Catalogue entry
Master of the Borgo Crucifix (Master of the Franciscan Crucifixes) active 1250s and 1260s
NG 6572
The Virgin and Child
NG 6573
The Man of Sorrows
, 2011
Extracted from:
Dillian Gordon, The Italian Paintings Before 1400 (London: National Gallery Company and Yale University Press, 2011).
NG 6572 The Virgin and Child (© The National Gallery, London)
NG 6573 The Man of Sorrows (© The National Gallery, London)
NG 6572
The Virgin and Child
c. 1255–60
Egg tempera on wood, 32.2 × 22.9 cm
NG 6573
The Man of Sorrows
c. 1255–60
Egg tempera on wood, 32.3 × 23.0 cm
These two panels come from a single diptych and were reunited in 1999.
[page 334][page 335][page 336]NG 6572
The Virgin and Child
c. 1255–60
Egg tempera on wood, 32.2 × 22.9 cm
The blue‐eyed Virgin, looking out at the spectator, wears a blue cloak with a fringe at the shoulder, bordered with a brown band lined with red, and a red headcloth concealing her hair. She is holding the Christ Child, who wears a brown cloak over an orange tunic. Barefoot, he holds a scroll in one hand and gives a Byzantine‐style blessing.
Technical Notes
Panel structure and condition
The wood panel is formed from a single board with a vertical grain, measuring 32.2 × 22.9 cm. Painted surface 28.8 × 19.3 cm. Thickness of panel including frame 2.0 cm, excluding frame 1.2 cm.
The wood of the panel is in good condition, apart from a small repair at the bottom right‐hand corner and a slight convex warp.
The reverse (fig. 1) is covered with a layer of gesso, painted with a fictive deep red porphyry made from a deep red‐brown crystalline iron oxide pigment with spots and touches of red lead.1 There is exposed wood where three split‐tailed hinges have been removed, situated c. 4.1 cm, 16.1 cm and 28.1 cm from the bottom edge of the panel. There are modern nail holes in the centre top.
The frame mouldings are original, dowelled and glued onto the front of the panel.
On the back are the extremely small remains of a red seal.
Painting condition and technique
Cleaned and restored in 2008.
Canvas has been attached to the panel, extending over the frame and down the sides, but not over the back. The whole is covered with gesso.
Infrared reflectography (fig. 3) and the X‐radiograph (fig. 2) clearly reveal an extremely detailed incising of both figures: the features of their faces, their hands and fingers, the Child’s feet, and the drapery folds.
The paint on the back is in good condition apart from a few isolated losses.
On the front, the background – including the frame mouldings and the haloes – is water‐gilded on a red bole and is quite worn, exposing bole and in places gesso, for example in the Child’s halo. There is a large loss in the decoration of the frame moulding in the bottom right‐hand corner.
The reverse of NG 6572. © The National Gallery, London
X‐radiograph of NG 6572. © The National Gallery, London
Infrared reflectogram of NG 6572. © The National Gallery, London
Photomicrograph of the punch marks in the border of NG 6572. © The National Gallery, London
Photomicrograph of the punch marks in the decoration of the Virgin’s halo. © The National Gallery, London
Photomicrograph of the Child’s garment. © The National Gallery, London
Photomicrograph of the decoration of the Child’s halo. © The National Gallery, London
The borders and haloes have been extensively punched and incised. The border has a six‐petal rosette punch mark (fig. 4) running in two parallel rows between incised guidelines, on either side of an incised freehand tendril pattern interspersed with quatrefoils.
A double line of a single dot punch mark, often unequally spaced, outlines the circumference of the haloes. The Virgin’s halo also has a six‐petal rosette, which appears finer and more delicate, within incised guidelines (fig. 5). The same punch is used also within the incised cross of the Child’s halo, and intermittently within the double‐line of the single dot punching. The curls of the incised tendril pattern within both haloes terminate in a trefoil made with the single dot punch. There is a single quatrefoil in the Virgin’s halo; presumably more were intended but for some reason not executed. The punching and incising extend over the frame mouldings and the punching of the Virgin’s halo slightly overlaps the frame at the top.
There are no traces of there ever having been any mordant gilding.
The paint surface is in good condition, apart from scattered tiny flake losses, particularly in the Child’s cloak.
The flesh painting has a strongly green underlayer identified as green earth (fig. 8). Infrared reflectography reveals that small changes were made during the painting of the Child’s [page 339] right hand (figs 3 and 9) and left foot, after the application of the green earth underpaint. Otherwise the incised design was followed closely, except for the fall of the Virgin’s cloak, where a fold was introduced on the left side.
Photomicrograph of the Child’s head. © The National Gallery, London
Photomicrograph of the Child’s blessing hand. © The National Gallery, London
The Virgin’s cloak is painted with ultramarine, mixed with a certain amount of white for the highlights, and has a fringe of knotted cords in blue falling from the shoulder, now very difficult to see; its brown border, similar in constitution to the Child’s cloak, is lined with red, painted with vermilion modelled with red lake. The blue drapery overlaps the background at its periphery. The Virgin’s red headcloth is likewise vermilion modelled with red lake. Her eyes are blue.
The Child’s dress is painted with vermilion, mixed with white for the highlights, with red lake folds. His cloak is brown (fig. 6) – a mixture of black, a crystalline iron‐oxide red (haematite), finer red earth and some white – and has a delicate white fringe; there is a tiny scattering of blue in the highlights and black in the shadows. The cross in his halo was decorated with blue, and seems to have been outlined with a red line (vermilion and red lake) with white dots (fig. 7), presumably resembling the cross of his halo in the other wing of the diptych (see below).
For further comment see under NG 6573 below.
NG 6573
The Man of Sorrows
c. 1255–60
Egg tempera on wood, 32.3 × 23.0 cm
The dead Christ, his eyes closed, has his arms folded across his chest, showing the stigmata on his hands. He is placed in front of the cross on which he was crucified. The titulus of the cross is inscribed IE [SUS] [?] NAÇ(=Z) [?]ARENVS./REX IUDEORUM (Jesus of Nazareth, King of the Jews; John 19:19). On either side two angels cover their faces in grief.
Technical Notes
Panel structure and condition
The wood panel is formed from a single board with a vertical grain, measuring 32.3 × 23.0 cm. Painted surface 28.7 × 19.3 cm. Thickness of panel including frame 2.10 cm, excluding frame 1.2 cm.
The physical make‐up of the painting is identical to that of the Virgin and Child panel. The panel itself is in slightly better condition but has a slight convex warp.
