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The upper side of the tray shows a scene soon (probably a few days) after the actual birth of a child. It takes place on the ground floor of a well-to-do contemporary house, a palace with white and black stone facings in a very modern style for Tuscan architecture. There is an arcade of round arches
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Three ladies and two widows or nuns in the arcade are just arriving, while two men on the far left stand holding gifts, one is holding a birth tray. The two hired trumpeters will announce the ceremonial presentation of these gifts, presumably after the female visitors are all assembled.
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It has similarities with the Christ child in the
Juvenal triptych. Usually the reverse face is of a simpler design than the upper side and shows the family coat of arms; here there was one, or the two parental ones, at the top but the paint has largely gone in that area.
160:" period after a birth were an important social occasion. The mother lies in her bed, perhaps still exhausted, or greeting the half-visible woman entering the room. Inside the bedroom are four women who care for her and the child, who is wrapped in white cloth
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On the reverse side of the tray is a painting of a naked baby boy, a common feature of birthing trays, probably exposed during the pregnancy to encourage the birth of a healthy boy. He is in a meadow playing with a cat (possibly a dog).
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leading to a garden, with a courtyard at left, where the banners attached to the trumpets giving a fanfare inform us that the event takes place in
Florence: a red lily on white ground. A
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Many birthing trays had scenes of the visits to the new mother, but these, though using contemporary costume and an elevated social setting, were often lightly disguised as the
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222:(called "Lo Scheggia"), whose workshop specialized in birthing trays. But the nature of a reverse may account for the discrepancy.
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183:, the patron saint of Florence. This tray is unusual in apparently making no attempt to suggest a setting in Biblical times.
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The art historian
Luciano Bellosi saw the back, with a less accomplished style, as painted by Massaccio's younger brother
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Visits by female friends and relations to the mother in the prolonged "
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view, removing the bedroom wall nearest the viewer, is used;
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hung around its neck as a dummy, and for later use in
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254:, Rizzoli libri illustrati, Milan, 2002 (Italian)
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93:This painting, also commonly known as
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413:List of major paintings by Masaccio
232:List of major paintings by Masaccio
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339:Expulsion from the Garden of Eden
331:Virgin and Child with Saint Anne
109:, or birth tray, painted by the
76:56 cm diameter (22 in)
418:Giovanni di ser Giovanni Guidi
220:Giovanni di ser Giovanni Guidi
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420:(brother and collaborator)
128:has a diameter of 66 cm.
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201:, Gemäldegalerie, Berlin
355:Portrait of a Young Man
315:San Giovenale Triptych
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122:San Giovenale Triptych
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446:Paintings by Masaccio
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424:Masolino da Panicale
358:(c. 1425) (disputed)
323:Carnesecchi Triptych
27:Painting by Masaccio
177:Birth of the Virgin
18:Nativity (Masaccio)
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139:Corinthian columns
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347:The Tribute Money
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16:(Redirected from
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397:Brancacci Chapel
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164:with a piece of
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60:c. 1427–1428
199: 1423
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440:Categories
238:References
190:Masaccio,
73:Dimensions
350:(c. 1425)
342:(c. 1425)
307:Paintings
162:swaddling
300:Masaccio
252:Masaccio
226:See also
194:, back,
170:teething
158:lying-in
132:Top side
118:Masaccio
87:, Berlin
81:Location
51:Masaccio
33:Nativity
406:Related
390:Chapels
206:Reverse
143:cutaway
116:artist
111:Italian
99:, is a
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318:(1422)
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147:Giotto
65:Medium
47:Artist
166:coral
126:tondo
256:ISBN
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57:Year
137:on
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196:c.
292:e
285:t
278:v
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