The story of a peasant woman called Griselda was told in The Decameron, a book written in the mid-fourteenth century. It seems likely that he was referring to the Longleat pictures, to which both Davide and Bastiano definitely contributed. This is the final panel of a series of three; it shows the couple’s reunion after Griselda’s ordeal.A... Room 53

To the right, we see Griselda stripped naked, the Marquis handing her new clothes to wear for their wedding.

Paintings by Master of the Story of Griselda. Our artist seems to have drawn inspiration from the works made by Signorelli for Sienese patrons, as he was working in the city at around the same time. In the centre, the two are married in front of a structure that looks like a triumphal Roman arch, topped with horses and male figures.

Our panels have been connected with two others of a similar shape and size at Longleat House, Wiltshire, which depict ancient leaders Alexander the Great and Julius Caesar. Two sets of panel paintings showing secular subjects and made for Sienese palaces in the 1490s are discussed. At the left, Griselda, a pot on her head, is on her way to fetch water from the well. Boccaccio's story of Griselda is depicted in a set of three Sienese panel paintings dating from around 1490 which hang in the National Gallery in London. It is the most sophisticated in its planning and bolder in its execution. Copyright © 2010-2020 Tutt'Art@. "Artemisia" attributed to an anonymous Sienese master, known conventionally as the Master of the story of Griselda. As a charity, we depend upon the generosity of individuals to ensure the collection continues to engage and inspire. The figures, too, are drawn differently to those in Reunion, the first panel the artist painted. The story begins at the left of the panel, with Griselda on her way to fetch water from the well, a pot on her head. This panel, the first of a series of three in the National Gallery’s collection, shows part of the story of Griselda, a young peasant woman. They were painted by a team consisting of the leading Sienese artists of the day, Francesco di Giorgio, Matteo di Giovanni, Neroccio de' Landi, Pietro Orioli and the Master of the Story of Griselda. Despite the wealth of the Spanocchi and the obvious importance of the commission, we do not know the identity of their painter – these panels have given him his name. In addition, issues of attribution and workshop collaboration are clarified with the identification of distinctive underdrawing and painting techniques for each of the artists.

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