The reverse is covered with an identical layer of gesso, painted with the same fictive deep red porphyry (figs 10 and 11). The areas where three split‐tailed hinges have been removed are situated 4.0 cm, 15.8 cm and 28.0 cm from the bottom edge of the panel. There is a fairly large loss towards the bottom left‐hand corner. There are two recent screw holes at the sides and nails at the top. The frame mouldings are original, dowelled and glued onto the panel.
Painting condition and technique
Cleaned and restored in 2008.
As with NG 6572, the canvas beneath the gesso on the front extends over the frame and down the sides, but not over the reverse.
Infrared reflectography (fig. 13) and the X‐radiograph (fig. 12) clearly reveal an extremely detailed incising of the [page 341][page 342] whole figure: the features of Christ’s face, the hair around his forehead, his forked beard, his hands and fingers, a rib on each side and the sternum of the breast. The titulus and cross have been incised freehand.
Photomicrograph of the fictive porphyry on the reverse of NG 6573. © The National Gallery, London
The reverse of NG 6573. © The National Gallery, London
X‐radiograph of NG 6573. © The National Gallery, London
Infrared reflectogram of NG 6573. © The National Gallery, London
Photomicrograph of the angel on the left. © The National Gallery, London
Photomicrograph of the angel on the right. © The National Gallery, London
Photomicrograph of the two different punch marks where they overlap in Christ’s halo in NG 6573. © The National Gallery, London
Infrared reflectography reveals small changes in the position of Christ’s elbows, which have been lowered over the gold, and to his fingers, which have been extended.
The background, including frame mouldings, and the haloes are water gilded on a red bole.
The paint surface is in fairly good condition, although the flesh painting is abraded and the gold background worn in places. The decoration of the gilding is identical to that of NG 6572, and the borders and halo have been extensively punched and incised along the same principles, except that the border is missing the quatrefoil punch mark and the incised curls terminate instead in irregular trefoils made with a single dot punch. The same two rosette punch tools have been used as in NG 6572: one decorates the circumference of Christ’s halo inside the outer ring of punched dots, while the other outlines the incised cross of his halo, with some confusion where the two punch marks overlap (fig. 16).
The cross within Christ’s halo has blue jewels painted with ultramarine and modelled with white, and there are traces of red to the side and down the middle, similar to those on the Child’s halo in NG 6572. These vestiges suggest that the cross of the halo was outlined with red and that the blue jewels alternated with red ones.
Cleaning has revealed that the wooden arms of the cross were painted in three different shades of brown, using pigment mixtures similar to those of the Child’s cloak in NG 6572. There was an early modification of the design: above Christ’s right shoulder a roughly triangular part of the halo is gilded and punched straight onto gesso; no layer of bole was applied (presumably the person punching the halo assumed that it finished level with the arm of the cross), although there is a trace of bole and gilding beneath the paint of the shoulder.
The flesh painting has the same very green underlayer of green earth as NG 6572, and there is an upper layer of yellowish coloured paint in which no red component was detected. The flesh paint may have been more yellow‐green originally; it is now colder in tone as a result of increased transparency and abrasion, but seems never to have had a pinkish or greyish tonality. The wounds in Christ’s hands are painted with brown paint, suggesting the holes left by the nails; the blood dripping from them is painted with vermilion. If the wound in his side (which it is unusual to omit) was ever depicted, no traces of paint remain.
Both angels have the same green underpaint for the flesh (figs 14 and 15). The left‐hand angel has a red and white hair‐band and a red sleeve painted with vermilion modelled with white and red lake, a purple cloak painted using mixtures of ultramarine, red lake and white, and brown and green wings over gold. The right angel has a red hairband, a blue sleeve painted with ultramarine mixed with white and decorated with a stripe made with red lake and yellow, a red cloak painted with vermilion modelled with red lake, and blue and brown wings over gold.
The titulus is painted with vermilion modelled with red lake, with white lettering.
Master of the Borgo Crucifix, Crucifix, c. 1255–60.
Tempera on wood, 238 × 194 cm. Bologna, Pinacoteca Nazionale (formerly in Santa Maria in Borgo, originally in San Francesco, Bologna). Saint Helen is a later addition. BOLOGNA Pinacoteca Nazionale Bologna © Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali
Attribution
In 1926 Giacomo De Nicola attributed the Man of Sorrows (then in the Stoclet Collection) to Giunta Pisano,2 followed by Raimond Van Marle in 1929.3 Other critics, such as Edward Garrison (who was the first to identify it as the right wing of a diptych) and Rodolfo Pallucchini, considered it to be Venetian.4 In 1998 the situation was clarified when Joanna Cannon recognised the left wing as being the panel of the Virgin and Child (then in a private collection).5 Not only are the panels identical in their dimensions, their punch marks and the painting of their backs, but the remains of the split‐tailed hinges precisely match; there is no doubt that they are the two wings of a single diptych.6
Identification of the missing wing has enabled the diptych to be more clearly set within its artistic context. De Nicola’s attribution to Giunta Pisano can be modified to a painter influenced by Giunta. It was suggested by Cannon that the diptych is close to the Crucifix in Santa Chiara, Assisi.7 However, the painting of the Santa Chiara Crucifix is of lower quality and coarser in style, the features more bulbous and the delineation of drapery folds less refined.8 One feature the two works do share is the distinctive highlighting of the knuckles of the hands, which is found also in the hands of John the Evangelist in the Crucifixion in the missal (Perugia, Capitolo della Cattedrale di San Lorenzo, MS 6, f. 191v; fig. 22) from Acre (modern Akko, Israel), capital of the Latin kingdom of Jerusalem.9 There are also iconographic links with Crusader art (see below).
