Currently not on view
Pietà with Saints
Naddo Ceccarelli, Italian, active ca. 1347
y1962-57
This panel is a predella, a panel below the large central panels of a polyptych, or multipanel altarpiece. Predellas contained narrative scenes or, as here, images of holy figures. The figures in the roundels have been identified as Saints Cosmas and Agnes; the Virgin; the dead Christ; and Saints Catherine, Ursula, and Blaise. The decorative ladders are symbols of the Ospedale Santa Maria della Scala, a charity hospital, pilgrim’s hospice, and orphanage across from the Cathedral of Siena, where the polyptych must have originally stood. The remainder of the altar is thought to be a polyptych in the Pinacoteca Nazionale, Siena.
Information
Title
Pietà with Saints
Maker
Medium
Tempera on wood panel
Dimensions
26 x 214 cm (10 1/4 x 84 1/4 in.)
frame: 26 x 214.3 x 4.1 cm (10 1/4 x 84 3/8 x 1 5/8 in.)
Credit Line
Bequest of Dan Fellows Platt, Class of 1895
Object Number
y1962-57
Place Made
Europe, Italy, Siena
Culture
Type
Materials
Subject
Dan Fellows Platt (1873 -1938), Englewood, NJ; by descent to Ethel Bliss Platt (1881-1971) [1]; 1962 gift to Princeton University Art Museum.
Notes
[1] Dan Fellows Platt left his collections to the University but gave his wife life-tenure and the right to sell
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- "Recent acquisitions," Record of the Art Museum, Princeton University 22, no. 1 (1963): p. 15-19., p. 16
- Bernard Berenson, Italian pictures of the Renaissance: a list of the principal artists and their works with an index of places. Central Italian and North Italian schools, (London: Phaidon, 1968)., p. 205
- James H. Stubblebine, "Segna di Buonaventura and the image of the Man of Sorrows", Gesta 8, no. 2 (1969): p. 3-13., p. 8
- B. B. Fredericksen and F. Zeri, Census of pre-nineteenth-century Italian paintings in North American collections, (Cambridge, MA: Harvard University Press, 1972)., p. 99
- Arno Preiser, Das Enstehen und die Entwicklung der Predella in der italianischen Malerei, (Hildesheim; New York: Olms, 1973)., fig. 208; p. 208, 209
- Cristina de Benedictis, "Naddo Ceccarelli", Commentari 25 (1974): p. 139-154., p. 139ff, fig. 18, p. 147
- Cristina de Benedictis, La pittura senese 1330-1370, (Firenze: Salimbeni libreria editrice, 1979)., p. 81
- Hendrick W. van Os, "The Black Death and Sienese painting: a problem of interpretation", Art history 4, no. 3 (Sept., 1981): p. 237-249., p. 249
- Keith Christiansen, Liechtenstein, the princely collections: the collections of the Prince of Liechtenstein, (New York: Metropolitan Museum of Art, 1985)., p. 188-191
- Eling Skaug, Punch marks from Giotto to Fra Angelico: attribution, chronology, and workshop relationships in Tuscan panel painting: with particular consideration to Florence, c.1330-1430, (Oslo, Norway: IIC, Nordic Group,the Norwegian section, 1994)., Vol. 1: p. 121
- Judith B. Steinhoff, Sienese painting after the Black Death: artistic pluralism, politics, and the new art market (Cambridge; New York: Cambridge University Press, 2007)., fig. 84, 194, illus.
- Marianne Lonjon, "Simone Martini et Naddo Ceccarelli: deux tentatives de restitution d'oeuvres siennoises", Arte cristiana 97, no. 853 (2009): p. 241-256., p. 241-256; p. 254, note 30
