258 Sentences With "predella" | Random Sentence Generator

The Sienese altarpiece paintings and the predella panels I saw while we were there knocked me out.

My early paintings had predella panels: a band at the bottom with other scenes, depicted in a different scale.

The image on the screen is formulated like an altarpiece with a predella, or at least what a modern version of one might look like.

In Nilsson's imaginative domain, there are least two worlds based on size, as if she has combined the main panel of an altarpiece with its predella.

During the Renaissance, the main panel was usually a static view of an individual or group, while the predella beneath it was full of narrative depictions.

Commissioned in 1475 from Verrocchio's studio, the predella was known to have been painted by multiple hands, but exactly who contributed, and to what extent, has long been debated.

In a predella of smaller panels beneath, the rest of the story plays out, ending with the father killing his daughter, the guilty hand again emanating from the viewer's space.

The painting, which depicts the Bishop Saint Donato helping a tax collector find his money, was originally part of a predella from an altarpiece that still decorates the Duomo di Pistoia.

Notably, both predella panels show experimental uses of oil paint, which Leonardo used to create expressive detail; Lorenzo, in comparison, was trained in egg tempera — the predominant method used in Renaissance painting.

With regard to the predella panel at the Worcester Art Museum, the researchers and curators seem to know with considerable certainty that both Leonardo and Lorenzo worked on it at various stages over time.

The panel with the most Leonardo-per-square inch is a small Annunciation scene that was part of the predella (the separate lower section of an altarpiece) for the Madonna di Piazza in Pistoia.

Instead, he builds his case step by step, offering such evidence as Johns' use of painted wood grain in his "Savarin" prints (paralleling the faux wood grain in Munch's 1895 lithograph of "The Scream"), along with a skeletal arm or arm-print inside a predella-like strip in several of the images, which match a corresponding arm in a lithographic self-portrait by Munch, also from 1895.

And he does so in a fundamentally different way than he did with a painting like "Cicada," which suggests its connection to death, rebirth, and renewal exclusively through its title (though a drawing version in watercolor, graphite pencil, and crayon, also in the show, includes a predella of notebook sketches depicting cicadas, phallic symbols, and a skull and crossbones, among other images and jottings).

The panel has a predella with Christ Hold by an Angel and Six Saints. The predella.

The three main panels and the cornice were returned in 1815 after Napoleon's final defeat, but the predella remained in France. A modern copy of the predella is now on show under the main panels.

"The Virgin Mary and Five Standing Saints above Predella Panels", pot-metal and white glass, vitreous paint, silver stain. Rhine Valley, Germany, 1440–46."The Virgin Mary and Five Standing Saints above Predella Panels". Metropolitan Museum of Art.

The painting has a predella with scenes portraying the Miracles of St. Dominic and, in the middle, the Resurrection of Christ. Such as in other Angelico's work, the predella scenes show an extensive use of geometrical perspective, enhanced by the use of alternatively empty and full architectures.

According to Vasari, Pesellino painted the predella of Fra Filippo Lippi's Novitiate Altarpiece for Santa Croce. The predella is are now divided between the Uffizi and the Louvre. Pesellino's only surviving documented work is the altarpiece of the Trinity, commissioned in 1455 by the Confraternity of the Priests in Pistoia and now at the National Gallery in London. It was left incomplete on Pesellino's death in 1457 and was finished in 1460 by Filippo Lippi and his workshop, which painted the predella and altar frontal.

Saint James and Saint Lucy Predella is a circa 1426 to 1428 series of five tempera on panel paintings by Beato Angelico. Together, and possibly with other unknown paintings, they formed the predella to a single altarpiece, now lost or not clearly identified. They are dated on the basis of stylistic motifs and they cannot be later than 1435, when Andrea di Giusto copied Naming in the predella of his own altarpiece now in the Museo civico in PratoJohn Pope-Hennessy, Beato Angelico, Scala, Firenze 1981.

In addition there is a large Renaissance predella in the chapel of St Francis.Ayuntamiento de Nàquera, tourism entry on church.

This name was based on Berenson's observation that the painter executed the predella of Ghirlandaio's Adoration of the Magi (1488) in the Ospedale degli Innocenti, the foundling hospital in Florence. Archival research later yielded the painter's real name as Bartolomeo di Giovanni. Bartolomeo also collaborated with Sandro Botticelli. Bartolomeo di Giovanni painted many narrative panels, including predella, cassone and spalliera panels.

The main painting originally had a predella, consisting of scenes of the Annunciation, the Adoration of the Christ Child and the Circumcision of Jesus.

This original group was probably not a predella, since sections of these were usually rectangular not square, but may instead have been a small polyptych.

On the two side altars (c. 1625) are works by Claudio Ridolfi, and the predella showing the Massacre of the Innocents (1634) by Girolamo Cialdieri.

It was built between 1609 and 1613 in Mannerist style and the polychromy was made by painters Diego de Baeza and Mateo Paredes. It consists of predella with three bodies of different orders, Ionic, Corinthian and compound,Capital with mixture of Ionic volutes and Corinthian acanthus leaves. and a superior crowning. In the predella there are four reliefs with scenes of the Passion of Christ.

The altarpieces also had to have a predella each, now all lost. In 1961 the National Gallery dismantled the panels by reconstructing them into two separate altarpieces.

Around 1450, Giovanni finished Madonna and Child with Angels, also in tempera on panel. The original location of the painting is unknown, but it is now housed in the Galleria degli Uffizi in Florence. Between 1455 and 1459, Giovanni painted Nativity and Adoration of the Magi as a predella, or part of a predella, of an unidentified altarpiece. It is now housed in the Musée du Louvre in Paris.

Behind them is a table, covered by a brocade drape decorated in gold, over which is St. Nicholas' mitre. The predella panels portray scenes of the Life of St. Nicholas.

Above the retable may be found the crowning or superstructure, pinnacles and flowers of the cross. Relics can be housed below it, in a reliquary in the predella lying on the altar stone.

The right wall has a fresco by Pietro Lorenzetti and the Adoration of the Shepherds by Francesco di Giorgio, completed by a lunette by Matteo di Giovanni and a predella by Bernardino Fungai.

Oxford University Press Sep 26, 2002 56–57 The predella below comprised five narrative paintings. Instead of taking their subject from the Bible, these five paintings show events from the history of the Carmelite Order. A striking feature of the overall design is the broad central panel of the predella, which allowed the painter to depict the consignment of the Carmelite rule in the early thirteenth century in a particularly detailed manner.Ernest T. Dewald, “The Carmelite Madonna of Pietro Lorenzetti”.

All the others have been disassembled and their panels and predella scenes are divided among several museums. An amorphous band of contemporaries, imitators and followers, termed Crivelleschi, reflect to varying degrees aspects of his style.

He made annual trips to Europe, and wrote a short memoir: Sight-Seeing in Berlin and Holland among Pictures (1892). An assessment of the collection from 1914: Legend of the Magdalen Predella (c. 1425), Sandro Botticelli.

They were placed in the frame as the artist completed them, working up from the predella at the base, the columns, the main panels, an entablature, a cymatium and finally the works flanking the central panel.

300px Saint Catherine of Alexandria is a c.1512 tempera on panel painting. It is a fragment from the predella of a lost altarpiece by Luca Signorelli. It is now in the Museo Horne in Florence.

The commission of 1815 charged with reclaiming the works of art taken from the Veneto left the predella panels in the possession of the Louvre and the museum of Tours.M. Cruttwel, Andrea Mantegna, BiblioBazaar (2009), pp.43ff. The complete altarpiece by Mantegna (1457-1459) The Crucifixion was in the middle of the predella, exactly in the centre, as may be seen in the full altarpiece image below. Mantegna was striving after an effect of steep visual perspective such as he had already achieved in the Eremitani chapel at Padua.

The work is mentioned as by Fra Angelico in a manuscript of the Biblioteca Nazionale di Firenze,Cod. Magliabe., XVII, 17 and Giorgio Vasari writes that it was located in the church of Sant'Egidio at Florence. Two panels of the predella which once was part of the work are known; they portray the Marriage and the Funeral of the Virgin, and are currently exhibited in the museum of San Marco, Florence. Detail of the predella with the Marriage of the Virgin The altarpiece arrived at the Uffizi in 1825.

The Stygmata of St. Francis John the Baptist in the Desert Annunciation The Miracles of St. Zenobius The Martyrdom of St. Lucy Reconstruction of the original predella The predella included panels with scenes of the saints of the main composition, and a central, double-size Annunciation: the Stygmata of St. Francis and John Baptist in the Desert are currently in the National Gallery of Art in Washington, the Annunciation and The Miracle of St. Zenobius are in the Fitzwilliam Museum of Cambridge, and the Martyrdom of St. Lucy is in the Berlin State Museums.

Uccello's predella is composed of six meticulous, naturalistic scenes related to the antisemitic myth of host desecration, which was based upon an event that supposedly occurred in Paris in 1290. It has been suggested that the subject of the main panel, on which Duke Frederick of Montefeltro of Urbino appears in the background conversing with an Asian, is related to the antisemitic intention of the predella. However, Federico did allow a small Jewish community to live in Urbino and not all of these scenes are unanimously attributed to Paolo Uccello.

Both predella panels were in the Pucci chapel in Santissima Annunziata in Florence by 1786, when they were bought by John Campbell. They were sold to different owners in London in 1804, with Miracle entering Polesden Lacey collection.

The predella was removed around the time of Della Valle before being recovered in the Padre Generale's apartments. The whole work was restored by the Florentine Gagliardi in 1830 Anna Maria Francini Ciaranfi, Beccafumi, Sadea Editore/Sansoni, Firenze 1967.

This is now treated as a predella or shelf below the frame of the copy.NGTB, 26; Von Teuffel, Christa Gardner. "Sebastiano Del Piombo, Raphael and Narbonne: New Evidence", The Burlington Magazine, vol. 126, no. 981, 1984, pp. 765–766.

The whereabouts of the panel portraying Saint Peter the Martyr are unknown; however a fragment of that with Saint Lucy is in the Longhi Foundation in Florence and part of the predella, again showing Genesius, is conserved in Bologna.

The marked the start of a new conception of landscape painting, connected to the predella of the Pesaro Altarpiece or the New York St. Francis in Ecstasy, whose figures and background are lighter and whose atmosphere is freer than previous works.

Predella for the high altar in the Cathedral of Tarragona. Pere Johan or Pere Joan (born c. 1400) was a Catalan Gothic sculptor. He was the son of sculptor Jordi de Déu, a former slave and disciple of sculptor Jaume Cascalls.

The overall dimensions of the altarpiece are , with an arched top. In 1794, Napoleonic troops moved the painting, with its two predella panels, to the Louvre. It was returned to Aalst in 1814. The altarpiece shows two groups of figures.

It is too large for an oil sketch, and too rough for an official commission. It may be a modello for a lost, larger and more polished painting, or for a tapestry. It could also have been destined for a predella.

The Adoration of the Magi is a painting by the Italian Renaissance master Domenico Ghirlandaio, executed around 1485-1488 and housed in the Ospedale degli Innocenti gallery in Florence, Italy. The predella, painted by Bartolomeo di Giovanni, is in the same site.

Of lesser quality are the predella panels, which are in fact attributed to assistants. More innovative and typical of the artist's style is the Annunciation, set in a bright cloister, whose illusionist view is considered amongst the greatest perspective renderings of Renaissance art.

The Beweinung was created ca. 1525, likely as the predella of a crucifixion altar. It was probably one of Grünewald's last works. The Maria Schnee Kapelle to the north of the nave was dedicated in 1516, but a Gothic Revival gable was added in 1870.

Predella by Giovanni di Paolo, St Stephen breast-fed by a doe A Romanesque style building documented to exist since the 12th-century, was reconstructed in 1671–75. The façade is crowned with a tympanum with an oculus, and preceded by a flight of stairs in brick. The interior once housed a Madonna with child and Saints by Andrea Vanni and a complete predella by Giovanni di Paolo (six scenes from the Life of St Stephen with a central Crucifixion with Saints Jerome and Bernard), now in the Baptistery of Siena. On the right altar was a Visitation by Rutilio Manetti (also in now kept in the Baptistery).

The Crucifixion is a panel in the central part of the predella (see image below) of a large altarpiece painted by Andrea Mantegna between 1457 and 1459 for the high altar of San Zeno, Verona (Italy). It was commissioned by Gregorio Correr, the abbot of that monastery.

The Deposition of Christ San Zanipolo Lattanzio Querena (Predella in Valle di Scalva, November 1, 1768 – July 10, 1853) was an Italian painter, depicting historical and sacred subjects,Della letteratura veneziana: del secolo XIX, by Count Filippo Maria Nani-Mocenigo, page 196. in a mainly Neoclassical style.

In both cases, the supporting plinth (predella) often featured supplementary and related paintings. If the altar stands free in the choir, both sides of the altarpiece can be covered with painting. The screen, retable or reredos are commonly decorated. Groups of statuary can also be placed on an altar.

A decade later, the Franciscans returned to the convent and restored the church. A school has been built at the site of the former college. In 1980, a predella with a procession of the blood of San Gennaro was restored and is now kept beneath the marble main altar.

Faith, one of the predella panels As stated above, the altarpiece consisted of more than just the main panel. The top molding (now in the Galleria Nazionale dell’Umbria in Perugia) had a panel of "God the Father in a glory of cherubim, blessing his son." The main panel itself had a frame, parts of which still survive, decorated by griffins' being crowned and fed by winged putti seated on rams’ heads, all of a yellow-bronze color against a blue ground (the Baglioni family crest was a griffin's head, as well as the name of Atalanta's husband and son being Grifonetto).Baldini 107 Below there was a predella of three grisaille (monochrome) compartments illustrating the Theological Virtues (1507.

The San Marco Altarpiece (also known as Madonna and Saints) is a painting by the Italian early Renaissance painter Fra Angelico, housed in the San Marco Museum of Florence, Italy. It was commissioned by Cosimo de' Medici the Elder, and was completed sometime between 1438 and 1443. In addition to the main panel depicting the enthroned Virgin and Child surrounded by Angels and Saints, there were nine predella panels accompanying it, narrating the legend of the patron saints, Saints Cosmas and Damian. Only the main panel actually remains to be seen in the Convent of San Marco, Florence, Italy, today, along with two predella panels depicting saints which were purchased back for the museum as recently as 2007.