The diptych is most closely comparable to the two Crucifix terminals by the Master of the Borgo Crucifix showing the Mourning Virgin and Saint John the Evangelist in the National Gallery of Art, Washington (figs 18 and 19).10 Common stylistic features are the rendering of the ‘cupid’s bow’ mouth emphasised with white highlights whiskering from each side on the upper lip and chin (derived from Giunta Pisano),11 the parallel lines curving above the cheek, the sharp V between the eyebrows (likewise derived from Giunta Pisano), and the curling incised pattern within the haloes. The Virgin in NG 6572 and Saint John in the Washington panel have the same type of nose and eyes, and the outward‐radiating highlights in the draperies of John and the Child (see fig. 6) are almost identical in shape. The Washington terminals are now generally accepted as coming from the Crucifix (fig. 17) originally in San [page 344] Francesco, Bologna, then transferred to Santa Maria in Borgo, Bologna, and now in the Pinacoteca there.12 Taking into account the difference in scale, the head of Christ in this Crucifix compares well with NG 6573, especially in the painting of the hair, and the oddly outward‐turning tips of thumbs and fingers. The features, especially those of the suffering Christ, are less like the soft, rounded style of the Blue Crucifix Master and closer to the work of the Master of Saint Francis (see p. 364), suggesting a date around 1255–60 (see biography). The type of tooling of the gold background of the diptych, combining incised tendrils with a punched motif – previously found in Giunta Pisano’s Crucifix from San Benedetto, Pisa (now Pisa, Museo Nazionale di San Matteo)13 – is similar to that found in the work of the Master of Saint Francis. It seems very likely that the Master of Saint Francis trained and/or collaborated with the Master of the Borgo Crucifix / Master of the Franciscan Crucifixes, since one of the punch marks in NG 6572 and 6573 is very similar (possibly made using the identical tool) to that found in his double‐sided altar piece and Crucifix of 1272, the former being probably, and the latter certainly, from San Francesco al Prato, Perugia.14
Master of the Borgo Crucifix, The Mourning Virgin, 81 × 31.5 cm, and Saint John the Evangelist, 80.5 × 31.5 cm. Tempera on wood, c. 1255–60 (Crucifix terminals from fig. 17). Washington, National Gallery of Art, Samuel H. Kress Collection (1952.5.13 and 14). WASHINGTON DC © Image courtesy National Gallery of Art, Washington DC
WASHINGTON DC © Image courtesy National Gallery of Art, Washington DC
Workshop of the Borgo Crucifix Master, The Virgin and Child, c. 1260. Tempera on wood, 125 × 91 cm. Forlì, Pinacoteca Civica. FORLÌ © Pinacoteca Civica, Forlì
It is significant that NG 6572 is iconographically very similar to a painting of the Virgin and Child (Forlì, Pinacoteca Civica; fig. 20) that Giovanni Valagussa tentatively attributed to the hand of the Borgo Crucifix Master around 1260 (though later reverting to cataloguing it as merely Giuntesque around 1255–60),15 which seems to be from his workshop. The panel has similar incised curling scrollwork in the halo to that in NG 6572, and a similar pattern in the arrangement of the drapery folds in the Child’s garments, although in the Forlì panel this is depicted with mordant gilding.16 The pronounced dark V‐shaped line at the base of the neck in both panels has its roots in Pisan painting.17 The Forlì panel is too crude to be by the Master of the Borgo Crucifix himself, but suggests the existence of a workshop.
Iconography
One difference between the Forlì and National Gallery panels is that the Child in NG 6572 is giving the type of blessing more usually found in Byzantine art (with the little finger extended). The iconography of the half‐length National Gallery Virgin and Child follows that of the Virgin Hodegetria (Greek for ‘showing the way’) deriving from the now lost Byzantine icon of the Virgin and Child that was originally in the Hodegon Monastery in Constantinople.18 This iconography spread to the West and was common in Tuscany in the mid‐thirteenth century, particularly in Pisa (see under NG 4741, p. 410).19 The popularity of this cult image can be attributed to the fact that it was thought to show an authentic portrait of the Virgin and Child supposedly painted by Saint Luke; it was also believed to work miracles. The two angels normally seen above the Virgin and Child in the Virgin Hodegetria have been moved in the National Gallery diptych from the left wing to the right wing, where they now adopt poses of mourning above the Man of Sorrows.20
The possibility that the diptych depends on a Byzantine prototype is strong, although no such Byzantine diptych apparently survives: the combination of the Virgin Hodegetria with the Man of Sorrows is found in the double‐sided processional icon in the Byzantine Museum, Kastoria (115.0 × 77.5 cm), dating from the second half of the twelfth century.21 Cannon points out that one cannot be sure whether the painter of NG 6572 and 6573 was following two separate images or a single work.22 A number of later Italian diptychs combine the Virgin and Child with the Man of Sorrows, but the process of dissemination of the type is impossible to trace with any certainty, given the chronological and geographic spread and the very few surviving examples.23
The date when the Man of Sorrows (Imago Pietatis) was first depicted in the West remains problematic.24 An early example of the image occurs in the temporal of a missal (Cividalese LXXXVI, f. 177) where the calendar is dated 1254, written probably for the cathedral of Cividale,25 and a Psalter that includes an illumination of the Man of Sorrows (Vienna, Austrian Library, Cod. 1898, f. 14 verso) is dated to the mid‐thirteenth century.26 In an anthology of devotional texts made for use in Genoa, the Supplicationes Variae, dated 1293 (Florence, Biblioteca Laurenziana, MS Plut. XXV, 3 Codex, f. 183v), which includes the Man of Sorrows,27 the angels in the Crucifixion, Deposition and Entombment of that manuscript cover their faces in a manner similar to NG 6573, as Louis La Favia pointed out.28
[page 345]Cannon has also noted a similarity in NG 6573 to Byzantine painting and to Crusader art (that is, paintings by Western artists in the Latin kingdom of Jerusalem), in the decoration of the border which overlaps the frame29 as well as in the mourning angels covering their faces (a motif taken up by the Master of Saint Francis).30
A further link with Crusader art is that Christ’s cross is painted with three different browns, as the cleaning in 2008 revealed. This is a common feature of paintings produced in the Latin kingdom of Jerusalem, and is found, for example, in two thirteenth‐century icons of the Crucifixion from the Holy Monastery of St Catherine in Sinai (fig. 21), as well as in the missal from the Cathedral of the Holy Cross in St Jean in Acre, now in the Capitolo della Cattedrale di San Lorenzo, Perugia (MS 6; fig. 22).31 Significantly, three tones of brown are used for the cross in the now fragmentary fresco of the Deposition by the Master of Saint Francis in the nave of the Lower Church of San Francesco, Assisi.32 Although the three tones seem sometimes to have been used to express three dimensions (as in fig. 21), this is not always overt (see fig. 22). It is possible that they are intended to represent the three different woods from which the cross is said to have been made, which, according to Geoffrey of Viterbo writing around 1180, were fir, palm and cypress; the three woods were interpreted as symbolising the Trinity.33
Patron and Function
The diptych was presumably commissioned for private devotion. The patron may have wanted the Virgin and Child to be copied from a specific prototype, hence perhaps the careful incising,34 maybe using a pattern. It is quite possible, given the milieu in which the workshop of the Master of the Borgo Crucifix/Master of the Franciscan Crucifixes operated, that it was for a member of the Franciscan Order, which promoted [page 346]veneration of Christ’s suffering on the cross.35 The conscious derivation from a specific prototype, almost certainly Byzantine, is highly suggestive in view of the links between the mendicants and Byzantium.36 The Man of Sorrows is, however, found in both a Franciscan and a Dominican context. For example, the Supplicationes Variae mentioned above were for Franciscan use, while associated with the Dominicans is the mid‐thirteenth‐century Psalter in Vienna, also mentioned above,37 a thirteenth‐century triptych showing the Man of Sorrows between the Virgin and Saint John the Evangelist (private collection),38 and a central Italian fourteenth‐century enamel showing the Man of Sorrows with a kneeling Dominican and a flagellant on either side (New York, Metropolitan Museum of Art).39
Anonymous painter in Acre, The Crucifixion, c. 1280s. Tempera on wood, 120.5 × 68 cm (obverse of a double‐sided icon). Sinai, Holy Monastery of St Catherine. MOUNT SINAI © Monastery of St Catherine at Mount Sinai
Anonymous painter in Acre, Missal with The Crucifixion, third quarter of the thirteenth century. Parchment, 32 × 23 cm. Perugia, Capitolo della Cattedrale di San Lorenzo (MS 6, f.191v). PERUGIA Museo dell’Opera del Duomo, Perugia © The Art Archive/Museo dell’Opera del Duomo Perugia/Gianni Dagli Orti
Exhibited
NG 6572 and NG 6573: London 2000, National Gallery, Seeing Salvation. The Image of Christ, 26 February–7 May (44). London 2005–6, National Gallery, Reunions, 12 November – 29 January. London 2008–9, Royal Academy, Byzantium 330–1453, 25 October‐22 March (247.1 and 2).
