tempera on wood panels, allowing for intricate, gold-ground scenes that heightened devotional intensity, while the integration of linear perspective and humanistic motifs—pioneered around 1420 by figures like Filippo Brunelleschi—elevated their sophistication until about 1500. This period saw predelle shift toward more naturalistic compositions, with figures exhibiting lifelike gestures and environments that reflected Renaissance interest in antiquity and observation, as seen in the detailed architectural backdrops and emotional expressions in works by artists like Paolo Uccello. The format's dominance remained centered in central Italy, where Tuscan and Sienese workshops produced the majority, but trade routes facilitated early exports of complete altarpieces or detached predella panels to Spain and France, introducing Italian narrative styles to northern European collections by the late 15th century.^[2])^[29]

Decline and Legacy

By the early 16th century in Italy, the predella's prominence waned as artists and patrons favored unified canvas altarpieces that integrated narrative elements directly into larger, more dramatic central compositions, aligning with the emerging Mannerist emphasis on emotional intensity and complex spatial dynamics.^[30] This shift, evident around 1510–1520, saw polyptychs with separate predella registers largely supplanted by single-panel palas, as exemplified by Titian's Assumption of the Virgin (1518) and Martyrdom of St. Peter Martyr (1530), which prioritized innovative oil techniques and holistic visual impact over fragmented storytelling.^[30] In Spain, however, predelle persisted longer into the 17th century, supported by Counter-Reformation demands for didactic imagery in monastic settings, as seen in Francisco de Ribalta's The Dream of Saint Joseph (ca. 1608–1611), a predella panel reinforcing Eucharistic themes in Valencian altarpieces.^[31] The 18th and 19th centuries brought widespread dispersal of predella panels amid church reforms and secularization efforts, particularly during the Napoleonic era's suppression of monasteries across Europe, which led to the auction and fragmentation of ecclesiastical art collections.^[32] In Italy and France, panels were detached from altarpieces and sold separately to fund reforms or private collectors, resulting in scattered holdings; for instance, the National Gallery in London acquired multiple predella fragments, such as those from Duccio's Maestà (ca. 1308–1311) in the 1880s and Giovanni di Paolo's Baptist cycle (ca. 1453) in 1856, originally from Sienese churches now dispersed globally.^[25] This fragmentation often severed narrative continuity, turning predelle into standalone works valued for their miniature artistry rather than liturgical context.^[33] In the 20th century, predelle experienced a revival through systematic restorations that emphasized their historical integrity, with conservators employing techniques like panel thinning and varnish removal to reveal original pigments, as applied to early Italian "primitives" in museum collections.^[34] This renewed focus facilitated scholarly efforts to reunite dispersed panels using X-radiography to uncover underdrawings and provenance clues, enabling virtual reconstructions of original altarpiece configurations, such as Raphael's Colonna Altarpiece predella (1504–1505).^[35] The predella's legacy endures in 21st-century digital initiatives, including post-2020 projects that employ photogrammetry and 3D modeling to reconstruct lost altarpieces, allowing public access to complete ensembles like Catalonia's Rosary altarpiece fragments from the Spanish Civil War era.^[36] Its sequential narrative format has also informed modern visual storytelling, influencing the panel-based structures in comics and film storyboards by providing a model for concise, episodic depictions of complex tales. Recent auctions underscore its market significance; for example, Christie's sold a predella panel by Bernardo Daddi depicting Saints Lucy and Catherine of Alexandria (ca. 1340s) in June 2022 for within its $300,000–$500,000 estimate, highlighting ongoing collector interest in these Renaissance artifacts.^[37]