All the objects mentioned below are included in the Courtauld bequest. Gambier Parry began by collecting mostly 16th- and 17th-century works, but his focus gradually moved to 14th- and 15th-century works, still relatively little collected, although Prince Albert was among British collectors of "Italian Primitives", as Trecento paintings were then known. Among his most important paintings were a Coronation of the Virgin by Lorenzo Monaco, one of the larger works in the collection, three predella panels with roundels of Christ and saints by Fra Angelico, and a small but important diptych of the Annunciation by Pesellino. There are two further predella panels by Lorenzo Monaco, and many other small panels by lesser-known masters.

The altarpiece was most likely accompanied by a predella. Three of its panels have been identified with the Meeting of the Pilgrims on the Road to Emmaus and Supper in Emmaus in the Julius Weitznel collection, and with the St. Catherine of Alexandria now at the Museo Horne in Florence.

Its niches hold sculptures of saints framing the main body. Its crucifix is from the 17th century. The predella is finished with sculptures of angels, and also contains small 17th paintings of martyred saints by Juan de Herrera. Behind these paintings, hidden compartments contain some of the numerous reliquaries left here.

Historique of the Uffizi Inventory, No. Cat. 00285833 Its predella included scenes of The Wedding at Cana, Christ at Gethsemane and The Flagellation of Christ - it was detached and moved to the Galleria dell'Accademia, also in Florence. Antonio Paolucci, Luca Signorelli, in I protagonisti dell'arte italiana, Scala Group, Florence, 2001.

Main altar The church features several treasures of Gothic painting and carving artistry. The main altar came from St. Lamberti, another Lüneburg church which was demolished in 1861. The altar was carved by Hans Snitker, with paintings attributed to Hans Bornemann. Its predella shows six prophets in the garb of medieval merchants.

The predella dates to the 19th-century and is by Merer. In front of the altar, there is a Flemish altarpiece dating to the 15th-century. This altarpiece is one of the oldest in Brittany and in seven separate panels over 100 people are depicted in scenes enacting the passion of Christ.

Among his earliest significant known paintings are the Annunciation in the Uffizi, the angel that he painted as a collaboration with Verrocchio in The Baptism of Christ, and a small predella of the Annunciation to go beneath an altarpiece by Lorenzo di Credi. The little predella picture is probably the earliest. The diversity of Leonardo's interests, remarked on by Vasari as apparent in his early childhood, was to express itself in his journals which record his scientific observations of nature, his meticulous dissection of corpses to understand anatomy, his experiments with machines for flying, for generating power from water and for besieging cities, his studies of geometry and his architectural plans, as well as personal memos and creative writing including fables.

The original predella is lost, probably after being damaged in the flood, and replaced by a new one in the late 16th century - the new predella was later removed and is now in the Casa Vasari museum in Arezzo. The church was suppressed and turned into a barracks in 1849, upon which the Morelli family took back the painting, on the condition that it would remain on public display. However, they did not meet this condition and in 1875 the Italian state took legal action to confiscate the painting, exhibiting it at the Uffizi. Temporarily placed in the museum's stores, the Uffizi's Florentine galleries were reorganised and the work was reassigned to the Museo del Cenacolo di Andrea del Sarto, also in Florence.

Other panels from the predella can be found in the collections of the National Gallery, London, the Isabella Stewart Gardner Museum, in Boston, and Dulwich Picture Gallery, in London. A preparatory drawing by Raphael for the composition of the agony in the garden is in the collection of the Morgan Library New York. The pieces of the predella were separated from the altarpiece and sold to Queen Christina of Sweden, from where they reached the Orleans Collection, while the main panels themselves were eventually sold to the aristocratic Colonna family in Rome, from whom the altarpiece takes its name. The Altarpiece was the last Raphael altar in private hands when J.P. Morgan purchased it in the early 20th century for a record price.

The Saint Julian panel The Carnesecchi Triptych was an altarpiece of by Masolino, Masaccio and others, depicting the Madonna and Child with Saints Catherine of Alexandria and Julian the Hospitaller. It seems to mark the beginning of Masolino and Masaccio's collaboration. Dismembered in the 17th century, it is now totally lost except for panel showing Saint Julian (in the diocesan museum of Santo Stefano al Ponte in Florence) and one of the three panels of the predella. That predella panel was long thought to be the painting by Masolino now in the Ingres Museum in Montauban, but recent expert studies by the Opificio delle Pietre Dure have instead identified it as a painting by Masaccio in the Museo Horne in Florence.

Pacher's altarpiece was placed in the St. Erasmus' chapel of the church. It has remained there since; it has however lost its wings, its predella, its top and other details. During the years it has been restored several times, the latest in 1979. Not all restorations have been to the benefit of the altarpiece.

This brings the viewer's attention back to Mary. The buildings and architecture have a great level of realism in this painting, but the figures' faces aren’t extremely realistic. Their bodies show contrapposto, however, which makes their stance more natural. The three scenes in the predella are similar to those in the Barbadori Altarpiece, from 1438.

An important part of his oeuvre are prints on mythological subjects, the Deeds of Hercules being one of the best examples. Only two paintings are firmly attributed to him: the wings and predella of the Marienaltar (c. 1525-6) in the Wiesenkirche in Soest, and a portrait of Graf Phillip von Waldeck (1837) in Schloss Aroldsen.

The Saint Augustine Altarpiece was a mixed-technique 1454-1469 panel painting by Piero della Francesca, now split up and dispersed. It had at least ten panels, not including a probable predella (now completely lost) or other panels (also completely lost). Eight panels survive. Birgit Laskowski, 'Piero della Francesca', collana Maestri dell'arte italiana, Gribaudo, Milano 2007.

380px The Institution of the Eucharist or Communion of the Apostles is a 1472-1474 tempera on panel painting by Justus van Gent. Commissioned as an altarpiece, it post-dates its 1460s predella, The Miracle of the Desecrated Host by Paolo Uccello. Both Institution and Miracle are now in the Galleria nazionale delle Marche in Urbino.

Royt J, 2015, p. 141-142 This reconstruction is basically accepted by other art historians as well. Ladislav Kesner assumed that the altarpiece had a predella with the theme of Christ in the Winepress or else the Lamentation of Christ. Using comparisons with other altarpieces of the early 16th century, he proposed a variant arrangement of the missing parts.

The Courtauld Gallery website shows images and descriptions of 324 objects from the 1966 bequest, which included the bulk of the collection. Lorenzo Monaco, Coronation of the Virgin, 1388-90 Gambier Parry began by collecting mostly 16th- and 17th-century works, but his focus gradually moved to 14th- and 15th-century works, still relatively little collected, although Prince Albert was among British collectors of "Italian Primitives", as Trecento paintings were then known. Among his most important paintings were a Coronation of the Virgin by Lorenzo Monaco, one of the larger works in the collection, three predella panels with roundels of Christ and saints by Fra Angelico, and a small but important diptych of the Annunciation by Pesellino. There are two further predella panels by Lorenzo Monaco, and many other small panels by lesser-known masters.

Apse with altarpiece by Hendrik van der Geld (1878–1881) A winged altarpiece is located in the apse. It was created by Hendrik van der Geld in 1878, costing fl. 4,800. Missing parts were filled in later until it was finished in 1881 except for the wings of the predella. The altarpiece consists of oak and is filled with partly gilded reliefs.

Bernardo Daddi, Italian Paintings: Florentine School, pp. 25–33 Daddi focused on religious motifs and altarpieces. A triptych he painted in 1328 is in the Uffizi, and there are several panels in National Gallery of Art and the Walters Art Museum. The Pinacoteca of the Vatican Museums houses his Martyrdom of Saint Stephen, a predella in eight panels painted about 1345.

However, he noted that the movement of the heavens would not always predetermine the actions of men and did not trump the divine plan of God. A scene in Paolo Uccello's Corpus Domini predella (c. 1465–1468), set in a Jewish pawnbroker's home. Blood in the background emanates from the Host, which the moneylender has attempted to cook, and seeps under the door.

The altarpiece retains part of the original structure and traceries and all the paintings executed by Jorge Inglés. Above the predella with the busts of the Fathers of the Church Íñigo López de Mendoza himself is depicted. This is the only surviving painted portrait of a Castilian nobleman. Also depicted is his wife, Catalina Suárez de Figueroa, kneeling before the Virgin.

The remains of St. Frediano lie underneath the main altar from the 16th century. A massive stone monolith stands left of the main altar. This was probably pilfered from the amphitheatre of Lucca. But local tradition has it that it was miraculously transported to Lucca by San Frediano and used as a predella (step of an altar) for the first altar.

The triptych has three main panels, with a fourth as a supporting panel or predella below the main central panel. The large central panel is a square; the flanking panels to either side the same height but half the width, each; and the predella below the central panel has the same width but is only high. From left to right, the left wing depicts a column of German soldiers marching away from the viewer through the fog of war towards the battle in the central scene. The central panel shows a devastated urban landscape scattered with war paraphernalia and body parts, reworking the themes in his 1923 work The Trench, and divided like the 16th century Isenheim Altarpiece of Mathias Grünewald with a living side to the lower left and a dead side to the upper right.

The lower earthly register shows eight lamenting saints connected to the commissioner, the church and the chapel - on the right are John the Baptist and Jerome, for example. The deep landscape backgrounds shows hills and a clear sky. The work originally also had a predella, which is now divided between the Metropolitan Museum of Art in New York and the Art Institute of Chicago.

A group of paintings is sometimes described as the "Allendale group", after the Allendale Nativity. This group includes another Washington painting, the Holy Family, and an Adoration of the Magi predella panel in the National Gallery, London. This group, now often expanded to include another Adoration of the Shepherds in Vienna, and sometimes further, are usually included (increasingly) or excluded together from Giorgione's oeuvre.

On an architectural frieze above the figures are the Medici's heraldic balls. The predella Entirely in Lippi's own hand, Mary Pittaluga, Filippo Lippi, Del Turco, 1949. it was probably commissioned by Cosimo the Elder, as suggested by the presence of Cosmas and Damian, his family's patrons. It was probably originally intended for the Noviziato chapel in Santa Croce Basilica, of which the Medici were patrons.

Its four main panels, depicting Saints Jerome, Apollonia, John the Baptist and Mary Magdalen, are at the Alte Pinakothek, Munich; a central Annunciation is at Corsham Court and the ten-part predella is now divided between the Accademia in Florence, the Villa I Tatti in Florence and a private collection. Granacci died in 1543. He is buried in the church of Sant'Ambrogio in Florence.

Vasari's Lives of the Artists particularly praised the saints' clothes in the work. Its predella was removed and is now mostly lost, though one panel survives in the Kress collection in the Philbrook Museum of Art and two were in the Scharf collection in London and are now in the Getty Museum. Two sketches survive in the Uffizi's Gabinetto dei Disegni e delle Stampe.

The last Jew burned for stealing a host died in 1631, according to Jacques Basnage, quoting from Manasseh b. Israel. In some cases host desecration legends emerged without actual accusations, as was the case of the host desecration legend of Poznan (Posen). The second panel of Paolo Uccello's Miracle of the Profaned Host (c.1467-1469) from the Urbino Confraternity of Corpus Domini predella.

350px Martyrdom of Saint Sebastian is a 1498 tempera on panel painting by Luca Signorelli, now in the Pinacoteca Comunale in Città di Castello. Its date was on its predella, which is now lost. It was the third major work Signorelli produced in Città di Castello and the only one still in the city Antonio Paolucci, 'Luca Signorelli', in Pittori del Rinascimento, Scala, Firenze 2004 .

The monastery rebuilt all its chapels at its new site in their former form. About a third of the painting was submerged in the 1557 flood, probably leading to the loss of the predella, though in 1986 (Serena?) Padovani theorised that that predella wholly or partly survived and is now divided up between the National Gallery of Ireland and Warwick Castle. Stylistically its monumental figures show the influence of Fra Bartolomeo and the , both major influences on Andrea del Sarto's early career, whilst the colouring is heavily influenced by Leonardo da Vinci and the compositional liberty by Piero di Cosimo. In 1985 Petrioli Tofani argued the figures standing on the balcony in the background to be Susannah and the Elders, with Conti arguing instead in 1968 that they are David and Bathsheba and Natali in 1989 that they are Adam and Eve, in reference to Augustinian exegesis.

The predella depicts the Virgin and Child flanked by angels in the center and standing figures of the 12 apostles at the sides. The altarpiece stood before the apse of Old St. Peter's, which in the 14th century contained a mosaic of Christ enthroned between Saints. Peter & Paul. Thus the iconography of the front of the painting paralleled the apse mosaic in form but did not repeat it in iconography.

Anton Ghering (died 1668) was a Flemish Baroque painter who specialized in architectural church interiors. He is best known for his interior of the Antwerp church of St. Walburgis (Royal Museum of Fine Arts, Antwerp) which records the original placement along with the frame and predella paintings of Peter Paul Rubens's Raising of the Cross.Susanne Heiland, "Two Rubens Paintings Rehabilitated," in The Burlington Magazine, vol. 111, no. 796.

The frame of the altarpiece is painted a deep blue and decorated with large gold fleurs-de-lys, modelled in deep relief. Below the frame is a predella in which Simone Martini painted five scenes from the life of Saint Louis of Toulouse. This would have proved challenging for Simone as Saint Louis had just been canonized, requiring him to invent a new set of iconography.Gardner, “Saint Louis of Toulouse,” 30.

Thus, he depicts a shield using perspective foreshortening or one leg in a frontal, the other in a side view, on a figure of the dying Kyknos. But the same vase shows features the outmoded animal frieze predella along with such new elements.Vatican 418, found at Vulci, Attic Black-Figure Vase-Painters 324,39 His conventional name is derived from a vase held by the Museo Arqueológico Nacional de España in Madrid.

The left wall of the nave has a Madonna with Child by Francesco di Vannuccio, framed by an Eternal with Saint by Il Sodoma and by a predella with fifteen Stories of the New Testament by Antonio Magagna. Rutilio Manetti painted a St. Anthony Abbot's Exorcism, Sebastiano Folli a St. Catherine of Alexandria and Francesco Vanni a St. Hyacinth Saving a Statue of the Madonna from a Fire.

Other works by his hand have not been preserved. In addition to his work as a city painter, Willems carried out various assignments for the clergy. For the Saint Quentin's Church in Leuven, Jan Willems painted the predella and the side panels of a sculpted retable of Saint Quentin, that had been commissioned in 1538 from the Leuven sculptor Joris Asselijns. Willems was also tasked with the polychroming of the sculpture.

