Polyptych of the Certosa of Pavia, three panels – National Gallery – London
The altarpiece, commissioned to Perugino in 1496 by the Duke of Milan Ludovico Sforza (known as il Moro) and completed in the firts years of
The altarpiece, commissioned to Perugino in 1496 by the Duke of Milan Ludovico Sforza (known as il Moro) and completed in the firts years of
Within a rounded frame,standing beyond a low gray wall, the Virgin Mary gently holds Baby Jesus naked, the plump feet resting on the parapet. The
The panel, dating back to about 1495, depicts the mourning over the dead Christ: the Virgin is sitting exactly in the center of the composition,
The panel, originally part of the Polyptych of Sant’Agostino, depicts Saint John the Evangelist (or Saint Philip) and Saint Augustine. The painting was realized for
The three panels were part of the predella of the Polyptych of San Pietro, and according to the reconstruction were originally interspersed with the figures
Conceived as the central compartment of the Polyptych of San Pietro, the scene portrays in the upper register Jesus in an almond of cherubim as
The two tondos were originally part of the dismembered Polyptych of San Pietro, and, according to the reconstructions, were located on the sides of the
The work, which currently looks like a tondo even though its original shape was square or rectangular, comes from the double-sided polyptych conceived for the
The work, tranferred to France during the Napoleonic requisitions and currently preserved at the Musée des Beaux-Arts in Lyon, was part of the Polyptych of
The work was conceived as part of the Polyptych of Sant’Agostino, a majestic two-faced altarpiece commissioned by the Augustinian friars and realized in two phases