Function and Iconography

Liturgical and Symbolic Role

The predella, forming the lowest register of a multi-panelled altarpiece or polyptych, was strategically positioned at eye level for worshippers kneeling in prayer before the altar, thereby enhancing their immersion in the liturgical experience during Mass.^[38] This placement not only brought the narrative scenes into direct view but also elevated the main altar panel above, improving visibility of the central imagery from the church nave and integrating the altarpiece seamlessly into the worship space.^[39] By situating the predella close to the communicants and the Eucharistic action on the altar, it reinforced the altarpiece's role as an extension of the Mass itself.^[40] Symbolically, the predella embodied the foundational aspects of Christian faith, often featuring subordinate scenes or figures—such as apostles—that underscored the hierarchical structure of the altarpiece, with the base supporting and amplifying the elevated main narrative above.^[14] This arrangement mirrored biblical motifs of stability and support, evoking the apostles as the "foundation" of the church (Ephesians 2:20), and emphasized the predella's role in grounding devotion in doctrinal essentials.^[25] The lower position further symbolized humility and the earthly realm, contrasting with the divine elevation of the upper panels to guide worshippers toward spiritual ascent. In its interactive capacity, the predella facilitated sequential "reading" of its narrative panels, typically progressing from left to right, which enabled largely illiterate congregations to follow biblical stories visually and engage in personal devotion and moral reflection during services.^[41] This didactic function promoted meditative prayer, allowing viewers to contemplate key events in Christ's life or saints' stories at a personal scale, fostering emotional and ethical instruction without reliance on textual literacy.^[38] Predellas occasionally bore inscriptions that explicitly linked the imagery to sacraments like the Eucharist, thereby deepening the altarpiece's connection to the church's sacramental life.^[40] These elements transformed the predella into a tactile and interpretive bridge between the altar's ritual and the faithful's participation.^[42]

Common Narrative Themes

Predella panels predominantly feature scenes from the Life of Christ, including infancy episodes such as the Nativity and Adoration of the Shepherds, as well as Passion cycle moments like the Crucifixion and Resurrection, which underscore themes of incarnation, suffering, and redemption.^[43] These motifs often parallel the central altarpiece's devotional focus, providing a supplementary narrative that reinforces the main image's theological message. Similarly, cycles from the Life of the Virgin Mary are common, encompassing events like the Annunciation, Birth of the Virgin, and Presentation in the Temple, which emphasize her purity and intercessory role.^[44] Scenes depicting patron saints, particularly their martyrdoms, miracles, or key vitae episodes, further dominate, serving to honor the altarpiece's dedicatee or the church's patron while illustrating virtues like faith and endurance.^[45] Structurally, predella narratives typically comprise 3 to 7 panels arranged in a linear sequence, forming a cohesive arc that progresses from origins or incarnation—such as birth or calling—to culmination in triumph, death, or exaltation, thereby creating a miniature biography or episodic chronicle below the main register.^[44] This format allows for a condensed storytelling that complements the altarpiece's liturgical function without overwhelming the primary icon.^[45] Regional variations in Italian predelle emphasize hagiographic content, with a strong focus on saints' lives and martyrdoms tailored to local devotions.^[43] Miracles and personifications of virtues, such as charity or humility, are frequently included to echo the central panel's iconography, fostering thematic harmony across the ensemble.^[44] Predella iconography permits greater artistic freedom compared to the rigidly canonical central images, enabling the inclusion of experimental genre scenes, such as everyday domestic activities or landscape vignettes, and occasional donor portraits that blend narrative with personal commemoration.^[45] This flexibility allowed artists to explore innovative compositions and secular motifs, less constrained by doctrinal prescriptions, while still advancing the overall devotional narrative.^[43]

Artistic Characteristics

Composition and Scale

Predella panels are characteristically modest in scale compared to the central altarpiece, typically measuring 30-60 cm in width and 20-40 cm in height, which facilitated intimate observation during liturgical rituals.^[46]^[47] This reduced size prioritized fine, expressive details—such as subtle gestures and emotional expressions—over monumental grandeur, as viewers approached the altar closely.^[48] In terms of compositional layout, predella panels often adopt a horizontal frieze format, arranging multiple scenes with balanced spacing to create a cohesive narrative base beneath the main image.^[2] Unity across panels is frequently achieved through continuous landscape or architectural backdrops that span the sequence, linking disparate episodes visually while maintaining episodic separation.^[48]^[49] Perspective in predella compositions evolved from the flat, decorative designs of the late Middle Ages to more naturalistic one-point systems by the 1400s, enhancing spatial depth within the constrained format.^[50] Framing typically employed arched or rectangular borders that echoed the style of the overarching altarpiece, integrating the predella structurally and aesthetically into the whole ensemble.^[25] The narrative flow in predella panels generally proceeds from left to right, mimicking Western reading conventions, with episodic breaks delineated by prominent figures, props, or architectural elements to guide the viewer's progression.^[51] This arrangement fosters emotional intimacy, as the proximity of viewing encouraged contemplation of individual scenes' human-scale drama.^[48]