It is flanked by twelve statuettes of the apostles. The outsides of the wings are decorated with rather severely damaged paintings, depicting the saints Olaf, Lawrence, John the Baptist and Stephen. The predella is painted with a depiction of the Veil of Veronica. The triumphal cross hanging under the chancel arch is a work from the late 15th century, possibly made by the same artist who made the altarpiece.

This work is not dated, so scholars have proposed various dates. It was traditionally considered to have been painted in 1456, when the founder of the chapel received cardinalship, but as late a date as 1467 has also been proposed. This is the oldest of Gallego's retablos. It consists of two main parts arranged with three panels each, a five-figured banco (predella), and two side guardapolvo (angled dust covers).

Some art historians have seen the influence of Masaccio in a set of panels from a predella, now divided between the Brooklyn Museum and the Lindenau Museum. In 1446, he painted the Crucifixion mural at the Siena City hall (Palazzo Pubblico) and. two years later, completed another depiction of Saint Bernardino in Lucignano. He may have also participated in painting the cloister at the Monastery of the Holy Saviour in Lecceto.

Originally the work had a predella, also lost, with the exception of a small panel with a Miracle of St Ambrose, now in the Berlin State Museums. The work was immediately admired and was copied by numerous painters. It remained in Sant'Ambrogio until 1810, when it was stolen. Later it was sold to the Galleria dell'Accademia, from which it was transferred to the Galleria degli Uffizi in Florence.

Longhi observed that another group of paintings was closely related to these works and appeared to be by the same hand. These included the predella of the Osservanza Altarpiece (Pinacoteca Nazionale, Siena), a predella of St. Bartholomew (Pinacoteca Nazionale, Siena), Scenes of the Passion (Vatican Museums, Philadelphia Museum of Art, and Fogg Art Museum), the Resurrection (Detroit Institute of Arts), and Scenes from the Life of St. Anthony Abbot (panels in the National Gallery of Art, Washington D. C., the Metropolitan Museum of Art, the Yale University Art Museum and Museum Wiesbaden, Germany). Additionally, the full-length painting of St. Anthony Abbot in the Louvre appears to be from another altarpiece by the same master. Research in 2010 by Maria Falcone in Siena has revealed the name of the Master to be Sano di Pietro. Falcone found a document about an altarpiece by the “Master of Osservanza” for a church in Asciano, just outside Siena, which was actually under the bishopric of Arezzo.

He probably worked in a workshop of one of the Soest goldsmiths. His early works show a strong Westphalian influence. Aldegrever made a journey to the Netherlands, where he became acquainted with works of Joos van Cleve, Barendt van Orley, Lucas van Leyden and Jacob Cornelisz. Around 1525 he moved to Soest, where a year later he painted the wings and predella of the Mary altar for the church of St. Peter.

Visitation is a c.1472 tempera on panel painting usually attributed to Perugino, now in the Galleria dell'Accademia in Florence. An early work by the artist from around the same time as Nativity of the Virgin, whilst he was still heavily influenced by Andrea del Verrocchio, it probably originated as part of the predella for a lost altarpiece. It shows the Visitation, with the Virgin Mary's mother Saint Anne to the left.

The chapel in the south transept contains an altar with a canopy and another reredos. These were added to the church in 1952 to accommodate a 15th-century painted predella. This is divided into three sections containing depictions of Christ before Pilate, Man of Sorrows, and the Lamentation; the sections are separated by gilded tracery. The war memorial, dating from about 1920, is in alabaster, and depicts an angel and a wreath.

350px The Novitiate Altarpiece or Madonna and Child with Saints is a c.1440-1445 tempera on panel painting by Filippo Lippi, now in the Uffizi in Florence. A sacra conversazione, it originally had a predella painted by Pesellino centred on a Nativity. The main panel shows Cosmas and Damian either side of the Madonna and Child, whilst Francis of Assisi is shown at far left and Anthony of Padua at far right.

Gloria Fossi, Uffizi, Giunti, Firenze 2004. In 1813, during the Napoleonic suppression of churches and religious houses in Italy, the altarpiece and predella were both taken to Paris. The predella's first two sections remain in the Louvre (St Francis Receiving the Stigmata and The Healing of Justinian the Canon), whilst the last three are now in the Uffizi with the main work (Nativity and two ), accompanied by copies of the two Louvre sections.

Detail of one of the innocenti. The original frame, commissioned in 1486 to Antonio di Francesco di Bartolo after a design by Giuliano da Sangallo, was destroyed in 1786, wen the interior of the church was renewed and the altarpiece removed. It was moved to the hospital's art gallery in 1917, being joined by the original predella (which had been separated in 1615) in 1971.Micheletti, page 172 Detail of the portraits on the right.

Annunciation , Uffizi, is thought to be Leonardo's earliest complete work Leonardo first gained attention for his work on the Baptism of Christ, painted in conjunction with Verrocchio. Two other paintings appear to date from his time at Verrocchio's workshop, both of which are Annunciations. One is small, long and high. It is a "predella" to go at the base of a larger composition, a painting by Lorenzo di Credi from which it has become separated.

Thomas often did series of paintings centering on one subject. The first significant series was on the subject of allegorical figures, reaching an early high point with the oil painting "Triptych with Predella – the Seasons" (1959) (collection of the Orange County Museum of Art), and continuing throughout his life culminating in the oil "The Tempest" (1997).Jerré Tanner (Fall 2007). On the Origins and Application of the Grid in the Art of John Paul Thomas.

The wings of the triptych show St. Stanislaus and St. Elizabeth; on their reverse are the figures of Christ and the Mother of Sorrows. The predella illustrates The Last Supper. The painting of St. Hedwig (dated 1620-1630) in the north side-altar comes from the Mikołaj Szyszkowski foundation. The south side-altar created in the Rococo style is from the second half of the 18th century and portrays Mary, the Mother of Sorrows.

The tabernacle was commissioned for the exterior of the seat of the Linaioli (the guild of linen workers in Florence), in the former Old Market, in the October 1432. The marble parts were executed by Simone di Nanni da Fiesole, under design by Lorenzo Ghiberti. The contract for the internal paintings was signed by Angelico on 2 July 1433, for a total of 190 golden florins. The predella is generally dated to 1433–1435.

She was concerned that the royal collections would be claimed by her successor, and prudently sent them ahead to Antwerp in a ship before she abdicated.Watson, 127-9 Christina greatly expanded her collection during her exile in Rome, for example adding the five small Raphael predella panels from the Colonna Altarpiece, including the Agony in the Garden now reunited with the main panel in New York, which were bought from a convent near Rome.Watson, 158.

From the High Renaissance onwards the subject is often combined with an Assumption, by having a group of the Apostles on the ground below the heavenly scene. As the central panel of altarpieces became larger, and finally the only panel used, with predella and side-panels ceasing to be used, the Coronation was one of the subjects suited to a very tall composition, especially if it had saints or apostles on the ground below.

The other renaissance: Florentine painting in the shadow of masaccio, pg 125 (Order No. 9316305). Available from ProQuest Dissertations & Theses Global. (303964947). Andrea employed many different colors in his chiaroscuro technique, which provides depth for the composition while also uniting the panels. The composition reveals the influence of Fra Angelico, particularly in Madonna's face, Lorenzo Monaco, and Gentile Bellini. On the predella, Andrea created the Naming of the Baptist, imitating one of Fra Angelico’s compositions.

Each bay, separated by plain pilasters with stone caps, features a round-arched window. The interior of the church has a plaster ceiling in a shallow, curved vault. The window bays are demarcated by half-vaults from the wall and ribs on the ceiling, connected with small pendentives. The current interior was installed during the 1957 renovation, including the predella and altar, communion rail, and parts of the side altars, done in three types of marble.

In 1503 Albertinelli signed and dated his best-known work, an altarpiece for the chapel of Sant'Elisabetta della congrega dei Preti in San Michele alle Trombe, Florence (now in the Uffizi). The central panel of this work depicts the Visitation and the predella the Annunciation, Nativity and Circumcision of Christ. The pyramidal composition, classical background architecture and pronounced contrasts of light and dark make the painting a quintessential example of High Renaissance art. Creation and Fall of Man, 1490s.

Saints James and Paul are in the left panel and John the Evangelist and Andrew are in the right. Two of the three predella panels are lost, but they surely all represented half-length figures of saints. The back main (central) panel represents Christ enthroned flanked by angels with a kneeling Cardinal Stefaneschi at his right foot. In the left panel we see the crucifixion of Peter, and on the right is the beheading of St. Paul.

The panel follows the same stylistic and narrative pattern as the other frescoes in the chapel, also by Lorenzo Monaco. It shows the Annunciation and, in the predella, other episodes of the Life of the Virgin which do not feature in the frescoes. In 1998, a restoration performed by the Opificio delle Pietre Dure showed that for the Virgin's mantle a simpler technique was used, indicating that the work was perhaps completed by one Monaco's pupils after his death.

By 1980, Behnke's work had evolved in three ways: she added oil paint to her repertoire, increasingly turned to New York City as a subject, and introduced a greater sense of temporality and unfolding, layered meaning through her use of the predella, a horizontal, multi-frame pictorial device of subsidiary, adjoined images often used on early-Renaissance religious altarpieces.Chwast, Seymour and Steven Heller. The Art of New York'', New York: Harry N. Abrams, 1983. Retrieved November 8, 2019.

345px The Entombment of Christ is a 1513–1516 oil on canvas painting by Lorenzo Lotto, now in the Accademia Carrara in Bergamo. It originally formed the central predella panel (one of three) to the artist's Martinengo Altarpiece at the church of Santi Bartolomeo e Stefano. The other predellas were Saint Dominic Reviving Napoleone Orsini and The Stoning of St Stephen. The whole work was commissioned by Alessandro Martinengo Colleoni for the Dominicans in the church of Santo Stefano.

When that church and its monastery were destroyed to built Venice's city walls in 1561, the altarpiece itself was moved into the new church, but all three predellas were removed and moved elsewhere. The three predella panels were then stolen in 1650, returned and moved to the church's sacristy, where the three panels were split up to different buyers in 1749, destroying the large anchor holding them together. Entombment was sold to its present owner in 1891.

The Tezi Altarpiece (Italian: Pala Tezi) is a painting by the Italian Renaissance painter Pietro Perugino, housed in the Galleria Nazionale dell'Umbria of Perugia, Italy. The work was once associated to a single predella panel portraying the Last Supper (), now at the Gemäldegalerie of Berlin. The painting was executed for the Tezi Chapel in the church of Sant'Agostino in Perugia. After that monastic institute was suppressed under the Napoleonic domination of Italy, it was acquired by the Umbrian Gallery.

The painting was executed for the St. Nicholas Chapel in the Basilica of San Domenico, Perugia. In the early 19th century, it was split and partially dispersed, and some of the predella panels were acquired by the Pinacoteca Vaticana. In Perugia were executed copies of these panels, enclosed into a neo-Gothic frame. The polyptych also included some small depictions of saints, on the side piers, and two tondoes with the Annunciation Angel and the Annunciation, in the cusps.

520 BC, from Vulci, now in the British Museum London The Antimenes Painter (530–500 BC) liked to decorate hydria with animal friezes in the predella, and otherwise especially neck amphoras. Two hydria attributed to him are decorated on the neck region using a white ground technique. He was the first to paint amphoras with a masklike face of Dionysus. The most famous of his over 200 surviving vases shows an olive harvest on the back side.

The predella of the altar has reliefs of events of the life of the three saints: Roch captured and led to jail, St Stephen's Martyrdom and St Sebastian's Martyrdom.Tourism site of the Terme Abano Montegrotto. In the 19th century, most of the canvases were removed, including a painting of the Martyrdom of St Lawrence by a painter of the school of Tintoretto, and other paintings by Antonio Zanchi.Veneto, Trento, Friuli, Venezia Giulia da "Le Cento città d'Italia", page 49.

Terenzio's most famous figuration in art is his minor appearance—as a young soldier saint—in a predella panel of Giovanni Bellini's "Pesaro Altarpiece", The Coronation of the Virgin (ca. 1475–80); in it Terenzio, as the city's patron, holds a model representing the Nuova Rocca, or Fortezza Costanzo, the citadel of Pesaro newly rebuilt by Costanzo Sforza.Everett P. Fahy Jr., "New evidence for dating Giovanni Bellini's Coronation of the Virgin" The Art Bulletin 46.2 (June 1964:216-218).

The use of expensive lacquer in the paintings and lapis lazuli shows the prestige of the commission. Two 15th century descriptions mention the work as a triptych, with two side panels portraying St. Michael Archangel and St. Crescentius Martyr (who held his head in a hand) and, below, a predella. A century later, artists including Giovanni di Paolo and Bartolo di Fredi executed copies of the painting. It was later disassembled and placed in a nunnery in Siena.

The dating (c. 1440) is based on the style and the presence of St. Nicholas in the predella panels. The patron for this piece was notably Niccolò Martelli, a rich Florentine citizen who supported the reconstruction of the basilica and other parts of town. The painting is considered the first known example of a squared altarpiece, without any traditional gothic decoration like pinnacles or cusps, in order to better match the simple architecture of the church, by Brunelleschi.

This room has the polyptych of San Rufino (1462) by Foligno artist Nicolò di Liberatore (also known as l'Alunno). In the predella are scenes of the martyrdom of San Rufino, the patron of the city of Assisi, including the miraculous finding of his body and its transfer into the walls of the city. Also in this area are two predellas by Dono Doni (1563) as well as sacred vessels and liturgical vestments from the 17th through the 19th centuries.

The chapel is an octagon in form with a bell helmet and a lantern, and the portal has a hipped roof canopy. The arched windows were created in 1935 by the Tyrolean Stained Glass. The high altar with a relief of the Nativity is by the sculptor Hermann Hutter, from 1915. The predella (altar base) relief of The Adoration of the Magi, The Crucifixion, The Escape from Egypt is by the sculptor Max Domenig, from 1936.

It reuses the low parapet from Madonna and Child with St Rose and St Catherine (1492) and probably also involved the master's studio assistants. The painting was commissioned by Giovanni di Matteo Schiavone (died 7 June 1507) for a planned chapel at Santa Maria dei Servi church in Perugia. It was delivered in September 1507. It probably originally had a predella of three small panels (Annunciation, Adoration of the Shepherds and Baptism of Christ), now in the Galleria Nazionale dell'Umbria.

On the lower register are the eleven apostles, with only John the Evangelist kneeling. In the background are a clear sky and gilded treeless hills, forming a valley. Perugino largely used and adapted his existing drawings for the work, reusing angels from the scene of the Baptism of Christ in the Sant'Agostino Altarpiece and arranging the apostles as in the Annunziata Polyptych. The work also has a two panel predella showing The Annunciation and The Adoration of the Christ Child.

