This was once the central and uppermost part of a multi-panelled altarpiece, made for the church of San Pier Maggiore in Florence. Other panels from the same altarpiece survive in the National Gallery and in other collections. 2, pl. This huge polyptych was painted for the high altar of the monastery of San Benedetto fuori della Porta Pinti in Florence between 1407 and 1409.
Via Brera, 28 The text on this page is licensed under a Creative Commons Attribution 4.0 International License, unless otherwise noted. He places a crown on her head, and she crosses her hands on her chest in a gesture of acceptance. Description Artist/Entry Description/Site Lorenzo Monaco Title The Coronation of the Virgin with Adoring Saints, raking light detail of the vertical reconstruction between the central and right panel

… 25. Angels make music below. On either side of the throne angels with golden hair and delicate pink cheeks gaze up adoringly, their lips open in songs of praise, their careful symmetry emphasised by their matching outfits.


Nicholas H.J. The blue backdrop sets off their splendid white robes, decorated with golden birds and flowers which would have gleamed when lit by candles. According to medieval Christian legend, her soul was carried up to heaven after her death and she was crowned as Queen of Heaven. This is the central panel of a large altarpiece made for the church of San Pier Maggiore, Florence. It was a popular scene in Florence and this image, like many others made there, drew upon the version painted by Giotto for the Baroncelli chapel around 1334. Lorenzo Monaco was especially skilled at gilding techniques. … This recognition and privilege were apt given that the church’s founder was the city’s first bishop. Some of the colours have changed over time: the Virgin’s robe has almost entirely faded from a deep pinkish-mauve to white, and the vermilion of the cloth of honour has darkened. This panel was the first in a series showing scenes from Christ’s life, the Resurrection and his ascension to heaven and was part of a four-tiered altarpiece made for the Florentine church of San Pier Maggiore. The National Gallery Technical Bulletin, published annually, is a unique record of research carried out at the National Gallery, London. With a personal account, you can read up to 100 articles each month for free. This ascetic order had been founded in 1012 by a Benedictine monk, Saint Romuald, shocked at the decadent laxity of his own monastery, and named by him after the mountain locality of Camaldoli in Tuscany where he built a hermitage.

It was originally even bigger and more complex: its main panels and parts of the predella are in the National Gallery, but other parts are scattered in collections around the world. This is the central panel of the main tier of a large altarpiece with four rows of images, made for the church of San Pier Maggiore, one of the oldest and most respected churches in Florence. He places a crown on her head, and she crosses her hands on her chest in a gesture of acceptance.

Although the paintings are now separate, they were originally on a single panel (you can just see, on the far right, the wings of angels who surround the Virgin’s throne). The Virgin’s coronation was a popular scene in Florence where artists based their composition upon Giotto’s altarpiece made for the Baroncelli chapel at Santa Croce around 1334. The text on this page is licensed under a, All Getty Research Institute Publications, Conservation Perspectives, The GCI Newsletter, GCI Reference Collection (for materials analysis), Research Assistance at GCI Information Center, Links to Cultural Heritage Policy Documents, Creative Commons Attribution 4.0 International License, International Image Interoperability Framework (IIIF), Hall & Knight Ltd (US), October 15 to November 23, 2002.


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