An Illustrated Inventory of Famous Dismembered Works of Art: by UNESCO

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Support Oak, backed and edged by a thin strip of wood. The original dimensions of the support are unchanged; uneven edge and unpainted border visible on ail four sides. Subject The Virgin is seen full face, half-length, with hands joined in prayer. The Child is sitting naked on his mother's right knee, with his head leaning against her bare breast. Distinctive features The Virgin is wearing a very dark blue-green dress, a red cape and a white veil; the Child is seated on a white cloth. Previous history The origin of the work is unknown; there is a référence to it in 1872, and it comes from the Collection of Cardinal Fesch, in Italy.

Simone Martini. Milano. Illustrations 1 The Angel Gabriel, Royal Fine Arts Mu¬ séum, Antwerp. [Photo: ACL, Brussels, No. ] The Annunciation, Royal Fine Arts Mu¬ séum, Antwerp. [Photo: ACL, Brussels, No. ] The Crucifixion, Royal Fine Arts Muséum, Antwerp. [Photo: ACL, Brussels, No. ] The Déposition, Royal Fine Arts Muséum, Antwerp. [Photo: ACL, Brussels, No. ] The Way to Calvary, Musée du Louvre, No. 65 En. 6517, Paris. ] The Entombment, Kaiser Friedrich Mu¬ séum, Berlin. ] Drafter: Franco Renzo Pesenti.

The magistrate of Antwerp presented six of the paintings in this séries to the Archduke Ernest in 1594; about fifty years later (1659), there were only five in the Gallery of the Archduke Leopold William. But, as a gênerai mie, the archives tell us little about the origin of the paintings, which in most cases was not determined until the nineteenth and twentieth centuries. However, works were sometimes found in earlier times. When the humanist traveller Schrader was passing through Urbino, he visited the Studiolo of the ducal palace, and read the dedicatory inscriptions painted under each portrait of the séries of Famous Men arranged along the four walls.

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