Techniques and Materials

Predelle, as painted panels, were typically executed on wood supports such as poplar or walnut, chosen for their stability and availability in Italy during the Renaissance. These panels were prepared with a gesso ground, consisting of layers of gypsum (calcium sulfate) mixed with animal glue, applied in a coarse base layer (gesso grosso) followed by a finer finishing layer (gesso sottile) to create a smooth, absorbent surface ideal for detailed work. Tempera, an emulsion of egg yolk and water-soluble pigments, remained the dominant medium for predelle until the early 16th century, particularly in central Italy, where it allowed for precise, matte finishes suited to the small scale; oil paints, offering greater flexibility and depth, were adopted more readily in northern Europe by the 1500s for richer tonal effects.^[52]^[53] Artistic techniques for painted predelle began with underdrawings executed in charcoal or black chalk on the gesso ground, providing a flexible guide for composition that could be adjusted during painting. Paint was applied in thin, successive layers, with tempera built up opaquely for flesh tones and backgrounds, while later oil techniques incorporated translucent glazes—often of red lake or green earth pigments—to achieve volumetric depth and luminosity on the smaller format. Gilding was a key feature, especially for backgrounds, where gold leaf was laid over a bole ground (red clay mixed with glue) and burnished to reflect light in dimly lit ecclesiastical settings, enhancing the narrative scenes' divine aura.^[52]^[54]^[55] Sculptural predelle, more common in earlier medieval and proto-Renaissance examples, employed low-relief carving in marble or terracotta to depict narrative cycles, allowing for economical production through molding or chiseling. Marble reliefs, such as those by Donatello, featured shallow depths (stiacciato technique) for subtle modeling, while terracotta variants permitted easier replication and surface detailing. Polychromy—painting and gilding over the sculpture—was prevalent in early works to mimic lifelike skin and fabrics but gradually faded during the Renaissance in favor of unpainted stone to emphasize naturalism and material purity.^[56]^[57] Conservation of predelle presents challenges due to their wood construction, which is prone to warping from humidity fluctuations and environmental stress, often leading to cracks in the gesso and paint layers. Overpainting, applied during past restorations to conceal damage or adapt to changing tastes, has obscured original surfaces in many examples. Since the post-1950s, modern diagnostic methods like infrared reflectography have revolutionized analysis, revealing underdrawings and alterations non-invasively by capturing infrared wavelengths that penetrate upper paint layers.^[58]^[59]^[58]

Notable Examples

Italian Renaissance Predelle

The predella form attained a high point of artistic refinement during the Italian Renaissance, particularly in central Italy, where artists used the lowermost register of altarpieces to unfold supplementary narratives with exceptional detail and emotional depth, enhancing the devotional experience for worshippers. These small-scale panels often employed gold grounds, intricate compositions, and symbolic motifs to complement the central image above, reflecting the era's blend of medieval tradition and emerging humanistic concerns. Duccio di Buoninsegna's Maestà predella (1308–1311), created for Siena Cathedral, exemplifies early Sienese mastery in this genre through its scenes from the infancy and ministry of Christ, including the Nativity and the Raising of Lazarus, which demonstrate masterful narrative compression by distilling multifaceted biblical episodes into concise, expressive formats while preserving rhythmic continuity and gilded opulence.^[60] The panels' intimate scale invited close viewing, allowing viewers to absorb the sequence's theological progression in a manner that heightened the altarpiece's overall liturgical impact. Carlo Crivelli's San Domenico Altarpiece (1476, Ascoli Piceno) originally featured a predella with Passion scenes (now lost), notable for their dramatic tension, jewel-like colors, and meticulous still-life details such as hanging fruits and architectural elements that add a tactile realism to the sacred narrative.^[61] This Marchese work bridges late Gothic elaboration with Renaissance observation, using the predella to extend the altarpiece's emotional range through hyper-detailed vignettes that reward scrutiny.

