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1853 and moved into its present home. It was neglected by 20th century art criticism, though in 1960 Carli dated it to the peak of the painter's career and praised the "extraordinary lightness and freshness of its colours". However, he also placed it just before the painter's shift to a less inspired period in which he used compositions from his collection of drawings rather than inventing new ones.
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Vasari did not see the work, though it was praised by local art historians right up to the 18th century. When the church was suppressed under the
Napoleonic occupation, the altarpiece was divided up and the original cornice and decorative panels on the 'pilastrini' were lost. The work was reunited in
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wall hangings, influenced by the
Spanish textiles in Alexander's court. Above these three main panels is another Italian inscription, "Guarda o mortale da quale sangue sei stato redento. Fa' che non sia scorso invano" (See, oh mortal man, that blood by which you have been redeemed. Do not let it have
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with the infant John the
Baptist - the Virgin Mary was the church's patron saint. Below John is the Italian inscription "O santo fanciullo, rimetti al Fanciullo questa croce. Non la porterà a Dio in favore del mondo, ci sarà un altro" (Oh child saint, give the Christ Child back this cross. It shall
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It was commissioned for the high altar of the church of Santa Maria degli Angeli in
Perugia, also known as Santa Maria dei Fossi. The contract for the work is dated 14 February 1496 and contains detailed instructions for its production and for its wooden frame by Mattia di Tommaso da Reggio, which
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persecutions) and other popes, cardinals and devotees - it is unclear if those other panels were ever completed or if they were part of the original decoration of the pilasters, lost when the work was split up in the late 18th century.
171:. Above these words are the letters B and N, interpreted as the artist's signature, an abbreviation of BN. The reliefs on the Madonna's throne are inspired by those on ancient Roman sarcophagi, then being rediscovered as part of the
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The painter used the figure of the
Madonna in this work as the prototype for other simpler works considered to be more or less entirely autograph works, often painted for use in private devotion. These include
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194:(holding a small model in his hand showing Santa Maria degli Angeli as it was planned to look after a rebuilding project which was never actually completed). They both stand in front of rich
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of the
Evangelists Matthew and Mark, whilst the right predella panel shows Jerome in the desert between tondi of Luke and John.
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imitated the architecture of the church's facade. The painter was then at the peak of his powers as a favourite of
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decoration, whilst her books are painted in a style influenced by contemporary
Flemish still lifes. The central
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shows the dead Christ supported by two angels in front of another fictive wall hanging. At the very top is a
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panels. The left predella panel has a scene of
Augustine's vision of the Christ Child between two
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not bear to God for the world's sake, it shall be for another). The Christ Child holds a
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97:. Unusually for an altarpiece, it is painted on canvas stretched over wooden panels.
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513 cm × 314 cm (202 in × 124 in)
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and fruits are scattered around his mother's feet, all symbolising the
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Two smaller side panels above
Augustine and Jerome form a two-part
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190:(holding an apple symbolising original sin and the Passion) and
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been in vain.). The contract also stipulated figures of
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605:Paintings of the Madonna and Child by Pinturicchio
600:Collection of the Galleria Nazionale dell'Umbria
364:Pietro Scarpellini and Maria Rita Silvestrelli,
435:Crucifixion between Sts. Jerome and Christopher
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269:in Cambridge, UK and other works in the
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127:The work has seven main panels and two
73:Galleria nazionale dell'Umbria, Perugia
499:Madonna with the Christ Child Writing
491:Madonna with the Christ Child Reading
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265:in Rome, the small Madonna in the
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630:Paintings of the Passion of Jesus
665:Paintings of Mark the Evangelist
660:Paintings of Luke the Evangelist
650:Paintings of Matthew the Apostle
507:Santa Maria dei Fossi Altarpiece
451:Madonna and Child with St Jerome
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82:Santa Maria dei Fossi Altarpiece
22:Santa Maria dei Fossi Altarpiece
640:Paintings of Augustine of Hippo
483:Madonna and Child with a Bishop
279:Isabella Stewart Gardner Museum
430:(c. 1473) (with other artists)
186:Two main flanking panels show
91:Galleria nazionale dell'Umbria
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655:Paintings of John the Apostle
635:Paintings of the Annunciation
620:Paintings of John the Baptist
152:Pala di Santa Maria dei Fossi
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313:(in Italian). Archived from
275:National Gallery of Scotland
158:The central panel shows the
443:Saint Jerome in the Desert
85:is a 1496-1498 painting by
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610:Paintings by Pinturicchio
538:Basso della Rovere Chapel
427:Miracles of St Bernardino
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368:, F.Motta, Milano 2003.
343:Pittori del Rinascimento
16:Painting by Pinturicchio
345:, Scala, Firenze 2004.
57:oil on canvas and panel
579:Santa Maria del Popolo
475:The Hall of the Saints
263:Visconti-Venosta Tondo
251:San Marino, California
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207:Bernard of Clairvaux
615:Paintings of Jerome
563:Della Rovere Chapel
259:Pinacoteca Vaticana
173:Italian Renaissance
337:Cristina Acidini,
267:Fitzwilliam Museum
247:Huntington Library
188:Augustine of Hippo
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543:Borgia Apartments
467:Semi-Gods Ceiling
311:"Catalogue entry"
255:Davanzale Madonna
243:Madonna and Child
160:Madonna and Child
117:Borgia Apartments
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412:Pinturicchio
366:Pintoricchio
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319:. Retrieved
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87:Pinturicchio
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40:Pinturicchio
645:Altarpieces
558:Cybo Chapel
510:(1496–1498)
478:(1491–1494)
165:pomegranate
594:Categories
321:2018-06-15
298:References
123:Production
106:Commission
62:Dimensions
486:(c. 1495)
470:(c. 1490)
462:(c. 1490)
454:(c. 1481)
438:(c. 1475)
419:Paintings
227:grotesque
215:Hadrianic
49:1496-1498
277:and the
235:tympanum
231:cymatium
129:predella
70:Location
572:Related
526:Chapels
257:in the
169:Passion
101:History
95:Perugia
518:(1510)
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349:
283:Boston
261:, the
211:Joseph
192:Jerome
182:Detail
54:Medium
36:Artist
341:, in
203:Ubald
133:tondi
370:ISBN
347:ISBN
79:The
46:Year
281:in
93:in
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404:e
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