Provenance
NG 6572: Sold Munich, Ruef, 14–15 December 1989 (lot 113), as north Italian, nineteenth century; purchased from an Italian private collection, 1999. NG 6573: Adolphe Stoclet Collection, Brussels, from at least 1926.40 Subsequently collection of Madame Feron‐Stoclet. Purchased from the heirs to the Feron‐Stoclet Collection, 1999.
Notes
1. See Schmidt 2005, p. 45, for other examples of small panels with fictive porphyry on the reverse. (Back to text.)
2. De Nicola’s attribution was reported in the catalogue by Goldschmidt 1954, p. 4. (Back to text.)
3. Van Marle 1929, pp. 316–20, esp. p. 316, and fig. 5. (Back to text.)
4. Garrison 1949, no. 267, p. 103; Pallucchini 1964, p. 63. Subsequent writers who considered it to be Venetian include van Os 1978, pp. 65–75, esp. pp. 67–8, who dated it around 1300, and Belting 1990, p. 166 (1981, p. 61). See also note 10 on p. 275 of this catalogue (under NG 3893). Several writers noted that the Man of Sorrows would have had the half‐length Virgin (and Child) in the other wing. See Kermer 1967, p. 56, and cat. 74, pp. 76–7; Stubblebine 1969a, pp. 7–8. (Back to text.)
5. Cannon 1999, pp. 107–12; Cannon in the exh. cat. Byzantium 330–1453 2008, cat. 247.1–2, pp. 442–3. Although Andrea De Marchi continues to consider this to be Venetian (2009, p. 24), the stylistic and technical features of the diptych place it indisputably in the ambiente of the followers/pupils of Giunta Pisano, active in Umbria and Emilia‐Romagna. (Back to text.)
6. There are no hinge marks on the left side of NG 6573, confirming that it was never a triptych as suggested by van Os 1978, p. 71, note 25 (in relation to NG 6573, NG 6572 not yet having been discovered). (Back to text.)
7. Cannon 1999, p. 110–11. Previously this cross has been thought to be datable between 1255 (canonisation of Saint Clare) and 1260 (death of the Abbess Benedicta who commissioned it), who are shown on either side of Saint Francis. However, Chiara Frugoni 2006, pp. 145–53, considers the figure and inscription concerning Benedicta to be a later addition and dates the Crucifix after that by the Master of Saint Francis for San Francesco al Prato in Perugia. I owe this reference to Joanna Cannon. (Back to text.)
8. For detailed illustrations see Elvio Lunghi in Bigaroni, Meier and Lunghi 1994, pp. 151–64, illustrations pp. 152–3. See also Tartuferi 1991, no. 12, p. 88, with further bibliography. (Back to text.)
9. Weitzmann 1963, pp. 181ff. and fig. 2. See the colour illustration in Caleca 1969, p. 225; commentary Ch. XII, pp. 79–82 and 169–71; also Rebecca Corrie in the exh. cat. Byzantium. Faith and Power 2004, cat. 276, pp. 466–7, and Valentino Pace in the exh. cat. Byzantium 330–1453 2008, cat. 262, p. 447. (Back to text.)
10. Shapley 1979, I, cat. nos 808 and 809, pp. 312–13. Cannon 1999, p. 110, note 28, sees NG 6572 and NG 6573 as related to works by the Borgo Crucifix Master et al. , but less closely than to the Santa Chiara Crucifix. (Back to text.)
11. For Giunta see Tartuferi 1991, pp. 11–30, and nos 1–5, pp. 32–63. (Back to text.)
12. Exh. cat. Duecento 2000, cat. 50, pp. 197–200. (Back to text.)
13. See the illustration of the Crucifix in Belting 1994, p. 361, fig. 217 (with an incorrect provenance). For the Crucifix see the exh. cat. Cimabue a Pisa 2005, cat. 12, pp. 120–1. (Back to text.)
14. See notes 7 and 30. (Back to text.)
15. Valagussa in the exh cat. Il Trecento Riminese 1995, p. 74; and Valagussa in the exh. cat. Duecento 2000, cat. 53, pp. 207–10, where the author catalogues it under ‘Pittore giuntesco’ c. 1255–60. See also Viroli 1980, pp. 4–5. (Back to text.)
16. Remarked also by Cannon 1999, p. 112, note 38. Cannon notes that the painting is thought to indicate the existence of a full‐length Maestà by Giunta in Emilia‐Romagna, although with the evidence now provided by the diptych, an Umbrian, or more probably Pisan, version by Giunta is more likely. (Back to text.)
17. See, for example, the exh. cat. Cimabue a Pisa 2005, cat. 10, pp. 116–17 (signed by Giunta), and in particular cat. 13, pp. 122–3 (attributed to Giunta). (Back to text.)
18. For the Virgin Hodegetria see the exh. cat. Mother of God 2000, pp. 84, 144–7, 373–421, and cat. nos 54–66; also Belting 1994, pp. 73–7; Cormack 1997, pp. 41–77. (Back to text.)