Another four side panels and three predella panels (two of which had a double scene) are now in the Gemäldegalerie, Berlin. The altarpiece's central panel was Madonna and Child with Angels, produced in collaboration with Masaccio's brother Giovanni and with Andrea di Giusto, now in the National Gallery, London. Eleven panels are known as of 2010, and they are insufficient to reconstruct the whole work with certainty. In particular four standing figures of saints flanking the central panel are missing.

The Di Cione brothers collaborated on a number of works from their studio together, including the decorations from the Cappella Strozzi in Santa Maria Novella. While Orcagna painted the altarpiece, Nardo executed the frescoes of The Last Judgment, Paradise and Hell. Crucifixion (Uffizi Gallery) Of Nardo's independently attributed works is his Crucifixion, a central panel of a tabernacle. In the predella of the piece are depictions of Saints Jerome, James the Less, Saint Paul, James the Great and Saint Peter the Martyr.

At the same time, a new organ from the Kaltschmidt firm in Stettin was added. The old pulpit, which is supposed to have looked more like a barrel, made way for a pulpit altar which was crowned with a cross. There were originally quotes from the Bible in a predella to both sides of the pulpit, but these were painted over later. The German church was painted at this time in the neo-gothic style, which replaced its original late Baroque colours.

The Crucifixion was brought to the Louvre in 1798 and put on exhibition immediately. In 1806 two of the predella panels (the Mount of Olives and the Resurrection) were sent to the museum of Tours. In 1815 the central panel and the two wings were taken back to Italy and exhibited in the city museum at Verona. After 1918, they were returned to the church of San Zeno, where they still remain - though they are not very easy to see.

He was contracted by María de Luna in 1488. In the center is an equestrian figure of Saint James, the work of Juan de Segovia. In the center of the predella is represented the scene of the Weeping Before a Dead Christ, and on its sides the Count Álvaro and his wife are portrayed as patrons accompanied by Saint Francis and Saint Anthony. :Burials :The two sepulchres in the center of the chapel belong to Álvaro and his wife Juana de Pimentel.

The Madonna and Child Enthroned with Saints (Young Baptist and Saints Peter, Catherine, Lucy, and Paul), also known as the Colonna Altarpiece, is a painting by the Italian High Renaissance artist Raphael, c. 1504. It is housed in the Metropolitan Museum of Art of New York City. It is the only altarpiece by Raphael in the United States. The collection of Metropolitan Museum of Art also contains a painting of the Agony in the Garden from the predella of the altarpiece.

The painting measures , with its frame, . It employs a dull palette of greys, browns, greens and blues. It was originally conceived as part of the predella for an unrealised triptych on the Fall of Troy. The tall frame is filled by a gigantic spoked wooden wheel, turned by a giant personification of the goddess Fortune standing in a contrapposto position, wrapped in the voluminous folds of a metallic blue classical gown, head swathed in a matching cloth, with closed eyes cast down.

The main panel, which is about 1.8 meters square, shows the Trinity as the "Throne of Mercy," with God the Father supporting the Crucified Christ in his lap. The Trinity is flanked by four standing saints: Mamas, James, Zeno and Jerome. The altarpiece retains four of its original predella panels while the remaining fifth is now at the Hermitage, St Petersburg. The altar frontal, depicting the Virgin of Mercy, was formerly at the Gemäldegalerie, Berlin, and was destroyed in 1945.

One that he created for the convent church of St. Damien was often praised. although it has since disappeared. Other notable works included pieces depicting the Archangel Gabriel for Barcelona Cathedral; one with the Virgin Mary and St. George for the convent church of St. Francis in Vilafranca del Penedès; and a Clare of Assisi for the convent of the Poor Clares. Also notable is a Burial of Jesus for the predella at the Collegiate Church of Santa María in Manresa, from 1408.

The Agony in the Garden (right panel of the predella of the San Zeno Altarpiece, 1455) National Gallery, London is the pinnacle of Mantegna's early style. Mantegna was born in Isola di Carturo, Venetian Republic close to Padua (now Italy), second son of a carpenter, Biagio. At the age of eleven he became the apprentice of Paduan painter Francesco Squarcione. Squarcione, whose original profession was tailoring, appears to have had a remarkable enthusiasm for ancient art, and a faculty for acting.

The polyptych is Martini's largest work, and includes numerous sub-panels. Aside from the seven main ones, there are 15 predella figures, an upper row with other 14 figures and seven cusps with other characters. There is a total of 44 figures. The central panel depicts the Madonna with Child; the remaining six main panels are, from left to right, St. Dominic, St. John the Evangelist, St. Mary Magdalene, St. Catherine of Alexandria, St. John the Baptist and St. Peter of Verona.

To the right is Michael the Archangel with armour, sword and scales, treading Satan beneath his feet. To the left is Saint Blaise dressed as a bishop with the instruments of his martyrdom. Below the main panel is a predella centred around the Dead Christ, with Tobias, Raphael, St Peter and the Virgin Mary to the left and saints John the Evangelist, Lawrence and Francis of Assisi to the right, all framed by two coats of arms, probably those of the donors.

It is unknown for what purpose the painting was created. Various suggestions have been offered, including as a predella for an altarpiece, a free-standing work, or an ornament for a sepulchre. In 1999, Bätschmann and Griener raised the possibility that the panel was intended to form part of a Holy Tomb, perhaps as a lid to be laid over a sepulchre. It is known that Holbein used a body retrieved from the Rhine as a model for the work.

The figures on the predella (just below the center panel) are from the left: Saints Thomas Becket, Joan of Arc, St. Mary the Virgin, Francis of Assisi, and Demetrius of Alexandria. Most of the stained glass windows in the cathedral were designed and produced in England, most by Lavers, Barraud and Westlake of London. A large rondel window of Christ the King was made by Heaton, Butler and Bayne, also of London. Today's church features a liturgy in the Anglo-Catholic tradition.

Nativity of the Virgin is an oil on panel painting by Domenico Beccafumi, now in the Pinacoteca Nazionale in Siena. Painted for Santi Pietro e Paolo, it has been dated to 1540-1543 by its stylistic similarities to the paintings produced by the artist on Moses and the evangelists for Pisa Cathedral and to some scenes from the pavement of Siena Cathedral. It may have originally had a predella - Sammniatelli identifies the predella's panels as a number of paintings now in a private collection in Somerset.

Sansepolcro was the town the birthplace of Piero della Francesca. The town depicted in the middle distance in the painting, to Christ's left, may be Sansepolcro. Its dating to Piero della Francesca's early career is evidenced by the strong relationship with the "light painting" of his master, Domenico Veneziano. It was originally part of a triptych, with side panels of St Peter and St Paul and a predella by Matteo di Giovanni dated to the early 1460s, now in the civic art gallery in Sansepolcro.

Resurrection is a tempera on panel painting by Andrea Mantegna dating from 1457-59, now in the Musée des Beaux-Arts in Tours. Like Agony in the Garden (also Tours) and Crucifixion (Louvre), it originally formed part of the predella of the San Zeno Altarpiece, commissioned in 1457. It was produced in Padua and then sent to Verona in 1459. In 1797 the altarpiece was confiscated by the French occupying authorities and sent to the 'Museo Napoleone' in Paris, an augmented version of the Louvre.

One possibility is that Villate was responsible for a predella now lost. A recently discovered document of 1466 orders some painted or stained glass for the Town Hall of Arles from a "maître Enguibran" living in Avignon. He may have had help from Pierre Villate, who is documented as fulfilling many commissions for glass, and was also a party to the contract for the Virgin of Mercy. Hardly any work certainly his survives, but it is clear he had a considerable reputation in his day.

Art historians are uncertain about the dating of the painting, and propositions have ranged from 1470 to 1491. Detail of clouds. Its commissioner is unknown but the work relates to the Nativity panel in the predella of the Ottoni Altarpiece in Matelica. Its attribution has varied - in 1896 Charles Loeser argued it was a fake and Drey wrote of its artist as an elusive "Master of the Adoration of Strasbourg", but it is now held to be a late completely autograph work by Crivelli.

Perseus with the Head of Medusa by Benvenuto Cellini Perseus with the Head of Medusa, in the Loggia dei Lanzi, Florence Perseus with the Head of Medusa is a bronze sculpture made by Benvenuto Cellini in the period 1545–1554. The sculpture stands on a square base which has bronze relief panels depicting the story of Perseus and Andromeda, similar to a predella on an altarpiece.Shearman, “Art or Politics,”. It is located in the Loggia dei Lanzi in the Piazza della Signoria in Florence, Italy.

Another work attributed to Inglés is the retable of St Jerome from the monastery in Olmedo, Valladolid, now residing in the National Sculpture Museum at the Colegio de San Gregorio. The seven predella panels include a St Sebastian with a curious hat. The main panel shows St Jerome in his Study. The retable in the parish church of Villasandino (Burgos), of which fragments survive, may be Inglés' last work. Jorge Inglés was responsible for various miniatures in manuscripts in the collection of Marqués’ Íñigo López de Mendoza.

The panels were painted between January 1496 and the end of 1499, and the work was solemnly inaugurated on 13 January 1500. Contemporary art historian Giorgio Vasari considered the predella Perugino's best work in his home city. In 1591 the church's choir was radically restored, and the altar had to be dismantled. After the religious suppressions of 1797, the work was acquired by the French, and was divided into several French museums, although several panels remained in Perugia or went to Papal collections in Rome.

He was created cardinal 19 December 1539 and bishop of Besançon, 29 December 1541He resigned the see in favor of his nephew, 27 June 1543 (Miranda). He was a courtier of Charles V, Holy Roman Emperor, who made him a Prince of the Empire.La Chesnaye des Bois; Miranda. Survivals of La Baume's taste as a patron are the predella panels of the grand retable he commissioned for the abbey of Saint-Oyend at Condat, today the cathedral of Saint-Pierre, Saint-Paul et Saint-André.

100 He also wrote a number of erotic sonnets, signed with his pseudonyms Patrizio Tricasso and Patrizio Tricasso da Ceresara. He was hosted at the court of Aloisio Gonzaga in Castel Goffredo as an astrologer. Massimo Marocchi, I Gonzaga di Castiglione delle Stiviere, Rotary Club Castiglione delle Stiviere, Verona, 1990. He was summoned to Mantua in 1532 by Federico II Gonzaga to become podestà of the city, where Paride built the Palazzo del Diavolo on the corso Predella (now corso Vittorio Emanuele II) as his personal residence.

The high altar Figures in the altar shrine The high altar contains numerous figures, reliefs and decorative attachments. The altar is 11.64 metres high and 7.68 metres wide and contains three parts (predella, shrine with side panels and a superstructure). During the Second World War, the altar was dismantled. The figures and the relief panels from the sides survived in the Kochberg salt mines at a depth of 200 metres, while the superstructure and the shrines were walled in the western tower of the church.

Amphoras and hydria, the latter often with palmettes in the predella, are the most frequently painted vessels. The image field is usually filled absolutely to capacity, but the quality of the images is still kept very high. Many of the over 200 vases in this group were decorated with scenes of the Trojan War and the life of HeraclesOn the Leagros Group see John Boardman: Schwarzfigurige Vasen aus Athen, von Zabern, Mainz 1979, S. 120f.; Thomas Mannack: Griechische Vasenmalerei, Theiss, Stuttgart 2002, S. 124.

The museum's main attraction is its collection of Italian paintings from the late Gothic and early Renaissance age (13th–15th centuries), which are among the largest outside Italy. The artworks include Filippo Lippi's St. Jerome in Penance, Sandro Botticelli's Portrait of Caterina Sforza and a predella panel by Fra Angelico. It also keeps ancient antiquities and modern works, and has a library. The museum is a member of the Konferenz Nationaler Kultureinrichtungen, a union of more than twenty cultural institutions in the former East Germany.

Both it and Miracle of the Snow are usually identified as one of two surviving parts of the same predella, either from a lost altarpiece of the Virgin Mary or from the Piazza Madonna by Verocchio's studio. Both panels were in the Pucci chapel in Santissima Annunziata in Florence by 1786, when they were bought by John Campbell. They were sold to different owners in London in 1804, with Birth bought by William Roscoe for nine guineas. At the time of the sale it was misattributed to Masaccio.

The saints are felt to represent four of the sacraments of the church respectively: marriage, baptism, extreme unction, and confirmation.Lorenzo Lotto in the Marche, website for an itinerary of works in the Marche. The oratory has now been converted into a civic museum, displaying artifacts preserved by the confraternity associated with the oratory, including an 18th-century predella, a 1785 processional baldacchino, and other processional crosses and artifacts. Among the paintings are a Holy Family attributed to Innocenzo Francucci and a Madonna della Misericordia (circa 1420) in a Byzantine style.

Retrieved on 21 October 2011. Denson's monographs and catalogues include Dennis Oppenheim, (Fundacao De Serralves, Portugal);LIVRES / BOOKS / LIVROS : Exposition – Dennis OPPENHEIM – Porto, Fundação de Serralves, 1996. TOBEART.com. Retrieved on 21 October 2011. Hunter Reynolds: Memento Mori, Memoriter, (Trinitatiskirche, Cologne); Michael Young: Predella of Difference, (Blum Helman, New York). And in the book by Robert Morris (artist), Continuous Project Altered Daily: The Writings of Robert Morris (October Books, MIT Press), Denson has contributed to the chapter, “Robert Morris Replies to Roger Denson (Or Is That a Mouse in My Paragon?) ”.

The Altarpiece of the Saints John from Vinaixa was commissioned in 1432 from the Tarragona painter Ramon de Mur, but in the end it was painted by Martorell. The MNAC keeps most of the panels from this altarpiece. The main panel is kept at the Museu Diocesà de Tarragona, a side compartment is kept at the Musée Rolin d'Autun (France), and the whereabouts of another compartment is unknown. The two Saints John feature in the scenes in the lateral lanes of the altarpiece and two more on the predella, respectively.

Beginning in 2007, Thurnauer produced a series of works, called Prédelle (the French term for predella). The Grande Prédelle incarnations, produced from 2008-2011, are diptychs, each depicting a large feathered wing along a deformation of the iconic title of the magazine Elle. The title and subject convey a multiple play on words, simultaneously acting as a homonym for "près d'elle" and "aile", respectively meaning "close to her" and "wing" in French. Cyclicly, each Grande Prédelle painting has its own palette glued to it as a finishing touch.

