1 Religious Icon, Sano di Pietro's Saint Margaret, with footnotes #16

Sano di Pietro (Siena 1405-1481)

Saint Margaret

Gold ground panel, shaped top

13 x 8¾ in. (33 x 22.3 cm.)

Private collection

Margaret is celebrated as a saint by the Roman Catholic and Anglican Churches on July 20 and on July 17 in the Orthodox Church. Her historical existence has been questioned. She was declared apocryphal by Pope Gelasius I in 494, but devotion to her revived in the West with the Crusades. She was reputed to have promised very powerful indulgences to those who wrote or read her life, or invoked her intercessions; these no doubt helped the spread of her cultus.

She was a native of "Antioch" and the daughter of a pagan priest named Aedesius. Her mother having died soon after her birth, Margaret was nursed by a Christian woman five or six leagues from Antioch. Having embraced Christianity and consecrated her virginity to God, Margaret was disowned by her father, adopted by her nurse, and lived in the country keeping sheep with her foster mother (in what is now Turkey). Olybrius, Governor of the Roman Diocese of the East, asked to marry her, but with the demand that she renounce Christianity. Upon her refusal, she was cruelly tortured, during which various miraculous incidents occurred. One of these involved being swallowed by Satan in the shape of a dragon, from which she escaped alive when the cross she carried irritated the dragon's innards. The Golden Legend, in an atypical passage of skepticism, describes this last incident as "apocryphal and not to be taken seriously". She was put to death in AD 304.

As Saint Marina, she is associated with the sea, which "may in turn point to an older goddess tradition," reflecting the pagan divinity, Aphrodite. More on Saint Margaret

Sano di Pietro or Ansano di Pietro di Mencio (1406–1481) was an Italian painter of the Sienese school of painting. He was active for about half a century during the Quattrocento period, and his contemporaries included Giovanni di Paolo and Sassetta.

Sano was born in 1406. His name enters the roll of painters in 1428 where it remained until his death in 1481. In addition to his own painting and overseeing the pupils and assistants in his workshop, Sano was also part of the civic fabric of Siena, in 1431 and 1442 he was the leader of the San Donato district of Siena. Sano was also employed as an arbitrator; in 1475 he was called upon to settle a dispute between fellow painters Neroccio di Bartolommeo and Francesco di Giorgio Martini.

It was, however, as a painter that he made his living. The workshop he ran produced huge number of artworks. He wasn't merely a painter of altar pieces. He also produced frescoes, miniatures, and book bindings. Sano died in 1481. More on Sano di Pietro

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

05 Religious Ivory Carvings, Christ Blessing, the Crucifixion, the Virgin with Child and a saint flagellating himself and holding a crucifix, with footnotes #15

Probably West Germany second half 14th century

Christ Blessing,

Carved ivory figure

Height 12 cm.

Private collection

Estimated at 20.000 € - 25.000 € on 20.05.2023

Depiction of Christ enthroned and looking towards the viewer; His right hand raised in blessing, He also holds a chalice in His outstretched left hand, referring to the Eucharist. The high-quality ivory carving, designed for a frontal viewpoint, is particularly notable for the detailed observation of the folds of the long robe, which is surpassed only by the delicacy of the physiognomy and the locks of hair. More on this carving

Probably West Germany second half 14th century

Ivory reliefs of the Crucifixion

Carved ivory

11.8 x 7.9 cm.

Private collection

Estimated at 2.500 € - 3.000 € on 20.05.2023

Carved ivory with minute remains of former polychromy. High relief depiction of Christ crucified, flanked by His Mother and Saint John, beneath a Gothic architectural canopy.

Probably West Germany second half 14th century

Ivory reliefs of the Virgin with Child and the Crucifixion

Carved ivory

Each 9 x 4.3 cm.

Private collection

Estimated at 2.500 € - 3.000 € on 20.05.2023

Two small panels with relief depictions beneath Gothic architectural canopies. The rows of six regularly arranged drilled holes indicate a former use as mountings.

With small vertical cracks in the upper left and right.

Unknown artist

A saint flagellating himself and holding a crucifix, c. 1700

Ivory relief

7.5 x 5.3 cm.

Private collection

Ivory, carved in relief. Representation of a saint flagellating himself and holding a crucifix. In the lower area depiction of a skull (Memento-Mori). Several cherubim appear in the upper area. More on this relief

The Flagellation, in a Christian context, refers to an episode in the Passion of Christ prior to Jesus' crucifixion. The practice of mortification of the flesh for religious purposes has been utilised by members of various Christian denominations since the time of the Great Schism in 1054. Nowadays the instrument of penance is called a discipline, a cattail whip usually made of knotted cords, which is flung over the shoulders repeatedly during private prayer.

In the 13th century, a group of Roman Catholics, known as the Flagellants, took self-mortification to extremes. These people would travel to towns and publicly beat and whip each other while preaching repentance. The nature of these demonstrations being quite morbid and disorderly, they were during periods of time suppressed by the authorities. They continued to reemerge at different times up until the 16th century. Flagellation was also practised during the Black Plague as a means to purify oneself of sin and thus prevent contracting the disease. Pope Clement VI is known to have permitted it for this purpose in 1348. More on Flagellation

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

1 Religious Icon, Bartolo di Fredi's Saint Anthony Abbot, with footnotes #14

Bartolo di Fredi

Saint Anthony Abbot

Tempera on panel, gold ground, a fragment, unframed

38.5 by 33 cm.; 15 1/8  by 13 in.