19. Simona Di Nepi (exhibition leaflet, Reunions, 2005) linked the iconography of the Virgin Hodegetria in NG 6572 with a Pisan Virgin and Child in San Biagio in Cisanelli, Pisa, possibly formerly in San Giusto, Pisa; see the exh. cat. Cimabue a Pisa 2005, cat. 35, pp. 166–7. See further cat. nos 27, 34, 39, 54, 57 and 58 for half‐length and cat. nos 23 and 26 for full‐length versions. (Back to text.)
20. As Cannon 1999, p. 109, note 22, remarks, the poses are those normally seen in angels above the crucified Christ. See also below. (Back to text.)
21. For the Kastoria icon see, most recently, Angeliki Strati in the exh. cat. Byzantium 330–1453 2008, ill. pp. 282 and 283; cat. 246, p. 442. Already Belting (1981) 1990, p. 177, had suggested that NG 6573 had formed part of a diptych that was a replica of a Byzantine diptych. (Back to text.)
22. Cannon 1999, p. 108. (Back to text.)
23. The surviving examples include: the diptych attributed to Simone Martini, c. 1326–8 (28 × 25 cm; Florence, Horne Museum), not included in Martindale 1988, attributed to Simone with ‘Tederigo Memmi’ by Leone de Castris 1989, no. 6A, pp. 143–4, and Leone de Castris 2003, ill. pp. 186–7, cat. 29, pp. 359–60; a diptych which, although in diptych form, is an altar piece rather than a portable devotional painting, signed by Tomaso da Modena, late 1350s (Karlštejn, Oratory of St Wenceslas; it may have been commissioned by Charles IV for the chapel of Saint Nicholas in Karlštejn, and may have been taken to Bohemia by Dominicans when the General Chapter Meeting was held in Prague in 1359; see Gibbs 1989, pp. 181–9, esp. p. 183, pls 93–7, and cat. 17, pp. 286–8); and two small panels thought to be Tuscan, first quarter of the fourteenth century: the Virgin and Child (16.2 × 11.8 cm) and Man of Sorrows (15.8 × 11.8 cm), both in New York, Lehman Collection; see Pope‐Hennessy and Kanter 1987, cat. 21, pp. 46–7; see also Schmidt 2005, p. 318, and p. 327, note 68. (Back to text.)
24. For a discussion of the importation of the iconography of the Man of Sorrows into the West see Belting (1981) 1990, pp. 166–85. (Back to text.)
25. See Scalon and Pani 1998, pp. 286 and 287. (Back to text.)
26. See Derbes and Neff 2004, p. 457, and p. 459, fig. 14.16. (Back to text.)
27. For the date of 1293 inscribed in the Supplicationes Variae see Ciaranfi 1929, pp. 325–48; Degenhart and Schmitt 1968, vol. I‐1, cat. 3, pp. 7–16; Neff in the exh. cat. Byzantium. Faith and Power 2004, cat. 281, pp. 471–2. For a discussion of the Man of Sorrows in this manuscript see Neff 1999, pp. 87–90. (Back to text.)
28. Louis La Favia 1980, pp. 39–42, 113, and fig. 23, identified this as the first example of the Man of Sorrows in Western art. However, see Neff 1999, p. 100, note 43. La Favia considered NG 6573 to be Florentine and to be dated around 1297–1300. (Back to text.)
29. Cannon 1999, p. 107, note 6, and p. 110. She cites Weitzmann 1966, pp. 49–83, figs 9 and 27. See further Anne Derbes and Amy Neff in the exh. cat. Byzantium. Faith and Power 2004, p. 605, note 94. (Back to text.)
30. Found in the Lamentation in the double‐sided altar piece probably painted for San Francesco al Prato. See Anne Derbes and Amy Neff in the exh. cat. Byzantium. Faith and Power 2004, p. 460. For the altar piece see Gordon 1982, pp. 70–7, and Bon Valsassina and Garibaldi 1994, cat. 4, pp. 58–62. (Back to text.)
31. For the two icons see the exh. cat. Byzantium. Faith and Power 2004, pp. 366–8, cat. 223 (entry by Jaroslav Folda, who describes the cross as ‘strongly bevelled’) and cat. 224 (entry by Helen C. Evans). For the missal see note 9 above. (Back to text.)
32. For the frescoes in the Lower Church see Brenk (1980) 1983, pp. 229–34, and Cannon 1982a, pp. 65–9; also Alessio Monciatti in Bonsanti 2002, Schede, pp. 324–32, cat. nos 294–303, and pp. 338–43, cat. nos 312–6; and Bonsanti 2002, Basilica Inferiore. Atlante, pp. 188–209 and 218–35. (Back to text.)
33. See Levi d’Ancona 1977, p. 282, no. 9; she cites Quinn 1962, p. 10: in the apocryphal legend of Seth told in the Pantheon by Geoffrey of Viterbo, the son of Noah went to Paradise and brought back three twigs (fir, palm and cypress); these were planted in different places on earth and grew into a single tree, from which Christ’s cross was made. See also Meyer 1881, pp. 12–15 (112–15), citing the original text. Some sources give four woods as having formed the cross (fir, palm, cedar and cypress). See, for example, Jacopo da Voragine, The Golden Legend, trans. Ryan, I, p. 278; see also Levi d’Ancona 1977, p. 85, no. 3, and p. 387, no. 6. (Back to text.)
34. See Cannon 1999, pp. 108–9. See also under NG 4741 and NG 6571, pp. 412 and 352 of this catalogue. (Back to text.)
35. See in particular Derbes 1996, pp. 16–24. (Back to text.)
36. See Derbes and Neff 2004, pp. 449–61, developing ideas first put forward by Derbes, 1996, pp. 24–34, where she explored the many links of the Franciscans with the East, including with Constantinople and the Latin kingdom of Jerusalem. (Back to text.)
37. See Derbes and Neff 2004, p. 457, and p. 459, fig. 14.16. (Back to text.)
38. See van Os 1978, pp. 65–75. (Back to text.)
39. It is inscribed SOTIETATIS S. DOMINICI (see the exh. cat. Byzantium. Faith and Power 2004, cat. 293, pp. 483–4). (Back to text.)
40. Mentioned in Bautier 1927, no. 5, pp. 311–18, esp. p. 311. According to Garrison 1949, no. 267, p. 103, it was bought from the dealer Gnecco, Genoa. (Back to text.)
