Share

License imageDownload image

• Images(2)

Marco Palmezzano , Italian, c.1460-1539

Title

The Virgin and Child Enthroned, with Saints John the Baptist and Lucy

Date1513

MediumTempera and oil on wood panel

Dimensions

218 x 188 cm

Signedlower centre: Marchus Palmizanus/ Pictor/ orolivi fecit/ MDXIII

Credit LinePurchased, 1863

Object numberNGI.117

DescriptionPalmezzano was a pupil of Melozzo da Forlì, and for a long period he collaborated with and imitated his teacher. He was active in the northeast of Italy and assimilated ideas and compositions from his contact with Venice. A typical example is this altarpiece, with its enthroned Virgin and Child ?anked by saints, set against elaborate gilded arches. At the foot of the throne, a small angel is playing a five-course lute, plucked with fingers for more expressive sound, as was the latest fashion. In the landscape, inspired by the Apennine Mountains south of Forlì, is the Abbey of San Mercuriale transported from the main piazza. Palmezzano has proudly signed his work and dated it 1513. during the High Renaissance he remained a highly conservative artist. St John the Baptist and St Lucy hold their traditional symbols of banner and eyes (which the saint plucked out herself to remove temptation). This Sacra Conversazione, or Holy Conversation, is appealing for its vivid colours and lighting effects.
ProvenanceCollection Count Ercolani di Strada Maggiore; Cardinal Fesch; Revd Walter Davenport Bromley, Wootton Hall, London, 1840; purchased, Christie's, 1863, Revd Walter Davenport Bromley sale Exhibition HistoryThe Architecture of Ireland in Drawings & Paintings, National Gallery of Ireland, Dublin, 1975

Lines of Vision. Irish Writers at the National Gallery of Ireland, 8 October 2014 —12 April 2015

Label TextThis altarpiece depicts the Virgin Mary seated with the Christ Child. Saint John the Baptist holds a banner reading Ecce Agnus Dei, which translates as 'Behold the Lamb of God'. Saint Lucy, patron saint of the blind, holds a dish containing two eyeballs. This is an allusion to the story that she plucked her own eyes out in order to repel an unwanted admirer. The artist Palmezzano worked in the northeast of Italy during the sixteenth century. He signed his name on the trompe l’oeil piece of paper pinned beneath the angel’s foot.