Northern European Examples

In Northern European art, the predella form adapted to local traditions, often appearing as compact narrative panels or carved bases in altarpieces, emphasizing emotional depth and intricate detailing typical of Gothic and early Renaissance styles. A prominent Flemish example is Rogier van der Weyden's Entombment of Christ (c. 1440s), a small oil-on-panel work possibly originating as the central panel from a larger unidentified altarpiece, featuring three mourning figures tenderly handling Christ's body in a tightly composed scene that highlights van der Weyden's mastery of oil glazes for luminous skin tones and expressive gestures.^[62] This panel, now in the Galleria degli Uffizi, Florence, exemplifies how Flemish artists integrated such elements to extend devotional narratives, focusing on intimate moments of sorrow to engage worshippers at eye level.^[63] In Germany, the predella evolved into carved limewood bases depicting saintly legends, aligning with the region's emphasis on polychromed sculpture and moral storytelling. Tilman Riemenschneider's altarpieces from the late 15th century, such as the Holy Blood Altarpiece (1501–1505) in Rothenburg ob der Tauber, incorporate a lower register without a traditional step but with filigree arcades supporting narrative reliefs of saints and biblical events, carved in soft limewood to achieve delicate, translucent effects under original gilding and paint.^[64] Riemenschneider's workshop also produced predella panels for works like the Mary Coronation Altarpiece, where compact scenes from saint legends served to ground the elevated central figures, blending Late Gothic intricacy with emerging Renaissance humanism.^[65] Spanish examples demonstrate the predella's persistence into the 16th century, transitioning into Mannerist expressions amid influences from Italian and Flemish sources. Alonso Berruguete's retable for the Monastery of San Benito el Real in Valladolid (1520s–1530s) includes predella fragments with dynamic narrative carvings, such as the Circumcision, depicting Old Testament prefigurations and saintly episodes in expressive, elongated figures that convey intense emotion through twisted poses and dramatic lighting.^[66] These base panels, now dispersed in the National Sculpture Museum, Valladolid, underscore Berruguete's role in adapting the form to Spanish retablo traditions, where narrative depth endured despite shifting artistic currents.^[67] Beyond major centers, predella-like features influenced 16th-century Scandinavian and English ecclesiastical art, particularly in church screens where lower carved or painted panels blended biblical narratives with local folklore and saints. In England, surviving rood screens from parish churches, such as those in Devon and Somerset, feature base friezes with reliefs of apostles and moral legends, serving a liturgical function akin to predellas by visually separating sacred spaces while educating the laity.^[68] Similarly, Scandinavian examples in Danish and Swedish parish churches incorporated narrative lower tiers into wooden screens, integrating regional iconography like Viking-era motifs with Christian hagiography to foster community devotion during the Reformation era.^[69]