Gothic reredos of Saint John and Saint Catherine. This reredos is found on the crossing, next to the chapel of Doncel and comes from the sacristy of the aforementioned chapel. It consists of several of the tables made around 1440, commissioned by the la Cerda family. The tables are painted in an Italianate Gothic style and in the central table the Crucifixion is represented while in the others they are scenes of the life of Saint John and Saint Catherine, the predella is also preserved where they observe various painted images of the prophets.

Especially in the Latin world, there is a tradition of votive paintings, typically depicting a dangerous incident which the offeror survived. The votive paintings of Mexico are paralleled in other countries. In Italy, where more than 15,000 ex-voto paintings are thought to survive from before 1600, these began to appear in the 1490s, probably modelled on the small predella panels below altarpieces."Recording Miracles in Renaissance Italy", Mary Laven, Past & Present, Volume 230, Issue suppl_11, 1 November 2016, Pages 191–212, , an account of the shrine of the Madonna dell’Arco near Naples.

The polyptych had been originally commissioned for the Abbey of San Pietro at Perugia, the contract having been signed by Perugino on 8 March 1495. It included a large altarpiece and several panels, within a wooden frame by Domenico da Verona. The altarpiece, depicting the Ascension of Christ, was to have a lunette with the God in Glory between Angels above it, while the predella had not been exactly defined. The payment was 500 golden ducats, and no more than two years and a half were given to complete the work.

In the meantime the St. Paul's Church had been designated as the parish church. The removal of the St. Walburga Church left an open space, now called the Burchtplein, on which a statue to Peter Paul Rubens was placed. When the banks of the Scheldt river were straightened, the square disappeared and the statue was moved to the Groenplaats. The church's predella was reused for the main altar of the Antwerp Cathedral; another altar was moved to the Saint Dionysius church in Tilburg, where it became the high altar.

The church pavement is made of stone, as is the main altar, which hosts a painting of the Blessed Virgin and Child with the Holy Spirit, between St John the Baptist and St Stephen Protomartyr and a statue depicting the blessed Stefano Corumano. Corumano was an 11th-century monk and hermit from Riccia. In the center of the floor, near the predella of the main altar, is the tomb of Bartolomeo III decorated with the shield with a garland of flowers.Riccia nella storia e nel folk-lore, by Berengario G. Amorosa, page .

Later works by Biagio d'Antonio include the Madonna and Child with Saints Francis and Mary Magdalene for San Pancrazio, Florence (now at San Francesco in San Casciano in Val di Pesa; the predella of this work is at the Accademia Etrusca, Cortona) and a number of altarpieces for churches in Faenza, now in that city's picture gallery. Among these, the most important is the Madonna and Child with Saints John the Evangelist and Anthony of Padua for the Bazzolini chapel in San Francesco, completed in 1502. Biagio died in Florence in 1516.

The Bardi Dossal illustrated is such a piece, typical in that it shows a saint, here Saint Francis of Assissi, as the main image, surrounded by scenes from his life.Szakolczai, Arpad, Sociology, Religion and Grace, pp. 94-95, 2007, , 9781134194506, google booksFranco, Bradley R., "The Functions of Early Franciscan Art", in The World of St. Francis of Assisi: Essays in Honor of William R. Cook, eds. Bradley Franco, Beth Mulvaney, 2015, BRILL, , 9789004290280, google books In a larger altarpiece, these would be predella scenes running below the main painting.

The painting was commissioned to Perugino for the high altar of the Vallombrosa Abbey, in the Florence countryside, and was finished within July 1500. The work was originally completed by a predella, of which only two portraits remain (Biagio Milanesi, the then-abbot, and of the monk Baldassarre); both works are now at the Uffizi Gallery. After the Napoleonic invasion of Italy and the suppression of the abbey, the canvas was moved to Paris in 1810. However, it was restored to Tuscany in 1817, being assigned to the Florentine gallery in this occasion.

Historically, polyptychs typically displayed one "central" or "main" panel that was usually the largest of the attachments; the other panels are called "side" panels, or "wings". Sometimes, as evident in the Ghent and Isenheim works (see below), the hinged panels can be varied in arrangement to show different "views" or "openings" in the piece. The upper panels often depict static scenes, while the lower register, the predella, often depict small narrative scenes. Polyptychs were most commonly created by early Renaissance painters, the majority of whom designed their works to be altarpieces in churches and cathedrals.

Elector Albrecht Achilles, Predella from St. Gumbertus, Ansbach (1484) Duke Louis the Rich, representation from the 16th century Albert Achilles tried to expand the jurisdiction of his courts, as part of his attempt to extend his influence over neighbouring areas. For this purpose, he tried to raise his Burgraviate Court at Nuremberg to an Imperial Court. This would have given him jurisdiction over the neighbouring principalities and the possibility to override decisions of subordinate courts. He also had in mind a plan to re- establish the Duchy of Franconia, with himself as Duke.

It seems most likely to have been commissioned by Catholics, as the subject is virtually specific to Counter-Reformation art, though Ter Brugghen was himself Protestant. The painting eventually found its way to a Frederick Mont, from whom the painting was purchased by Oberlin College in 1953. The piece has been exhibited in the Washington, D.C.'s National Gallery of Art, Utrecht's Centraal Museum and New York's The Metropolitan Museum of Art. Saint Sebastian Tended by Saint Irene was a mainly 17th-century subject, though found in predella scenes as early as the 15th century.

Birth of John the Baptist, c.1485–1490, tempera on wood, 32 x 70 cm (12.5 x 27.5 in.), Louvre Birth of John the Baptist is a c.1485–1490 tempera on panel painting by Luca Signorelli. Antonio Paolucci, 'Luca Signorelli', in Pittori del Rinascimento, Scala, Firenze 2004 Originally part of the predella of an unknown altarpiece (though Raffaele Caracciolo definitively linked it to the Sant'Onofrio Altarpiece), it was acquired on the art market in 1824 by the Louvre, where it still hangs in the Salle des Sept-Mètres.

The work was executed for the new Franciscan convent of Sant'Antonio da Padova in Perugia, most likely in the years following his sojourn in Rome. It portrays the Virgin enthroned with the Child in the central part, flanked by several saints: Anthony of Padua and John the Baptist on the left, Francis and Elizabeth of Hungary in the right. In the cusp is the Annunciation. The upper part of the predella shows the saints Clare and Lucy, while in the lower part are miracles stories of the main Franciscan saints.

The quality of his landscapes is already clear in Bernardino Fungai's earliest recorded work dated to 1495-97, a Stigmatisation of St Catherine in the Santuario Cateriniano at Fontebranda. The composition reveals a panorama of graceful buildings, gentle hills and tall trees with an extensive sea in the back enlivened with small boats. The contrast in the composition between the solid, hard-edged and hieratic figures of the main scene and the small background and predella figures with dancelike poses and freely moving drapery is also typical of his style.

The Annunciation is a small painting of the Annunciation by Sandro Botticelli, of c. 1485–92. It is now in the collection of the Metropolitan Museum of Art in New York. The Metropolitan believe the work was painted as a single image for private devotional use, rather than as one of a set of predella scenes below the main panel of an altarpiece. The work is known to have been in the Barberini family collection in Rome in the 17th century, and later became part of the Robert Lehman Collection that was donated to the Metropolitan Museum of Art in 1969.

In all these works the figures are highly individualized, and mastery of space, perspective and composition is enriched with an accurate sense of design and a wise use of color. Berruguete's last assignment was the high altar of the Ávila Cathedral, which he was unable to finish due to his death. He painted for this work of late Gothic architecture several paintings of episodes from the life of Christ for the altarpiece, and figures of patriarchs for the predella. These paintings, perhaps reflecting the prevailing style in Castile at the time, use gold backgrounds and somewhat rigid compositions.

Malvagna Triptych, Oil on panel, Galleria Regionale della Sicilia, Palermo The Malvagna Triptych (1513-1515) is a predella altarpiece by the Flemish artists Jan Gossaert located in the Galleria Regionale della Sicilia, in Palermo, Sicily. The triptych had arrived, complete, in Malvagna, Sicily by the 1600s. The central panel of the interior depicts a Virgin and Child with Musical Putti (child angels). The side panels respectively depict St Catherine with a book on her lap, and sword at her feet; and St Dorothy weaving with a cherubic angel a crown of flowers on to a band.

Berto di Giovanni (di Marco), a pupil of Perugino, painted at Perugia from 1497 to 1525. He executed works for the magistrates, and was a member of the guild of that city. He painted with a predella, in the convent of Santa Maria di Monteluce at Perugia, the following subjects from the Life of Christ: 'The Nativity,' 'The Presentation,' and 'The Marriage' and 'Death of the Virgin.' These form part of a large work of the 'Coronation of the Virgin,' which Raphael was originally commissioned to paint, but which was subsequently executed by an artist whose name has not been recorded.

These sorts of altars from Antwerp were very widespread across northern Germany during the late 16th century. The predella of the main altar's retable, destroyed in 1945 during the war, was created around 1390 as a self-standing, two-pronged altar retable by the Master of the Berswordt retable, a painter associated with French art during the 1380s whose workshop was assumed to be in Cologne.Götz J. Pfeiffer, Die Malerei am Niederrhein und in Westfalen um 1400. Der Meister des Berswordt- Retabels und der Stilwandel der Zeit (= Studien zur internationalen Architektur- und Kunstgeschichte, 73), Petersberg (Imhof-Verlag), 2009; .

This panel is part of a predella, or a series of narrative scenes below the main depiction above in a polyptych Christian medieval and Renaissance altarpieces. This particular polyptych was broken up and widely dispersed. Companion panels for this piece are presently found in the National Gallery and the collection of the Queen in London; the Pinacoteca di Brera in Milan; the Gemäldegalerie, Staatliche Museen zu Berlin-Preussischer Kulturbesitz; and the National Gallery of Art, Washington, D.C. This panel entered the John G. Johnson Collection by 1917. The altarpiece was commissioned by the Company from Gozzoli on October 23, 1461.

A skeletal figure floats above the scene, pointing to the right, with a soldier in gas mask below, and scabrous legs upended to the right, recalling the legs of Christ in Grünewald's crucifixion scene. The right wing shows several figures withdrawing from the fight. A dominant greyish figure, helping a wounded comrade, is a self-portrait of Dix himself, in a composition similar to a descent from the cross or a pietà. In the predella, several soldiers are lying next to each other, possibly sleeping under an awning, or perhaps they represent the dead in a tomb.

The predella shows Church Fathers and the founders of orders: St Bernard of Clairvaux, St. Gregory the Great, St. Jerome, St. Augustine, St. Ambrose and St Benedict of Nursia. Altarpiece of the Virgin Mary of the Brotherhood of the Blackheads Several other altarpieces from the same period can be mentioned: the altarpiece of "St. Mary and the Brotherhood of Blackheads" from 1500, made in Bruges by the anonymous Master of the Legend of Saint Lucy.The other wings depict the Annunciation in grisaille technique in a scene with the archangel Gabriel and the Virgin Mary with an open book.

The work is in a huge gilded and carved frame, with three cusps covered placed on jutting corbels. The three arches are decorated with vegetable motifs; over them are three panels (whose upper frame is lost), containing the paintings, from the left, of the Angel of the Annunciation, the Blessing Christ between Cherubims and the Annunciation. At the side are two piers with twisting columns on the edges, with paintings of prophets. In the lower part is the predella, with six small paintings of the Episodes of the Lives of St. Benedict and St. Bernard of Clairvaux.

The Santa Lucia de' Magnoli Altarpiece (Italian: Pala di Santa Lucia de' Magnoli) is a painting by the Italian painter Domenico Veneziano, dated to around 1445–1447. Once placed at the high altar of the church of Santa Lucia dei Magnoli, Florence, it is now in the Uffizi Gallery in the same city. The large panel had originally a predella, which has been divided between museums in Washington, Berlin and Cambridge. It has been described as "almost certainly ... the first true sacra conversazione", or painting of the Virgin and Child with saints on a unified scale and sharing the same space.

The six main panels represent, from left to right and top to bottom: Baptism of Jesus, Christ on the Cross at Calvary, Martyrdom of John the Baptist, Apparition of Saint Leocadia, San Ildefonso (Saint Ildephonsus) Receiving the Chasuble from the Virgin, and Veneration of the Relics of San Ildefonso. The predella shows, left to right: Saint John the Evangelist, Saint Nicolas de Bari, Saint Peter, The Holy Face, Saint Jerome, and Saint James. The guardapolvo represent Eve and Adam on the top and allegories of the Church and Synagogue beneath. Between the panels show the coat of arms of the Cardinal.

These details were not present in Catalan art before Martorell. About the same time, Martorell also executed illustrations to the Ferial Psalter and the Book of Hours, and painted the Predella of the Passion of Christ (Museu de la Catedral de Barcelona). Two altarpieces, Retable of Saint Vincent (which survived entirely) and Retable of Saint Lucy (the top of the central section was probably executed by another painter) were apparently painted in the 1430s. In 1437, Bernat Martorell got a commission to create an altarpiece (Retable of Saint Pere de Púbol) for the church in Púbol.

Lorenzo's first public work was a panel depicting St. Martin Enthroned, painted for the Arte dei Vinattieri, the wine-merchants’ guild of Florence. The painting was mounted in the Florentine church of Orsanmichele on a pilaster assigned to the guild on October 4, 1380, and is now in the Depositi Galleria d'Arte in Florence. The predella depicts the episode of St. Martin dividing his cloak with the beggar. It was about this time that Lorenzo began working with the painters Agnolo Gaddi, Corso di Jacopo, and Jacopo di Luca, and the goldsmiths Piero del Miglior and Niccolo del Lucia.

The contract was signed on 15 June by Prior Innocenzo da Pesaro. The commission also included a cymatium showing a "Pieta of Our Lord Jesus Christ", identified with The Dead Christ Supported by Joseph of Arimathea (Cleveland Museum of Art) and a lost predella (made up of two "quadriciti" and of a tabernacle door painted with the face of Saint Peter Martyr). AA.VV., Brera, guida alla pinacoteca, Electa, Milano 2004. The work was broken up and dispersed in the 17th century, probably around 1646 when it was taken down for the Baroque remodelling of the church's interior.

The High Altar represents the stoning of the church's patron St. Stephen. It is framed by figures of patron saints from the surrounding areas – Saints Leopold, Florian, Sebastian and Rochus – and surmounted with a statue of St. Mary which draws the beholder's eye to a glimpse of heaven where Christ waits for Stephen (the first martyr) to ascend from below. Wiener Neustädter Altar The Wiener Neustädter Altar at the head of the north nave was ordered in 1447 by Emperor Frederick III, whose tomb is located in the opposite direction. On the predella is his famous A.E.I.O.U. device.