List of archive references cited
- Cividale di Friuli, Biblioteca Capitolare, Cividalese LXXXVI: missal
- Florence, Biblioteca Laurenziana, MS Plut. XXV, 3 Codex, f. 183v: Supplicationes Variae, 1293
- Perugia, Capitolo della Cattedrale di San Lorenzo, MS 6: missal from the Cathedral of the Holy Cross in St Jean in Acre
- Vienna, Österreichische Nationalbibliothek, Cod. 1898: Psalter
List of references cited
- Bautier 1927
- Bautier, Pierre, ‘I primitivi italiani della collezione Stoclet a Bruxelles’, Cronache d’Arte, 1927, 4, 5, 311–18
- Belting 1990
- Belting, Hans, The Image and its Public in the Middle Ages: Form and Function of Early Paintings of the Passion, trans. by M. Bartusis and R. Meyer, New Rochelle, New York 1990
- Belting 1994
- Belting, Hans, Likeness and Presence. A History of the Image before the Era of Art, trans. by E. Jephcott, Chicago and London 1994
- Benati 1995
- Benati, D., ed., Il Trecento Riminese. Maestri e botteghe tra Romagna e Marche (exh. cat. Museo della Città, Rimini, 20 August 1995 – 7 January 1996), Milan 1995
- Bigaroni, Meier and Lunghi 1994
- Bigaroni, Marino, Hans‐Rudolf Meier and Elvio Lunghi, La Basilica di S. Chiara in Assisi, Perugia 1994
- Bon Valsassina and Garibaldi 1994
- Bon Valsassina, Caterina and Vittoria Garibaldi, eds, Dipinti, sculture e ceramiche della Galleria Nazionale di Perugia. Studi e restauri, Florence 1994
- Bonsanti 2002
- Bonsanti, Giorgio, ed., La Basilica di San Francesco ad Assisi, 4 vols, Modena 2002
- Brenk 1983
- Brenk, Beat, ‘Das Datum der Franzlegende der Unterkirche zu Assisi’, in Atti della IV Settimana di Studi di Storia dell’Arte Medievale dell’Università di Roma ‘La Sapienza’ (19–24 maggio 1980), ed. A.M. Romanini, Rome 1983, 229–34
- Burresi and Caleca 2005
- Burresi, M. and A. Caleca, eds, Cimabue a Pisa. La pittura pisana del Duecento da Giunta a Giotto (exh. cat. Museo Nazionale di San Matteo, Pisa, 25 March–25 June 2005), Pisa 2005
- Caleca 1969
- Caleca, Antonino, Miniature in Umbria. I. La Biblioteca Capitolare di Perugia, Florence 1969
- Cannon 1982a
- Cannon, Joanna, ‘Dating the frescoes by the Maestro di S. Francesco at Assisi’, Burlington Magazine, 1982, 124, 947, 65–9
- Cannon 1999
- Cannon, Joanna, ‘The Stoclet “Man of Sorrows”: a thirteenth‐century Italian diptych reunited’, Burlington Magazine, 1999, 141, 1151, 107–12
- Cannon 2008
- Cannon, Joanna, in Byzantium 330–1453, eds R. Cormack and M. Vassilaki (exh. cat. Royal Academy of Arts, London, 25 October 2008 – 22 March 2009), London 2008, cat. 247.1–2, 442–3
- Ciaranfi 1929
- Ciaranfi, Anna Maria, ‘Disegni e miniature nel codice laurenziano, “suplicationes [sic] variae”’, Rivista del R. Istituto d’Archaeologia e Storia dell’Arte, 1929, 1, 325–48
- Cormack 1997
- Cormack, Robin, Painting the Soul: Icons, Death Masks and Shrouds, London 1997
- Cormack and Vassilaki 2008
- Cormack, R. and M. Vassilaki, eds, Byzantium 330–1453 (exh. cat. Royal Academy of Arts, London, 25 October 2008 – 22 March 2009), London 2008
- Corrie 2004
- Corrie, Rebecca, in Byzantium. Faith and Power (1261–1557), ed. H.C. Evans (exh. cat. Metropolitan Museum of Art, New York, 23 March–4 July 2004), New Haven and London 2004, cat. 276, 466–7
- De Marchi 2009
- De Marchi, Andrea, La pala d’altare. Dal paliotto al polittico gotico (dispense del corso tenuto nell’a.a. 2008–2009, Università degli studi di Firenze, corso di laurea in Storia dell’arte), Florence 2009
- Degenhart and Schmitt 1968
- Degenhart, Bernhard and Annegrit Schmitt, Corpus der italienischen Zeichnungen. 1300–1450, 4 vols, Berlin 1968
- Derbes 1996
- Derbes, Anne, Picturing the Passion in Late Medieval Italy. Narrative Painting, Franciscan Ideologies, and the Levant, Cambridge 1996
- Derbes and Neff 2004
- Derbes, Anne and Amy Neff, ‘Italy, the mendicant orders, and the Byzantine sphere’, in Byzantium. Faith and Power (1261–1557), ed. H. Evans, New Haven and London 2004, 449–61
- Di Nepi 2005
- Di Nepi, Simona, Reunions. Bringing early Italian paintings back together (exh. leaflet, National Gallery, London, 12 November 2005 – 29 January 2006), London 2005
- Duecento 2000
- Medica, M. and S. Tumidei, eds, Duecento. Forme e colori del Medioevo a Bologna (exh. cat. Museo Civico Archeologico, Bologna, 15 April–16 July 2000), Venice 2000
- Evans 2004
- Evans, H.C., ed., Byzantium. Faith and Power (1261–1557) (exh. cat. Metropolitan Museum of Art, New York, 23 March–4 July 2004), New Haven and London 2004
- Frugoni 2006
- Frugoni, Chiara, Una solitudine abitata. Chiara d’Assisi, Rome and Bari 2006
- Garrison 1949
- Garrison, Edward B., Italian Romanesque Panel Painting. An illustrated index, Florence 1949 (New York 1976)
- Gibbs 1989
- Gibbs, Robert, Tomaso da Modena. Painting in Emilia and the March of Treviso 1340–80, Cambridge 1989
- Goldschmidt 1954
- Goldschmidt, D. Lion, Adolphe Stoclet Collection: part I. Selection of the Works belonging to Madame Feron‐Stoclet, Brussels 1954
- Gordon 1982
- Gordon, Dillian, ‘A Perugian provenance for the Franciscan double‐sided altar piece by the Maestro di S. Francesco’, Burlington Magazine, 1982, 124, 947, 70–7
- Jacobus de Voragine 1993
