Beni Culturali Soprintendenza Speciale per il Patrimonio Storico Artistico ed Etnoantropologico per il Polo Museale della città di Roma

Room 3 - Lazio, Umbria, Marche

PV.sala 3

PV.10203.Maestro di S.Chiara.Crocifisso

The Roman school painting of the end of the XIIIth century is represented by the fragmentary Head of Christ by an anonymous painter of the circle of Pietro Cavallini, recently connected to the Master of the Madonna Altieri, known for a Virgin and Child (Rome, private collection). Originally it was the upper part of a Crucifix, of a Last Judgment or more probably of a Majestas Domini, some iconographical subjects widely diffused in Latial area in that period. The Crucifix influenced by the Roman and Assisi culture, was painted for the Church of Santa Maria in Aracoeli and transferred in the half of the XVth century to the Church of San Tommaso dei Cenci. In the Assisi workshop of Giotto is included the Espressionist Master of Saint Claire, who cooperated in the last scenes of the Stories of Saint Francis in the Upper Basilica of Assisi. To this painter is ascribed the other monumental Crucifix of the early of the XIVth century; his name is derived from the frescos realized in the Church of Saint Claire in Assisi. The Reliquary-Diptych, about the first half of the XIVth century, is influenced by the Spoleto culture. The Virgin and Child and the Saints are characterized by a popular pathetic expressivity. The painting is referred to the anonymous First Master of the Blessed Claire of Montefalco, painter of the frescoes in the Cappella della Croce in the Augustinian monastery of Santa Chiara in Montefalco.

In the Marche, between the fourth and the fifth decade of the XVth century, Giovanni Antonio da Pesaro still paints following late gothic style, as it's possible to see in the Saint John the Baptist and a Saint Bishop (Saint Septimius?), lateral panels of the Jesi Cathedral polyptych with The Virgin and Child and two angels (Jesi, Museo Diocesano), in the Martyrdom of Saint Blaise and the polyptych with the Virgin and Child and saints Catherine of Alexandria and Lucy, the Annunciation and the Crucifixion. The Staffolo Master's

Processional Standard, painted by a follower of Gentile da Fabriano, was realized for the Flagellanti Congregation as an ex voto after one of the frequent plagues in Fabriano during the middle of the XVth century (1446, 1447, 1449, 1456). On the front the Virgin of Mercy protects people in her mantle from the arrows of God the Father painted in the cusp; on the opposite side Saints John the Baptist and Sebastian, patron of the city and the protector against the plague, are represented below the Resurrection of Christ, indicating the rebirth of life in the city.

In the centre of the room there are three wooden sculptures: the most ancient, known as the Virgin of Acuto, from the homonymous village near Fiuggi, is dated between the end of XIIth and the beginning of the XIIIth century; the marchigian Virgin nursing the Child dates back to the end of XIVth century and, at last, the Virgin and Child (1330-40 ca.), by the sienese Nicola di Nuto, master builder of the Orvieto Cathedral from 1331.

Mibac Minerva Europe Museo & Web
Ministero dei Beni e delle Attività Culturali e del Turismo
Via del Collegio Romano, 27
00186 Roma, Italia
tel. 39 06 67231
www.beniculturali.it

© Tutti i diritti riservati
Soprintendenza SPSAE e per il Polo Museale della Città di Roma
Piazza San Marco, 49
00186 Roma, Italia
tel. 39 06699941
Museo Nazionale del Palazzo di Venezia
Via del Plebiscito, 13
00186 Roma, Italia
tel. 39 0669994284
e-mail: sspsae-rm.mpv@beniculturali.it

 

        

Copyright 2005 Ministero per I beni e le attività culturali

Page created 14/11/2008, last modify 15/04/2015