In ancient churches such wooden or metal railings were called cancelli or, if of marble slabs, transennae. In Eastern Catholic Churches of Byzantine tradition, the sanctuary is usually cut off from the view of the congregation by an iconostasis, and in those whose tradition is that of Oriental Orthodoxy, such as the Armenian Catholic Church, a curtain may hide it from view at certain points of the liturgy. Even within an elevated sanctuary, the altar itself is often placed on a higher platform set off by one or more steps. The platform is known as the predella.

This base is called the predella (not to be confused with the same term when used of the platform on which the altar sits), and may illustrate episodes in the life of the saint whom the altar celebrates. Some altarpieces are known as winged altarpieces. In these the fixed central panel is flanked by two or more hinged panels, which can be moved to hide the central painting and the paintings on the side-panels themselves, leaving visible only the reverse of the side-panels, which are usually relatively plain. They can then be opened to display the images on feastdays.

The shell- shaped niche in the background, a typical element of 15th century Florentine painting, and of Lippi in particular, is inspired by a niche in the Tribunale of the Mercanzie in Orsanmichele, designed by Donatello. The kneeling saints are St. Augustine on the right and St. Fridianus on the left. On the far left is a self-portrait of Lippi, identified as the young monk behind the balustrade. The work was originally accompanied by a predella, which was returned to Florence after the fall of Napoleon and is now housed in the Uffizi Gallery in Florence.

200x200px Framed alongside four other of his works (Agony in the Garden, The Way to Calvary, The Resurrection, and The Descent into Limbo), this predella set of paintings details the struggles of Christ. It is believed that these paintings were created in or around 1491 due to the similarities in the landscapes of The Crucifixion and Benvenuto's 1491 Ascension. In The Crucifixion, various prominent biblical figures within this story can be seen in Benvenuto's portrayal of the event. Longinus is depicted on horseback slightly behind Christ, holding the spear that he had pierced Christ with earlier.

When the canvas is unframed, a number of measuring marks are visible on the outer margin of board, indicating that the composition was carefully conceived. Bacon said in a 1959 letter that the figures in Three Studies were "intended to [be] use[d] at the base of a large Crucifixion which I may still do."Sylvester (2000), 19 By this, Bacon implied that the figures were conceived as a predella to a larger altarpiece. The biographer Michael Peppiatt has suggested that the panels may have emerged as single works, and that the idea of combining them as a triptych came later.

It consists of twelve panels, five of which form the lower register and seven the upper one; from eighteen mirrors of which six are inserted in the lateral pillars and twelve in the predella, and from five medallions. Overall, the figured tables amount to thirty-five; to these are added the two side scrolls with the inscriptions in which the names of the customers and the year of execution appear. The painter's signature is located on the step at the base of the throne of the Virgin. After the recent restoration, the work has found its ancient location near the main altar.

Andrea dated the Madonna della Cintola in the Accademia di Belle Arti di Firenze in 1437. The main panel features a kneeling St. Thomas, while the Death of the Virgin is depicted in the center of the predella; both compositions betray significant influence from Fra Angelico. The St. Catherine is influenced by a lost work by Masolino da Panicale portraying the same character. In a turn away from Lorenzo Monaco’s typical influence on Andrea, the drapery in this altarpiece is subdued rather than animated, as in Lorenzo’s composition, though Lorenzo’s influence on Andrea’s depiction of form remains intact.

In common with many artists of the early Protestant Reformation, Holbein was fascinated with the macabre. His father, Hans Holbein the Elder, took him to see Matthias Grünewald's altarpiece in Isenheim, a city in which the elder also received a number of commissions from the local hospice. In common with the religious traditions of the 1520s the work was intended to evoke piety and follows the intentions of Grünewald, who in his altarpiece set out to instill feelings of both guilt and empathy in the viewer. Matthias Grünewald, Lamentation and Entombment of Christ; (predella of the Isenheim Altarpiece), 1512–15, Musee d'Unterlinden, Colmar.

Miracle of the Snow is a tempera on panel painting by Perugino, dating to around 1472 and now in the collection of Polesden Lacey. It shows the miraculous fall of snow which marked the spot for the foundation of Santa Maria Maggiore in Rome in 352. It belongs to the painter's early period and the important commissions he gained during the short time he was active in Florence. Both it and Birth of the Virgin Mary are usually identified as one of two surviving parts of the same predella, either from a lost altarpiece of the Virgin Mary or from the Piazza Madonna by Verrocchio's studio.

The left wing contains images of each of the five Joyful Mysteries of the Rosary, while the middle part depicts the five Sorrowful Mysteries with the relief of the crucifixion of Jesus being larger than the other four. The central part is topped by tracery with statues of the Mother of God, Jesus, two angels, Anthony the Great, and Denis. Reliefs of the five Glorious Mysteries are shown on the right wing. The predella is located below the main part and has reliefs of the Last Supper, the Passover meal, the sacrifice by Melchizedek, and a meal with twelve people, all concerning the eucharistic celebration.

This central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century.

Above the three arches are medallions with prophets, of whom only the middle one (Isaiah) has been identified, thanks to the cartouche saying Ecce Virgo [concipiet]. Below, the scene is completed by a predella with four scenes: Visitation, Nativity, Adoration of the Magi and Flight into Egypt. These shows typical elements of the International Gothic style, such as the fine arabesques in the drapes and the delicate tonalities in contrast with the dark backgrounds. In the Adoration, the detail of the old king kneeling to kiss the Child is taken from a Ghiberti's tile, and was also used by Gentile da Fabriano in his Strozzi Altarpiece.

The poem mentions in passing that he was a fadrí or bachelor at the time. See Josep Romeu i Figueras (1994), Lectura de textos medievals i renaixentistes (Valencia: Universitat de València), 83-84, for an analysis of Móger's dates. Móger painted an "angel concert"-themed altarpiece, with two musicians on the lute and rebec, in an unknown year.Kenneth Kreitner (1995), "Music in the Corpus Christi Procession of Fifteenth-Century Barcelona", Early Music History, 14, 199. In 1438 Móger was commissioned to incorporate an Early Netherlandish imago pietatis into the predella of the retable of the high altar in the church of Santa Eulàlia in the Ciutat.

Otto Dix, The War ("Der Krieg"), 1932; Galerie Neue Meister, Dresden The War (German: "Der Krieg"), sometimes known as the Dresden War Triptych, is a large oil painting by Otto Dix on four wooden panels, a triptych with predella. The format of the work and its composition are based on religious triptychs of the Renaissance, like those by Matthias Grünewald. It was begun in 1929 and completed in 1932, and has been held by the Galerie Neue Meister in Dresden since 1968. It is one of several anti-war works done by Dix in the 1920s, inspired by his experience of trench warfare in the First World War.

390px The Sarteano Annunciation is a c.1546 oil on canvas painting by Domenico Beccafumi in the church of San Martino in Foro in Sarteano Anna Maria Francini Ciaranfi, Beccafumi, Sadea Editore/Sansoni, Firenze 1967.. One of the painter's last works, it is recorded in a 1548 document as being produced for a man named Gabriello di Sarteano. The document also mentioned that it had been commissioned around 1545 and that it had "more figures", possibly on a now-lost predella. Two years after the commission the painter complained to the governors of Siena that he had still not been paid for the work.

The Resurrection of Christ (1499–1502), also called The Kinnaird Resurrection (after a former owner of the painting, Lord Kinnaird), is an oil painting on wood by the Italian High Renaissance master Raphael. The work is one of the earliest known paintings by the artist, executed between 1499 and 1502. It is probably a piece of an unknown predella, though it has been suggested that the painting could be one of the remaining works of the Baronci altarpiece, Raphael's first recorded commission (seriously damaged by an earthquake in 1789, fragments of which are today found in museums across Europe).Longhi, 1955, pp. 83–87.

The panels are completed by a predella, placed below, with three scenes of St. Peter Dictating the Gospel to St. Mark, Adoration of the Magi and Martyrdom of St. Mark. The figure of Mark is recurrent due to his status as the patron of the corporation which commissioned the work. The central panel, although damaged, has a style similar to Angelico's early works, with a marble step over which is the throne. Behind two draperies (perhaps a hint to the guild's textile activities) is a ceiling painted in blue with stars and the Holy Spirit dove, which is similar to Masolino's Annunciation in Washington, DC.

The first view with the outer wings closed shows a Crucifixion flanked by Saint Sebastien and Saint Anthony, with a predella showing the entombment. When the first set of wings is opened, the Annunciation, Angelic Concert (sometimes interpreted as the Birth of Ecclesia) Mary bathing Christ, and Resurrection are displayed. The third view discloses a carved and gilded wood altarpiece by Nikolaus Hagenauer, flanked by the Temptation of St. Anthony and Anthony's visit to Saint Paul. As well as being by far his greatest surviving work, the altarpiece contains most of his surviving painting by surface area, being 2.65 metres high and over 5 metres wide at its fullest extent.

He is together with Dr Charlene Vella studying Renaissance paintings in Malta and finding funds together in order to conserve and restore these paintings. They started by studying a painting of the Madonna adoring the Child in Zejtun attributed to Antonio de Saliba in 2011 and proceeded with two paintings by Antonio de Saliba dated to 1510–15 in the Franciscan Observant church of Santa Maria de Gesù in Rabat, Malta, portraying the Madonna and Child with Angels and the Deposition from the Cross between 2013 and 2014. They are currently undertaking a similar study on Salvo d'Antonio's 1510 predella from the Mdina Cathedral Museum collection.

Rossetti was commissioned by William Graham to paint for him a version of Beata Beatrix, which Rosetti at first resisted. After stopping and starting the work, he grew to enjoy revisiting the theme, and altered the suffusion of light from the original, increasing background definition, and perhaps the idealization of the subject. This oil-on-canvas painting, dated 1871–1872, is in the main slightly larger than the original and adds a predella (bottom panel) depicting Dante Alighieri and Beatrice meeting in paradise within a frame designed by Rossetti. Gifted by Charles L. Hutchinson in the 1920s, it is on display at the Art Institute of Chicago.

Niccolò was paid for the overall design, while Jacopo seems to have been responsible for the narratives. The altarpiece is one of the largest commissioned in fourteenth-century Florence, and was probably commissioned by the Albizzi family. The twelve main panels of the altarpiece are in the National Gallery, London, but the predella showing scenes from the life of Saint Peter has been dispersed. The two painters again collaborated in 1372–73 on the large panel of the Coronation of the Virgin commissioned by the mint of Florence, and in 1386 they received the commission for a fresco of the Annunciation for the council chamber in the Palazzo dei Priori, Volterra.

The predella features the four saints, Andrew, John the Baptist, James Major, and Anthony Abbot. Their composition again recalls the work of Masaccio, Masolino da Panicale and Fra Angelico; St. Andrew Baptizing strongly recalls Massacio's Brancacci Chapel St. Peter Baptizing, while the baptismal audience recalls Fra Angelico's depiction of figures surrounding St. Peter in the Linaioli tabernacle. The triptych's landscapes also harken back to the Brancacci chapel, particularly through the landscapes of Masolino and Masaccio. This altarpiece is one of Andrea's most notable works because it was likely very expensive, including significant gold leaf, a Gothic frame, bold colors, and several figures and panels.

For the dedication of the church in 1368 the greater part of it was probably finished. The double sided cross altar shows, on the western side, Christ, the predella and the cross of triumph and on the eastern side the shrine of relics, an altar and the cross shaped "Good Tree of Mary". The paintings on Mary's side of the cross altar: from the left: annunciation of Mary (Luke 1, 26-38), the signs to Gideon (Judges 6,36-40), birth of Christ (Luke 2,6-16), Moses and the burning bush (2. Moses 3,1-8), presentation of Jesus in the temple (Luke 2,22-35), presentation of Samuel in the temple (1. Samuel 1,24-28), escape to Egypt (Matthew 2,13-15).

Twenty-two of the works, including drawings, were Italian, and ten of the northern schools. Merton's instinctive connoisseurship is indicated by the distinction of so many of his acquisitions. The clou of his Italian pictures was the Botticelli Portrait of a Young Man holding a Medallion, now on loan to the National Gallery of Art, Washington, which had been in the Newborough collection:Hartley, H.; Gabor, D. (1970), 434 this cost £17,000 in 1941. He owned cassone panels formerly in the collections of Otto H. Kahn and Lord Crawford, as well as Fungai's predella panel of the Martyrdom of Saint Clement, now reunited with an erstwhile companion in the City Art Gallery, York.

The work's original structure is unknown, but probably had a now-lost central panel of Maurelius himself with a number of panels (perhaps six) with episodes from his life, the only two survivors of which are the Pinacoteca panels. The two panels are the right shape perhaps to have formed part of a predella, though they are larger than the usual size for such panels - the tondi of the Roverella Altarpiece by the same artist are 38 cm in diameter. The altarpiece fell into disrepair and in 1635 was replaced by one on the same subject by Guercino. The two tondos were moved to the church's sacristy and then possibly to the neighbouring monastery.

350px The Massa Fermana Altarpiece is a 1468 tempera and gold on panel by Carlo Crivelli, held in Santi Lorenzo e Silvestro church in the town of Massa Fermana. It is signed "KAROLVS CRIVELLVS VENETVS PINXIT HOC OPVS MCCCCLXVIII" Pietro Zampetti, Carlo Crivelli, Nardini Editore, Firenze 1986.. It is his earliest known surviving work and is notable for dating his return to Italy. The central register is a Madonna and Child flanked by Saints John the Baptist, Lawrence, Sylvester and Francis. Above this are panels of Mary at the Annunciation, the Pietà and Gabriel at the Annunciation, whilst below is a predella showing Christ at Gethsemane, the Crucifixion, the Flagellation and the Resurrection.

The retable rises to a great height above the altar; it includes an important statuary and a magnificent, delicate filigree of balusters, spires, small dossals, and chambranles, all done by Joan Peti. It consists of five continuous panels, the center panel being the widest; it is five storeys tall, and the lines of separation are stair-stepped. The themes of the central panel from bottom to top are: the figure of a seated Virgin and Child plated in silver on the predella, above this the tabernacle and a Gothic monstrance carved in wood, then a depiction of the Nativity, and above that, the Ascension. The whole culminates in a monumental scene of Christ's crucifixion at Calvary.