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[43]
[PDF] Early Renaissance Narrative Painting in Italy
Early Renaissance narrative painting in Italy, as defined by Alberti, required developed representational skills and mastery of one-point perspective.
[44]
The Italian Renaissance Altarpiece - Yale University Press
Free 20-day returnsJul 27, 2021 · The Italian Renaissance Altarpiece is the first comprehensive study of the genre to examine its content and subject matter in real detail.
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The Italian Renaissance Altarpiece: Between Icon and Narrative
Apr 24, 2023 · Chapter 6 considers the predella, which Ekserdjian sees as a focal point of narrative interest in the period. He describes how this “footstool” ...
[46]
Christ and the Woman of Samaria | The Art Institute of Chicago
... predella—a series of small pictures, often narrative scenes, forming the base of an altarpiece. These predella scenes depict moments when Jesus's divine ...
[47]
The Creation of the World and the Expulsion from Paradise ...
Renaissance · Creation date: 1445. Media/Technique: tempera, gold, panel; painting (image-making). Dimensions: 46.4x52.1 cm (18.27x20.51 inches). Subjects ...
[48]
Gentile da Fabriano, Adoration of the Magi - Smarthistory
The altarpiece depicts several Gospel stories surrounding the birth of Christ as they were retold in the Middle Ages and Renaissance. In the main panel, three ...
[49]
Piero della Francesca Paintings, Bio, Ideas - The Art Story
Sep 8, 2018 · The predella at the bottom of the altarpiece contains scenes from ... continuous landscape. The pale and monochromatic palette of this ...
[50]
The History of Perspective - Essential Vermeer
The birth of a true, geometrically based perspective is unique to the Italian Renaissance, and its development spans over the fourteenth and fifteenth centuries ...
[51]
Master of Roussillon, St. Andrew Altarpiece - Christian Iconography
If the narrative scenes are all from a single story they will flow chronologically from left to right, with the most famous scene in the central panel even if ...
[52]
[PDF] Historical Painting Techniques, Materials, and Studio Practice
The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc.
[53]
[PDF] Fra Angelico's Predella for the High Altarpiece of San Domenico ...
Dec 10, 2024 · The National Gallery panels (NG 663; plates 1–5) formed the predella of an altar- piece painted by Fra Angelico probably in the early.
[54]
[PDF] Raphael's Early Work in the National Gallery: Paintings before Rome
The two National Gallery predella panels had also been thought to have been painted mainly with egg tempera, although the central panels of the altarpieces to ...
[55]
[PDF] Introduction to The Italian Paintings Before 1400 - National Gallery
Jul 8, 2011 · 2 The underdrawing: the figure has first been sketched with charcoal and some of the drawing ... The particular gilding technique used by the ...
[56]
Donatello | Grove Art - Oxford Art Online
The marble relief is remarkable for its complicated architectural setting: Herod's vast palace is laid out correctly in perspective across the surface of ...
[57]
Relief Effects in Donatello and Mantegna (Chapter 15)
In this cultivated environment, Donatello worked on statues and reliefs in bronze and in polychromed stone for the high altar of the Santo, on the Forzori Altar ...
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[PDF] Structural Conservation of Panel Paintings - Getty Museum
The last restoration of this painting occurred in the early 1950s. At that ... the first half of the twentieth century. A panel would be thinned by the.<|separator|>
[59]
Postprocessing of Infrared Reflectography to Support the Study of a ...
Jun 28, 2011 · Infrared (IR) reflectography is an imaging diagnostic technique widely used to study and evaluate the assessment of paintings′ conservation ...
[60]
Maestà | Byzantine art, Siena Cathedral, 1311 - Britannica
Maestà, double-sided altarpieces executed for the cathedral of Siena by the Italian painter Duccio. The first version (1302), originally in the Palazzo ...Missing: Florence Venice
[61]
Polyptych of Valle Romita by GENTILE DA FABRIANO
The central panel of the polyptych (157 x 80 cm) depicts the Coronation of the Virgin; the side panels (118 x 40 cm each) represent St Jerome, St Francis, St ...Missing: predella | Show results with:predella
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Carlo Crivelli | Saint Dominic | NG788.5 | National Gallery, London
Crivelli painted two altarpieces for the small church of San Domenico, in the town of Ascoli Piceno in the Italian Marche. Their history is complex and ...Missing: 1468 Passion life
[63]
Entombment of Christ by WEYDEN, Rogier van der
This painting, in a Renaissance frame decorated with pilasters, adorned the altar of the private chapel of the Medici villa in Careggi, near Florence. Cosimo de ...
[64]
The Lamentation - The Collection - Museo Nacional del Prado
Apr 28, 2015 · This painting is a slight variation of the central panel in the predella of the Don Álvaro de Luna Altar Piece which is in the Toledo cathedral.
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Holy Blood Altarpiece by RIEMENSCHNEIDER, Tilman
Holy Blood Altarpiece. 1501-02. Limewood, height 900 cm. Sankt Jakob, Rothenburg ob der Tauber ; A small crystal, placed at the centre of a cross in the crowning ...
[66]
Mary Salome and Zebedee | Riemenschneider, Tilman
Nov 18, 2002 · Group from an altarpiece showing Mary Salome and Zebedee, carved and glazed limewood, Tilman Riemenschneider, Würzburg, Germany, ca ... predella ...
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Altarpiece of the monastery of San Benito el Real, fragment ... - Alamy
RF 2A1T4Y9–Circumcision of the Altarpiece of the Monastery of San Benito el Real by Alonso Berruguete in the National Sculpture Museum, city Valladolid, Spain.
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Alonso Berruguete, Abraham and Isaac - Smarthistory
Aug 11, 2020 · The Retablo of San Benito el Real. Abraham and Isaac is one small piece of a commission that Berruguete received in 1526 from the Monastery of ...Missing: predella | Show results with:predella
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The Making of Church Screens - Sacred Architecture Journal
Extending laterally across the east end of the nave at its junction with the chancel, they typically feature a central opening, often furnished with a gate or ...Missing: predella | Show results with:predella
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Art and Science of the Church Screen in Medieval Europe
Dec 1, 2018 · The pan-European picture is concluded with Ebbe Nyborg's study of choir screens and rood lofts in Scandinavian parish churches before 1300, an ...Missing: predella 16th