Private collection

Saint Anthony or Antony (251–356) was a Christian monk from Egypt, revered since his death as a saint. He is distinguished from other saints named Anthony by various epithets: Anthony the Great, Anthony of Egypt, Anthony the Abbot, Anthony of the Desert, Anthony the Anchorite, and Anthony of Thebes. For his importance among the Desert Fathers and to all later Christian monasticism, he is also known as the Father of All Monks. His feast day is celebrated on January 17 among the Orthodox and Catholic churches and on Tobi 22 in the Egyptian calendar used by the Coptic Church.

The biography of Anthony's life by Athanasius of Alexandria helped to spread the concept of Christian monasticism, particularly in Western Europe via its Latin translations. He is often erroneously considered the first Christian monk, but as his biography and other sources make clear, there were many ascetics before him. Anthony was, however, the first to go into the wilderness, a geographical move that seems to have contributed to his renown. Accounts of Anthony enduring supernatural temptation during his sojourn in the Eastern Desert of Egypt inspired the often-repeated subject of the temptation of St. Anthony in Western art and literature. More Saint Anthony

Bartolo di Fredi (c. 1330 – January 26, 1410) was an Italian painter, born in Siena, classified as a member of the Sienese School. Bartolo di Fredi was one of the most popular masters in Siena in the second half of the fourteenth century.

He registered in the Guild of that city in 1355. He helped decorate the Hall of Council at Siena, in 1361. In 1362 he went to San Gimignano, where, by 1356, he had painted the entire side of the left aisle of the Pieve with scenes drawn from the Old Testament. In 1366 the Council of the city of Gimignano ordered a painting, representing Two Monks of the Augustine Order to be placed in the Palazzo Pubblico In the early part of 1367 he returned to Siena, and was employed with Giacomo di Mino in the decorations of the cathedral. In 1372. In 1381 he was made a member of the Council. In 1389, Bartolo, assisted by Luca Thome to paint the altar-piece for the Shoemakers' Company, in the Cathedral, and continued from that year until his death to furnish altar-pieces for the cathedral and other churches of Siena, which have now all disappeared.

His style is marked by the rejection of the concrete figures. Instead he favor flatter decorative otherworldly compositions. He combined a spirit of fantasy with anecdotal details. More on Bartolo di Fredi

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.

1 Religious Icon, Stefano di Giovanni, detto il Sassetta's Madonna of the Snow, with footnotes #13

Stefano di Giovanni, detto il Sassetta (Cortona? 1400 c. - Siena 1450)

Madonna of the Snow Altarpiece, c. 1432

Tempera on panel

240 x 256 cm

The Uffizi

White, soft, icy snow is a rare sight in the Mediterranean city of Rome during winter, let alone during summer. Yet, according to tradition, the founding of one of Rome’s most important Catholic churches took place on an extraordinary snowfall day in August of 352. On August 5 of 352, a wealthy Roman nobleman and Pope Liberius both had dreams in which snow was falling over the Esquiline Hill, one of Rome’s seven hills. The two men resolved to visit the place of the unusual event, bumped into one another and testified to the unusual snowfall. It so happened that the nobleman had been looking for a way to donate some of his possessions to the Catholic Church. He then restored to build a beautiful place of worship on top of the hill where the miraculous snow fell. Pope Liberius then proceeded to trace the perimeter of the soon-to-be-church by moving a stick over the thick white blanket. Since then, Santa Maria Maggiore has become one of the most important worship sites for Catholics and the largest Marian worship site in Rome. More on Madonna of the Snow

Stefano di Giovanni di Consolo, known as il Sassetta (ca.1392–1450 or 1451) was a Tuscan painter of the Renaissance, and a significant figure of the Sienese School. While working within the Sienese tradition, he innovated the style by introducing elements derived from the decorative Gothic style and the realism of contemporary Florentine innovators as Masaccio.

Sassetta was probably trained alongside artists like Benedetto di Bindo and Gregorio di Cecco but he had a style all of his own. He achieved a high level of technical refinement and was aware of artistic innovations of talented painters in Florence such as Gentile da Fabriano and Masolino. His work differs from the late Gothic style of many of his Sienese contemporaries.

The Madonna of the Snow altarpiece for the Siena Cathedral was a prestigious commission for Sassetta, and is considered his second major work. Not only does he excel at infusing his figures with a natural light that convincingly molds their shape, he also has an amazing handle on spatial relationships, creating cohesive and impressive work. From this point on, under Gothic influence, Sassetta’s style increases its decorative nature. The polyptych done by Sassetta in San Domenico at Cortona (around 1437) depicts scenes from the legend of St. Anthony the Abbot. He shows great skill in narration through his painting as well as combining a sophisticated color palette and rhythmic compositions.

He died from pneumonia contracted while decorating the Assumption fresco on the Porta Romana of Siena. The work was finished by his pupil Sano di Pietro. More on Stefano di Giovanni di Consolo

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.