It was later restored by Luis Daza (died 1504) who was chaplain to Henry IV. It has a well-executed screen enclosing it, in the style of the rejero (screen-maker) Juan Francés. A portrait of the chaplain is seen in the figure of the donor in the predella of the altarpiece. On one side of this chapel is his sepulchre, in a Gothic arcosolium. The frescos in the Chapter Room, also by Juan de Borgona, representing the life of the Virgin, Christ's Passion, and the Last Judgment set within a trompe l'oeil gallery of columns, have long been understood to be the first introduction of a Renaissance painting style to Castile.

Dalmau ended up doing no actual work on the piece, for reasons unknown, and on December 4, 1463, the contract was given to Jaume Huguet. For payment, Huguet received one hundred and ten lliures on February 1 and July 1 of 1464, and was thereafter to draw fifty six lliures every Christmas until the full amount had been paid.Rowland (1932) The whole arrangement was very businesslike with very clear instructions on how Huguet was to proceed. He was first to paint the four panels of the predella with scenes from the Passion as conceived in a sketch that he had presented to the guild, and this portion was to be completed by Christmas, 1466.

The work is not thought to have originally been painted around 1434 (a few years after the similar painting in the Uffizi) for the convent of San Domenico of Fiesole, near Florence, where Fra Angelico was a Dominican friar and for which he painted also the Fiesole Altarpiece (1424-1425) and the Annunciation now at the Museo del Prado. Some art historians, such as John Pope-Hennessy, date it instead to Angelico's visit to Rome (1450) what is known as two simmm to similarities with the Santa Lucia de' Magnoli Altarpiece by Domenico Veneziano (c. 1445) or the Gothic tabernacles in the Vatican's Niccoline Chapel (1446-1448). Detail of the predella with the Dream of Innocent III.

Little biographical information is known. There is only one signed and dated work from this painter: a Holy Conversation including Saints Pantaleone, Peter Martyr, Apostle Peter, Bonaventure, Jerome, and a Mystical Marriage of Saint Catherine of Alexandria, standing beside Donors from 1487, once found in the San Bonaventure Chapel of the Church of San Giacomo in Savona, but now in the cathedral museum. The Predella has been dispersed and a panel with twelve apostles is now on display in Toulon, France. Other works attributed to Tuccio include a Holy Conversation made in 1487 for the cathedral of Santa Maria sul Priamar, the cathedral was demolished during the construction of the Priamar Fortress.

The Kefermarkt altarpiece has been called "one of the greatest achievements in late-medieval sculpture in the German-speaking area." The altarpiece is high from the floor to the top of the superstructure and wide. It is made of linden wood (with a few details made of larch added in the 19th century) and consists of four distinct parts: a predella at the base, a rectangular central section in the form of a shallow cabinet, two wings, and an intricate superstructure. Not integrated into the structure itself but part of the altarpiece ensemble are also two figures depicting Saint George and Saint Florian, today placed on consoles on either side of the altarpiece.

The first significant restoration was carried out in 1550 by the painters Lancelot Blondeel and Jan van Scorel, following the earlier and poorly executed cleaning by Jan van Scorel, that led to damage to the predella.Pächt (1999), 120 The 1550 undertaking was performed with a care and reverence that a contemporary account writes of "such love that they kissed that skilful work in art in many places".Nash (2008), 67 The predella was destroyed by fire in the 16th century.Pächt (1999), 132 Comprising a strip of small square panelsCharney (2010), 15 and executed in water based paints, it showed hell or limbo with Christ arriving to redeem those about to be saved.

One technique that Donatello implemented in his Feast of Herod is the use of rilievo schiacciato, or shallow relief, which he had earlier used in his St. George predella, for the Church of Orsanmichele in Florence. Donatello utilized schiacciato carving to create atmospheric effect and to give the impression of greater depth. In order to create this depth, Donatello relied on the contrast between the low and high relief. The inclusion of low relief, in the architecture of the layered arches and in the background figures, allows for specific elements to appear farther away, while the high relief brings attention to the more highly detailed figures in the foreground, which seem to extend out into the viewer's space.

According to Vasari, the first paintings of this artist were an altarpiece and a painted screen for the Charterhouse (Carthusian monastery) of Florence; none such exist there now. From 1408 to 1418, Fra Angelico was at the Dominican friary of Cortona, where he painted frescoes, now mostly destroyed, in the Dominican Church and may have been assistant to Gherardo Starnina or a follower of his.Getty Education[] Between 1418 and 1436 he was at the convent of Fiesole, where he also executed a number of frescoes for the church and the Altarpiece, which was deteriorated but has since been restored. A predella of the Altarpiece remains intact and is conserved in the National Gallery, London, and is a great example of Fra Angelico's ability.

The Adoration of the Magi (c. 1490) Tempera on panel, 151 x 209 cm Galleria Nazionale dell'Umbria, Perugia Fiorenzo di Lorenzo ( 1440 – 1522) was an Italian painter, of the Umbrian school. He lived and worked at Perugia, where most of his authentic works are still preserved in the Galleria Nazionale dell'Umbria.Fiorenzo di Lorenzo, Umbria e Arte Fiorenzo is known from a few signed works, including the Madonna of the Recommended (1476) and a niche with lunette, two wings and predella (1487), as well as from the documentary evidence that he was decemvir of that city in 1472, in which year he entered into a contract to paint an altarpiece for the church of Santa Maria Nuova, the pentatych of the Madonna and Saints.

Bonfigli reached maturity as an artist after returning to Perugia from the Rome between 1453 and 1470. During this period, he painted the Annunciation, a smaller piece but among his most well known and preserved, held in the Thyssen-Bornemisza Museum in Madrid. Bonfigli was influenced by the style of Gozzoli, a Florentine Renaissance painter; his stylistic method is evident in Bonfigli's Annunciation with St. Luke and Virgin and the Four Saints, both held in the Galleria Nazionale dell'Umbria in Perugia, Italy. According to Giorgio Vasari, the Perugian artist painted the Adoration of the Magi coupled with a predella of Episodes from the Life of Christ and a Miracle of St Nicholas in 1466 for the chapel of San Vincenzo in San Domenico, collaborating with Bartolomeo Caporali.

Of the apostles only the four top can be determined: Peter, Andrew, John and Bartholomew. On the predella above the table are in the middle: Christ crowned with thorns, right the St. Elizabeth and Mary Magdalene, left St. Agnes and St. Barbara with a chalice. The crucifix in front of the altarpiece is the oldest art work in the church. It was created in the first third of the 15th century and was already in the same spot in the old fishermen's church. ;Pulpit The renaissance pulpit was built in 1591 by local wood carver Hans Wegner. After the demolition of the old church in 1872 the pulpit was given to the Rostock Museum, restored and completed in 1965, and replaced in the church.

All these figures are enclosed within three foiled cusped arches. Above the Madonna are the two archangels Gabriel and Michael and, above them, the Blessing Christ. The six saints panel are surmounted by, also in couples, the Twelve Apostles, with the exception of St. John the Evangelist, replaced by St. Paul. The predella shows, at the center, Christ in the Sepulchre with the Madonna and St. Mark and further couples of saints which, from left to right, are Gregory and Luke, Stephen and Apollonia, Jerome and Lucy, Agnes and Ambrose, Thomas of Aquino and Augustine, Ursula and Lawrence Since the identification of the saints is controversial, the saints panels in the museum are placed differently from the image in this article.

Unfortunately, this piece was destroyed in 1909. In 1455 he was contracted to paint two compartments from the predella of the high altarpiece of the Church of Ripoll Monastery as well as altarpiece of Saint Abdon and Saint Senan from the Church of Sant Pere in Terrassa, which was completed in 1460.Gothic Art Guide Huguet became a highly sought after artist and was commissioned by the Crown of Catalonia and Aragon to paint the Epiphany Altarpiece from the high altar of the Chapel of the Palau Reial Major in Barcelona, which he worked on in 1464 and 1465. He also painted the central panel from the altarpiece of the Chapel of the Esparto Workers' and the Glazier's Guild in Barcelona Cathedral, which he finished in 1468.

Saint Terence Below the work is a predella showing a central nativity scene. To its left are scenes of St George and the dragon, Conversion of St Paul and Crucifixion of St Peter, whilst to its right are St Jerome in the Desert, St Francis Receiving the Stigmata and Saint Terence. These scenes were carefully chosen - for example, Francis was the church's patron and was also linked to the Sforza via the Franciscan order, George was linked to the Sforza court as a 'holy knight' and saint Terence (shown as a Roman soldier) was Pesaro's patron saint. Placing St George and St Terence in the prime positions at far left and far right, usually used for coats of arms, probably underlined the Sforza family's military and civic power.

An 1805 document in the Salvadori family archives refers to a Last Supper, compatible with the measurements of the paintings of "some saints" (a palm) and which may have formed the centre of the predella. Saint Anthony Aboot and Saint Lucy, Krakov In 1803 the old parish church was demolished and the altarpiece moved into the Suffragio church, which was hosting the church's services until a new San Giorgio was built. In 1832 the painting was in the Salvadori family home, still waiting for the new church's completion - there Maggiori saw it. By 1832, when it was seen by Amico Ricci, the new church was complete and the altarpiece was in it, though the half-length figures of saints had already been removed to stay in the Salvadori house.

At an earlier period in Giorgione's short career, a group of paintings is sometimes described as the "Allendale group", after the Allendale Nativity (or Allendale Adoration of the Shepherds, rather more correctly) in the National Gallery of Art, Washington. This group includes another Washington painting, the Holy Family, and an Adoration of the Magi predella panel in the National Gallery, London.NGA 2006 exhibition brochure, page 4 This group, now often expanded to include a very similar Adoration of the Shepherds in Vienna,Kunthistoriches Museum 2004 exhibition website and sometimes further, are usually included (increasingly) or excluded together from Giorgione's oeuvre. Ironically, the Allendale Nativity caused the rupture in the 1930s between Lord Duveen, who sold it to Samuel Kress as a Giorgione, and his expert Bernard Berenson, who insisted it was an early Titian.

An altarpiece for S. Maria de' Fossi at Perugia, painted in 1496-1498, now moved to the city's picture gallery, is a Madonna enthroned among Saints, very minutely painted; the wings of the retable have standing figures of St. Augustine and St Jerome; and the predella has paintings in miniature of the Annunciation and the Evangelists. Another fine altarpiece, similar in delicacy of detail, and probably painted about the same time, is that in the cathedral of San Severino -- the Madonna enthroned looks down towards the kneeling donor. The angels at the sides in beauty of face and expression recall the manner of Lorenzo di Credi or Da Vinci. The Vatican picture gallery has the largest of Pinturicchio's panels -- the Coronation of the Virgin, with the apostles and other saints below.

This polyptych of which the predella panels are particularly notable for the handling of landscape elements, was to influence the further development of Renaissance art in Northern Italy.Elena Lanzanova, trans. Giorgina Arcuri, Restoration Of Mantegna’S San Zeno Altarpiece In Florence, Arcadja, (2008-06-23), (accessed: 2012-07-13)metmuseum Madonna and Child with Saints Girolamo dai Libri (Italian, Verona 1474–1555 Verona), edit: 2000–2012 Mantegna's most famous work is the interior decoration of the Camera degli Sposi in the Ducal palace, Mantua, dated about 1470. The walls are frescoed with scenes of the life of the Gonzaga family, talking, greeting a younger son and his tutor on their return from Rome, preparing for a hunt and other such scenes that make no obvious reference to matters historic, literary, philosophic or religious.

The Sandham Memorial Chapel in Burghclere was a colossal undertaking. Spencer's paintings cover a twenty- one foot high, seventeen-and-half foot wide end wall, eight seven foot high lunettes, each above a predella, with two twenty-eight feet long irregularly shaped strips between the lunettes and the ceiling. The Behrends were exceptionally generous patrons and not only paid for the Chapel to be built to Spencer's specifications but also paid the rent on the London studio where he completed The Resurrection, Cookham and built a house for him and Carline to live in nearby while working at Burghclere, as Spencer would be painting the canvases in situ. The chapel was designed to Spencer's specifications by the architect Lionel Pearson and was modelled on Giotto's Arena Chapel in Padua.

The main panel of this work was the Virgin and Child at the Hermitage Museum. The side panels, of which there were two, comprised the Saints Nicholas, Lawrence, and John the Baptist, now at the Hyde Collection, Glens Falls, New York, at the left, and the Saints Zenobius, Francis, and Anthony of Padua at the Yale University Art Gallery, New Haven, on the right. The continuation of the floor and the figures' draperies across all three panels proves that they originally belonged together as a single altarpiece.Kanter and Palladino, 242-245, with a reconstruction illustrated at 244; Christiansen (quoted) A Nativity at the Metropolitan Museum of Art in New York and Adoration of the Magi in the National Gallery in London might have also belonged to this altarpiece as parts of its predella.

Katz, Dana E., The contours of tolerance: Jews and the Corpus Domini Altarpiece in Urbino The Art Bulletin:85 (December 2003)A scene in Paolo Uccello's Corpus Domini predella (c. 1465–1468), set in a Jewish pawnbroker's home. Blood in the background emanates from the Host, which the moneylender has attempted to cook, and seeps under the door. This story first entered the Italian literary tradition via Giovanni Villani (c. 1280-1348) and his Nuova Cronica. In his Florentine tax return of August 1469, Uccello declared, “I find myself old and ailing, my wife is ill, and I can no longer work.” In the last years of his life, Paolo was a lonesome and forgotten man who was afraid of hardship in life. His last known work is The Hunt, c. 1470.

Main work and predella Lamentation over the Dead Christ is a 1502 tempera on panel painting by Luca Signorelli, painted for the church of Santa Margherita and now in the Diocesan Museum in Cortona Antonio Paolucci, Luca Signorelli, in Pittori del Rinascimento, Scala, Firenze 2004 . In the left background is the Crucifixion and in the right background the Resurrection. According to the 1568 edition of Vasari's Lives of the Artists, in summer 1502 Signorelli received news of his son Antonio's death from plague in Cortona. Signorelli went from Orvieto to see the body, had it uncovered and in Vasari's words "with the greatest presence of mind, without weeping or tears, he drew him, always wanting to see - through the work of his hands - what nature had given him and his enemy fortune had taken away".

G. Dalli Regoli, Lorenzo di Credi, Firenze 1967 The first part was finished in 1479, but the second phase was postponed until 1485 thanks to delays in payment. The painting was finally completed in 1486. 18th century local historians attributed the work to Leonardo da Vinci, based on a note made by the artist on a folio now in the Uffizi which records that in the month of "...bre" 1478 he began "two Virgin Maries", one of which is usually identified as the Garofano Madonna. Today Leonardo, twenty-two in 1474, is thought to have had no involvement in the painting of the Piazza Madonna beyond one compartment of the predella which corresponds to an autograph drawing of a head of the Virgin by him - that panel is now in the Louvre and the drawing is no.