- trans. Ryan, William Granger, Jacobus de Voragine. The Golden Legend: Readings on the Saints, 2 vols, Princeton, New Jersey 1993 (first edn, 1969; paperback edn, 1995; single-volume reprint (but with identical pagination), introduction by Duffy, Eamon, Princeton 2012)
- Kermer 1967
- Kermer, Wolfgang, Studien zum Diptychon in der sakralen Malerei von den Anfängen bis zur Mitte des sechzehnten Jahrhundert: mit einem Katalog, Düsseldorf 1967
- La Favia 1980
- La Favia, Louis M., The Man of Sorrows. Its origin and development in Trecento Florentine painting. A new iconographic theme on the eve of the Renaissance, Rome 1980
- Leone De Castris 1989
- Leone De Castris, Pierluigi, Simone Martini. Catalogo Completo, Florence 1989
- Leone De Castris 2003
- Leone De Castris, Pierluigi, Simone Martini, Milan 2003
- Levi d’Ancona 1977
- Levi d’Ancona, Mirella, The Garden of the Renaissance: Botanical Symbolism in Italian Painting, Florence 1977
- Martindale 1988
- Martindale, Andrew, Simone Martini. Complete Edition, Oxford 1988
- Meyer 1881
- Meyer, Wilhelm, ‘Die Geschichte des Kreuzholzes vor Christus’, Treatise of the Bayerische Akademie der Wissenschaften, Philosophisch‐Historische Klasse, Munich 1881, 16, 103–66
- Mother of God 2000
- Vassilaki, M., ed., Mother of God. Representations of the Virgin in Byzantine Art (exh. cat. Benaki Museum, Athens, 20 October 2000–20 January 2001), Athens and Milan 2000
- Neff 1999
- Neff, Amy, ‘Byzantium westernized, Byzantium marginalized: Two icons in the Supplicationes Variae’, Gesta, 1999, 38, 1, 81–102
- Neff 2004
- Neff, Amy, in Byzantium. Faith and Power (1261–1557), ed. H.C. Evans (exh. cat. Metropolitan Museum of Art, New York, 23 March–4 July 2004), New Haven and London 2004, cat. 281, 471–2
- Padfield et al. 2002
- Padfield, J., D. Saunders, J. Cupitt and R. Atkinson, ‘Improvements in the Acquisition and Processing of X‐ray Images of Paintings’, National Gallery Technical Bulletin, 2002, 23, 62–75
- Pallucchini 1964
- Pallucchini, Rodolfo, La Pittura Veneziana del Trecento, Venice and Rome 1964
- Pope‐Hennessy and Kanter 1987
- Pope‐Hennessy, John, assisted by Laurence B. Kanter, The Robert Lehman Collection, 1987 (Italian Paintings. Metropolitan Museum of Art, New York and Princeton, 1)
- Quinn 1962
- Quinn, Esther C., The Quest of Seth for the Oil of Life, Chicago 1962
- Saunders et al. 2006
- Saunders, David, Rachel Billinge, John Cupitt, Nick Atkinson and Haida Liang, ‘A New Camera for High‐Resolution Infrared Imaging of Works of Art’, Studies in Conservation, 2006, 51, 277–90
- Scalon and Pani 1998
- Scalon, Cesare and Laura Pani, I Codici della Biblioteca Capitolare di Cividale del Friuli, Florence 1998
- Schmidt 2005
- Schmidt, Victor M., Painted Piety. Panel Paintings for Personal Devotion in Tuscany, 1250–1400, Florence 2005
- Shapley 1979
- Shapley, Fern Rusk, Catalogue of the Italian Paintings. National Gallery of Art, Washington, 2 vols, Washington DC 1979
- Skaug 1994
- Skaug, Erling, Punch Marks from Giotto to Fra Angelico, Oslo 1994, 1 and 2
- Strati 2008
- Strati, Angeliki, in Byzantium 330–1453, eds R. Cormack and M. Vassilaki (exh. cat. Royal Academy of Arts, London, 25 October 2008 – 22 March 2009), London 2008, cat. 246, 442–3
- Stubblebine 1969a
- Stubblebine, James H., ‘Segna di Buonaventura and the Image of the Man of Sorrows’, Gesta, 1969, 8, 2, 3–13
- Tartuferi 1991
- Tartuferi, Angelo, Giunta Pisano, Soncino 1991
- Valagussa 2000
- Valagussa, G., in Duecento. Forme e colori del Medioevo a Bologna, eds M. Medica and S. Tumidei (exh. cat. Museo Civico Archeologico, Bologna, 15 April–16 July 2000), Venice 2000, cat. 53, 207–10
- Van Marle 1929
- van Marle, Raimond, ‘Italian Paintings of the thirteenth century in the collection of Monsieur Adolph Stoclet in Brussels’, Pantheon, July 1929, 4, 316–20
- Van Os 1978
- van Os, Henk W., ‘The discovery of an early Man of Sorrows on a Dominican triptych’, Journal of the Warburg and Courtauld Institutes, 1978, 41, 65–75
- Viroli 1980
- Viroli, Giordano, La Pinacoteca Civica di Forli, Forli 1980
- Weitzmann 1963
- Weitzmann, Kurt, ‘Thirteenth Century Crusader Icons on Mount Sinai’, Art Bulletin, 1963, 45, 179–203
- Weitzmann 1966
- Weitzmann, Kurt, ‘Icon Painting in the Crusader Kingdom’, Dumbarton Oaks Papers, 1966, 20, 49–83
List of exhibitions cited
- London 1989–90
- London, National Gallery, Art in the Making. Italian Painting before 1400, 29 November 1989–28 February 1990
- London 2000, National Gallery
- London, National Gallery, Seeing Salvation. The Image of Christ, 26 February–7 May 2000
- London 2005–6
- London, National Gallery, Reunions, 12 November 2005–29 January 2006
- London 2008–9, Royal Academy
- London, Royal Academy, Byzantium 330–1453, 25 October‐22 March 2008–9
The Organisation and Method of the Catalogue
Sequence
The artists are listed in alphabetical order. Paintings are catalogued in chronological order under the artist’s name. Some artists are identified only as the master of a particular work, such as the Master of the Borgo Crucifix; others are known only through their association with a particular area, such as Pisa, Venice or Umbria.
Attribution
A painting is discussed under the artist’s name where the authorship is not considered to be in doubt. ‘Attributed to’ implies a certain measure of doubt.
Dimensions
Dimensions are given in centimetres; height is preceded by width.
