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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.
149:" 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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211:(called "Lo Scheggia"), whose workshop specialized in birthing trays. But the nature of a reverse may account for the discrepancy.
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172:, 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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243:, Rizzoli libri illustrati, Milan, 2002 (Italian)
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82:This painting, also commonly known as
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402:List of major paintings by Masaccio
221:List of major paintings by Masaccio
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328:Expulsion from the Garden of Eden
320:Virgin and Child with Saint Anne
98:, or birth tray, painted by the
65:56 cm diameter (22 in)
407:Giovanni di ser Giovanni Guidi
209:Giovanni di ser Giovanni Guidi
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409:(brother and collaborator)
117:has a diameter of 66 cm.
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190:, Gemäldegalerie, Berlin
344:Portrait of a Young Man
304:San Giovenale Triptych
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111:San Giovenale Triptych
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435:Paintings by Masaccio
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413:Masolino da Panicale
347:(c. 1425) (disputed)
312:Carnesecchi Triptych
16:Painting by Masaccio
166:Birth of the Virgin
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128:Corinthian columns
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336:The Tribute Money
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386:Brancacci Chapel
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153:with a piece of
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188: 1423
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103:Renaissance
429:Categories
227:References
179:Masaccio,
62:Dimensions
339:(c. 1425)
331:(c. 1425)
296:Paintings
151:swaddling
289:Masaccio
241:Masaccio
215:See also
183:, back,
159:teething
147:lying-in
121:Top side
107:Masaccio
76:, Berlin
70:Location
40:Masaccio
22:Nativity
395:Related
379:Chapels
195:Reverse
132:cutaway
105:artist
100:Italian
88:, is a
355:(1426)
307:(1422)
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136:Giotto
54:Medium
36:Artist
155:coral
115:tondo
245:ISBN
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46:Year
126:on
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185:c.
281:e
274:t
267:v
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