The 13th century witnessed an increase in demand for religious panel painting, particularly altarpieces, although the reason for this is obscure, early 14th-century Tuscan painters and woodworkers created altarpieces which were more elaborate, multipanelled pieces with complex framing. Contracts of the time note that clients often had a woodwork shape in mind when commissioning an artist, and discussed the religious figures to be depicted with the artists. The content of the narrative scenes in predella panels however are rarely mentioned in the contracts and may have been left to the artists concerned. Florentine churches commissioned many Sienese artists to create altar pieces, such as Ugolino di Nerio, who was asked to paint a large scale work for the altar for the Basilica di Santa Croce, which may have been the earliest polyptych on a Florentine altar.

Her oil paintings successfully adapted watercolor techniques—friskets and layered transparent glazes—that reviewers suggested endow the surfaces with a smooth, "mirror-like believability." In the four-sequence oil work Light Study with Venetian Blinds (1981), she examined shifting conditions of light, color, and view (as the blinds close); the interiors Geometric Configurations: Variations on A Square (1982) and East Hampton Staircase With Landscape (1986) explored compositional and formal possibilities in predella and triptych formats. Behnke's cityscapes used these formats in a similar manner, bringing disparate viewpoints (bird's-eye, low-angle), dramatic changes in scale, and tightly cropped fragments into dialogue with one another; critics Grace Glueck and Gerrit Henry wrote that the composite works expressed "the dynamics of New York City life"Glueck, Grace. New York—The Painted City, Salt Lake City, UT: Peregrine Smith Books, 1992. Retrieved November 8, 2019.

The latter scene contains several numerology hints in the steps (three and seven, the number of the Theological virtues and all the Virtues respectively) and in the arches of Solomon's Temple (three like the Holy Trinity). The scene on the mid-left wall, perhaps the sole executed by Lorenzo Monaco alone, depicts the Marriage of the Virgin. The pretenders who are refused by Mary walk from the right to left such as in the artist's Adoration of the Magi at the Uffizi; one of them (that in the background, behind the arcade) is a possible self-portrait of Monaco, although his age does not correspond to the artist's one at the time. The next scene is that of the Annunciation, whose predella has scenes of the Visitation, Nativity and Annunciation to the Shepherds, Adoration of the Magi and the Flight to Egypt.

Most critics agreed with Longhi until Pallucchini (1959) and Meiss (1963) proposed 1470–1471, based on comparisons with the altarpiece's central scene of the Coronation of the Virgin with the Enthroned Madonna with Saints by Marco Zoppo (now in the Staatliche Museen, Berlin). The work shows a number of forts, such as the one held by saint Terence of Pesaro on the predella, which Everett Fahy identified as Fortezza Costanza, planned by Francesco Laurana for the Sforza at Pesaro in 1474 and completed in 1479, although its final appearance had already been publicized on a medal by Gianfrancesco Enzola dated to 1475. The similarity is not precise enough to prove this hypothetical dating. In 1909 Vaccia stated that the fortress in the background of the Coronation scene was based on Rocca di Gradara, captured from Pesaro by Rimini in 1463, which would make the altarpiece a celebration of the capture itself or of an anniversary of it.

A transcribed document in the Fermo archives (the original is now lost) states that the altarpiece was commissioned in 1470 by a man named Giorgio Salvadori, an Albanian immigrant to Italy fleeing the Ottoman advance after Skanderbeg's death in 1468. He headed the Salvadori family, who owned the altarpiece for centuries and who eventually split it up. The work's dating is not only based on its style but also 18th century documents which state that a signature by Crivelli was once visible at the bottom of the frame, reading "CAROLUS CRIVELLUS VENETUS PINXIT ANNO 1470" - this is now illegible. It also appears in two inventories, one of 1727 by Anselmo Ercoli and another made in 1771 during a pastoral visit, the latter of which describes the altarpiece in minute detail and mentions that the same chapel also contained two paintings each with three saints and each with the Salvadori coat of arms (perhaps originally the altarpiece's predella and now lost).

He had already painted for the same church the Oddi Altarpiece (now in the Vatican) for the Baglioni's great rival family (with whom they were also intermarried), and other large works. The new commission marked an important stage in his development as an artist, and the formation of his mature style.Jones and Penny 14-17, 40-47 The painting remained in its location until in 1608, it was forcibly removed by a gang working for Cardinal Scipione Borghese, nephew of Pope Paul V. In order to pacify the city of Perugia, the Pope commissioned two copies of the painting from Giovanni Lanfranco and the Cavaliere d’Arpino, and that by Arpino is still in Perugia. Though confiscated by the French in 1797 and exhibited in Paris in the Louvre, then renamed the Napoleon Museum, it was returned to the Galleria Borghese in 1815, except for the predella which was taken to the Vatican Museums.

In 1999, Behnke received an E.D. Foundation grant to work on paintings based on Victorian homes, and chose to focus on Sagamore, Theodore Roosevelt's summer estate on Long Island. The resulting "Sagamore" series (1999–2000) used composite imagery, Behnke's own photographs, and information from several sources to project an imagined life onto historical people (domestic staff, the Roosevelts) and the space. Annie's View (2000) envisioned the house as seen and experienced by a servant, Annie, through four images unified visually by careful attention to the interplay of light and shadow and a strong sense of illusionism. Its primary upper panel depicts a corner of the top floor of a large house (where servants traditionally lived) as passers-by would see it; the lower three-scene predella reproduces, successively, the view from Annie's window, her room, and the back staircase, suggesting a fragmented reconstruction of her life there: a view of imagined freedom, the constraint of indoor employment, up-and-down labor.

Madonna and Child with Saint Anne, 1340-45, Princeton University Art Museum Francesco Traini was an Italian painter who was documented as working from 1321 to ca 1365 in Pisa and Bologna. He appears to have been a follower of Andrea Orcagna to judge by only one work known to be by Traini: in 1345 he signed and dated a polyptych of the Pisan church of S. Caterina, showing Saint Dominic and a predella showing eight hagiographic scenes from the saint's life, now in the Museo Nazionale, Pisa. Most scholars attribute many of the huge frescoes of the Camposanto Monumentale in Pisa to Traini, including the Last Judgement, Inferno, Legends of the Hermits and, the famous Il Trionfo della Morte (the Triumph of Death). There are Traini paintings at the Princeton University Art Museum, Ackland Art Museum, and an Allegorical Representation of Crucifixion with Saints Andrew and Paul at the Carnegie Art Museum.

The altarpiece panels painted on one side that make up the fixed wings have dimensions of 177 x 121 cm (172 x 130 cm respectively). The movable wings painted on both sides have dimensions of 148 x 94 cm (147.5 x 96 cm respectively). The differing dimensions of the individual panels show that they were cut down to a smaller size subsequently. The altarpiece as a whole, including the lost middle part, the predella and the altarpiece attachment, could have thus measured (including the frames) about 6 metres in height and about 5 metres in width.Haragová V, 2009, s. 99 The paintings are executed in tempera on fir wood. The most recent restoration, which repaired defects such as inappropriate restoration made in 1931 and 1945–46, took place between the 1950s and 1970s.B. Slánský, L. Slánská, 1957, archives of the North Bohemian Gallery of Fine Art in Litoměřice Several panels were examined using infrared reflectography in 1998–1999.

In making his collection Sir Thomas followed his own interests and every work in it represents the personal taste of its owner, be the subject sacred or secular. As most of the works belong to the period of 1450 to 1520, the collection has great homogeneity and, in spite of the self- imposed limit of time, great diversity of subjects and techniques. No picture has been admitted merely because of size or with the intention of filling a certain space, but each has been selected for its pigmentary quality and with the determination to exclude anything that falls short of a high standard of perfection. Preference is given to portraits which in expression, deportment and costume, convey a very clear idea of the life, taste and colour of their period... Next come the group of devotional pictures on a small scale, intended originally for the privacy of the home rather than public worship... A few pictures fascinate by their narrative as the predella by Fungai or the three Cassoni as do the drawings by being preparatory studies for the more elaborate works.

The altarpiece as a whole was originally commissioned for the Urbino confraternity of the Corpus Domini from the local painter Fra Carnevale, but in 1456 he was released from his contract due to other commitments and asked to return the deposit of 40 gold ducats he had already received and spent on pigments, but this had still not been returned nine years later. In 1467 the commission was transferred to Uccello, just arrived in Urbino and at that time not considered a top-ranking painter, perhaps due to his obsessive study of perspective. His pay was only 21 21 bolognini a month (compared to 18 bolognini for a pair of shoes at the time), from which the Confraternity deducted all expenses sustained by the artist. He completed the predella, but for unknown reasons had abandoned the commission by 1469, when it was instead offered in vain to Piero della Francesca (the first definite evidence for that artist's residence in Urbino) before passing to Justus van Gent, who completed the main work in 1474.

While in Byzantine and later Eastern Orthodox art it is John the Baptist and the Holy Virgin Mary who flank Jesus, on the almost equivalent Western Crucifixions on roods and elsewhere John the Evangelist takes the place of John the Baptist (except in the idiosyncratic Isenheim Altarpiece of 1512–1516). John the Baptist is very often shown on altarpieces designed for churches dedicated to him, or where the donor patron was named for him or there was some other connection of patronage – John was the patron saint of Florence, among many other cities, which means he features among the supporting saints in many important works. A number of narrative scenes from his life were often shown on the predella of altarpieces dedicated to John, and other settings, notably the large series in grisaille fresco in the Chiostro dello Scalzo, which was Andrea del Sarto's largest work, and the frescoed Life by Domenico Ghirlandaio in the Tornabuoni Chapel, both in Florence. There is another important fresco cycle by Filippo Lippi in Prato Cathedral.

Annalena Altarpiece with predella by Fra Angelico, , sometimes considered the "first" instance of the sacra conversazione formatsacra conversazione in Encyclopædia Britannica; but not by Grove In art, a (; plural: sacre conversazioni), meaning holy (or sacred) conversation, is a genre developed in Italian Renaissance painting, with a depiction of the Virgin and Child (the Virgin Mary with the infant Jesus) amidst a group of saints in a relatively informal grouping, as opposed to the more rigid and hierarchical compositions of earlier periods.Rylands; NG Donor portraits may also be included, generally kneeling, often their patron saint is presenting them to the Virgin,Hall, 77, 297 and angels are frequently in attendance. Example for a church by Giovanni Bellini, 1505, who also developed types for wealthy homes.Grove Titian, Madonna and Child with Saints Dorothy and George, 1515–18 The term is often used as a title for paintings to avoid listing all the individual figures, although the trend in museums and academic art history is now to give the full list.

Fra Angelico's Pietà The work is perhaps the "altarpiece [with] Our Lord's sepulchre [...] and other five figures" which appear in the inventory made in 1492 at the death of Lorenzo de' Medici, and which decorated his Villa at Careggi since as early as 1482. The panel was thus one of the works commissioned by the Medici to van der Weyden, including the Medici Madonna now at Städel of Frankfurt, which has been also assigned to the artist's trip to Italy in 1450. Another hypothesis is that the panel was part of a lost triptych painted for Lionello d'Este of Ferrara, and mentioned in 1449, or that it was the painting described by Giorgio Vasari as Hans Memling's. The panel adopts the same scheme in Fra Angelico's Pietà for the predella of the San Marco Altarpiece (1438–1443), now at the Alte Pinakothek, Munich, confirming that the Flemish artist visited Florence during his pilgrimage in Italy of 1449–1450, as mentioned in De viribus illustribus by Bartolomeo Facio (c. 1456).

Calvary group from the Fredenhagen altarpiece, now in the ambulatory The main item from the Baroque period, an altar with an altarpiece high, donated by the merchant and made by the Antwerp sculptor Thomas Quellinus from marble and porphyry (1697) was seriously damaged in 1942. After a lengthy debate lasting from 1951 to 1959, , the bishop at the time, prevailed, and it was decided not to restore the altar but to replace it with a simple altar of limestone, with a bronze crucifix made by Gerhard Marcks. Speaking of the historical significance of the altar, the director of the Lübeck Museum at the time said that it was the only work of art of European stature that the Protestant Church in Lübeck had produced after the Reformation. Individual items from the altarpiece are now in the ambulatory: the Calvary group with Mary and John, the marble predella with a relief of the Last Supper and the three crowned figures, the allegorical sculptures of Belief and Hope, and the Resurrected Christ.

The influence upon his work by painters of the Burgundian Netherlands, such as Rogier van der Weyden, especially in his treatment of light, may be explained by their presence in Spain, rather than by his origins. Even Guidol suggests that he began as a sculptor and may have started his artistic career in the workshop of Gil de Siloé, who is believed to have been born in Antwerp. His artistic personality is largely defined by two works: Cristo de Varón de Dolores entre la Virgen y San Juan, at the Museo del Prado; his only signed work, probably created between 1475-1480, and the Estigmatización de San Francisco de Asís at the Iglesia de San Esteban de Burgos (1487-1489). Based on an analysis of these works, it has been possible to make other attributions: notably, Cristo de Piedad entre dos ángeles at the , and the Cristo de Piedad entre los profetas David y Jeremías, the central tableau of the predella of an altarpiece and companion to two other tableaux (of the prophets Isaiah and Daniel) in the collection of the University of Liège, which have been attributed to the German painter, Hans Leonhard Schäufelein.

Ugolino da Siena's Last Supper (Metropolitan Museum, New York), once owned by Russell When the German art historian Gustav Waagen visited Russell at Eagle House near Enfield, he found the walls "so richly adorned with specimens of the 14th century, that the spectator feels as if transported to a chapel at Siena or Florence." He described Russell as "one of the most enthusiastic admirers of the grandeur and high significance of the ecclesiastic art from the 13th to the 15th century that I met with in England". His collection included the "Diptych of Jeanne of France" (now in the collection of the Musée Condé in Chantilly), believed in his lifetime to be by Hans Memling six of the seven panels from the predella of Ugolino da Siena's altarpiece for Santa Croce in Florence, bought from the sale of the William Young Ottley collection,including the Last Supper (Metropolitan Museum, New York) Abrecht Altdorfer's Christ taking Leave of His Mother (National Gallery, London) and Simone Martini's St Geminianus, St Michael and St Augustine, each with an Angel above (Fitzwilliam Museum, Cambridge) He also had a notable collection of illuminated manuscripts and early printed books.