Technical information and method
The paintings listed here, except Segna di Buonaventura’s Crucifix (NG 567), Spinello Aretino’s fresco (NG 1216.1) and Jacopo di Cione’s Crucifixion (NG 1468), have been re‐examined for this catalogue in the conservation studios. The paintings have been remeasured and examined with X‐radiography and infrared reflectography wherever possible.
The X‐radiographs were made using conventional X‐ray sensitive film sheets (30 × 40 cm, Kodak Industrex AA400), which have been scanned to produce 16‐bit mono TIFF digital images and finally assembled using software to produce a mosaic.1 A complete survey of the paintings in infrared was made using a Hamamatsu C2400 vidicon system, equipped with a N2606‐06 vidicon tube, which is sensitive between 500 and 2200 nm (radiation shorter than 900 nm was excluded using a Kodak 87A filter). Where features of interest were identified these were then recorded subsequently, when it became available, with SIRIS or OSIRIS, the Gallery’s digital infrared imaging systems, equipped with InGaAs detectors sensitive between 900 and 1700 nm.2 The paintings were examined with a Wild M650 stereo‐binocular operating microscope at magnifications between 6× and 40×. Photomicrographs were taken using a Zeiss Axiocam HrC mounted on the Wild microscope.
Occasionally references are made to X‐radiographs and infrared images which are not illustrated; this is because once these images are reduced to page size the information they contain is often no longer decipherable.
Technique and condition are discussed together since the condition of a painting is often, among other factors, the result of the techniques employed in its making.
Support
Descriptions of construction and carpentry are based on direct physical examination, infrared images and X‐radiographs. The support is assumed to be poplar unless otherwise stated. Where the wood has been identified positively, this is noted.
Medium
The medium of the paint is assumed to be egg tempera unless otherwise stated. For some of the works, analysis of the binding medium in paint samples has been carried out using Fourier transform infrared microscopy (FTIR) and gas chromatography–mass spectrometry (GC–MS), usually during earlier examinations or in conjunction with conservation treatment. The results are described in the individual catalogue entries and, where published, the reference is given. Some further analysis of samples from a few of the paintings has been carried out specifically for this catalogue.
Gilding and tooling
Information on gilding is presented before that on painting, in keeping with the order of execution. Mordant gilding and silvering are included in the discussion on gilding, despite being applied in the later stages, so that all the techniques of metal leaf decoration could be discussed together. The individual punches are described, but the reader is also referred to Erling Skaug’s catalogue published in 1994. The particular gilding technique used by the artists has generally been identified from examination of the surface of the painting with a stereomicroscope. In some cases samples were available from previous examinations and were re‐examined, or occasionally a new sample was taken, particularly where analysis of the metal leaf or investigation of the composition of a mordant was of interest. Where metal leaf has been identified, this has been confirmed with energy dispersive X‐ray analysis in the scanning electron microscope (SEM‐EDX).
Punch mark illustrations
Unfortunately, when printed, some photomicrographs that show depressions in a paint surface appear to the reader reversed. This is particularly disturbing with some images of punch marks in gilding which may seem to show raised pastiglia. This phenomenon is a result of the way the human brain interprets visual signals; expecting a pattern of shadows and highlights to have been caused by raised areas (which would be more usual in normal life), this is the message sent to the reader by the brain.
[page xxiii]Pigments
Descriptions of the pigments for many of the paintings were available from earlier research carried out during the preparation for the 1989 exhibition Art in the Making: Italian Painting before 1400. Information also existed from studies of new acquisitions or from analysis carried out in support of conservation treatment. The paint samples that existed from earlier examinations were re‐examined with optical microscopy, SEM‐EDX and occasionally Fourier transform infrared (FTIR) microscopy. A limited number of new samples were taken to address specific questions that arose during the research for the catalogue. The surface of the paintings was examined under a stereomicroscope wherever possible at magnifications of up to 40×. At this magnification many pigments can be identified with a reasonable degree of reliability, and these examinations greatly extended the information on pigments and pigment mixtures in areas of the paintings that were not sampled, and enabled the observations from samples to be correlated with the appearance of the painting itself.
Comments
As full an account as possible is given with regard to authorship, companion panels – particularly relevant for altar pieces – subject matter, iconography, original location, date, patronage and so on. The compiler has tried to make this information accessible to the lay reader as well as to the art historian. Inevitably there is a certain amount of speculation, but it is made clear where an argument is hypothetical. For ease of reference the comments are given subheadings, but their sequence varies according to the requirements of the argument.
Notes and references
1. X‐radiography and the associated scanning of the plates and processing were carried
out by the photographic departments of the National Gallery. For a full description
of the process see J. Padfield, D. Saunders, J. Cupitt and R. Atkinson, ‘Improvements in the
Acquisition and Processing
acquisition and processing
of X‐ray images of paintings’, National Gallery Technical Bulletin, 23, 2002, pp. 62–75. (Back to text.)
2. For more details on SIRIS see D. Saunders, R. Billinge, J. Cupitt, N. Atkinson and H. Liang, ‘A new camera for high‐resolution infrared imaging of works of art’, Studies in Conservation, 51, 2006, pp. 277–90. (Back to text.)
About this version
Version 3, generated from files DG_2011__16.xml dated 06/03/2025 and database__16.xml dated 09/03/2025 using stylesheet 16_teiToHtml_externalDb.xsl dated 03/01/2025. Entries for NG564, NG566, NG579.6-NG579.8, NG752, NG1139-NG1140 & NG1330, NG1147, NG1468, NG2927, NG3897, NG5360, NG6572-NG6573 and NG6599 marked for publication; citations for NG6583 altered to include update date.
Cite this entry
- Permalink (this version)
- https://data.ng.ac.uk/0EB9-000B-0000-0000
- Permalink (latest version)
- https://data.ng.ac.uk/0E6V-000B-0000-0000
- Chicago style
- Gordon, Dillian. “ NG 6572 , The Virgin and Child , NG 6573 , The Man of Sorrows ”. 2011, online version 3, March 9, 2025. https://data.ng.ac.uk/0EB9-000B-0000-0000.
- Harvard style
- Gordon, Dillian (2011) NG 6572 , The Virgin and Child , NG 6573 , The Man of Sorrows . Online version 3, London: National Gallery, 2025. Available at: https://data.ng.ac.uk/0EB9-000B-0000-0000 (Accessed: 19 April 2025).
- MHRA style
- Gordon, Dillian, NG 6572 , The Virgin and Child , NG 6573 , The Man of Sorrows (National Gallery, 2011; online version 3, 2025) <https://data.ng.ac.uk/0EB9-000B-0000-0000> [accessed: 19 April 2025]