32 10 414 https://european-mastectomy.artinterp.org/files/original/dd0886c7c77f781b5f98e5ee8504d398.jpg 9bcf94f9dfe29995e4865391616cbf49 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Description An account of the resource oil and tempera on canvas Painted surface H: 25 1/4 x W: 19 13/16 in. (64.2 x 50.3 cm) Creator An entity primarily responsible for making the resource Francesco Furini Source A related resource from which the described resource is derived Walters Art Museum https://art.thewalters.org/detail/34385/st-agatha/ Date A point or period of time associated with an event in the lifecycle of the resource c. 1635-45 Contributor An entity responsible for making contributions to the resource This devotional image shows the saint contemplating God while tenderly holding the pincers, the instruments of her sufferings through which she achieved her sanctity. The palm branch is the attribute of martyrs. The way in which the saint is modeled with soft sfumato (an almost invisible rendering of the transitions from light to shade) and emerges from a dark background is characteristic of Furini's work. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 307, p. 435. Don Marcello Massarenti Collection, Rome, prior to 1881 [mode of acquisition unknown] [1881 catalogue: no. 59; 1897 catalogue: no. 119]; Henry Walters, Baltimore, 1902, by purchase; Walters Art Museum, 1931, by bequest. breasts cover female nude pincers saint agatha https://european-mastectomy.artinterp.org/files/original/e50b0a56f895c54d2dcb4c1de4738979.jpg 2820a131a549bafa1014ec218a33f3fe Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mastectomy Tools Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha in a Floral Border Description An account of the resource Use of a surgical tool rather than a blacksmithing tongs Medium: Engraving Dimensions: Plate: 3 5/8 x 2 11/16 inches (9.2 x 6.8 cm) Sheet: 3 3/4 x 2 13/16 inches (9.5 x 7.2 cm) Publisher An entity responsible for making the resource available Published by Justus Sadeler (Flemish, 1583–1620) Southern Netherlands (modern Belgium), Europe Date A point or period of time associated with an event in the lifecycle of the resource b. 1620 Contributor An entity responsible for making contributions to the resource Philadelphia Museum of Art https://philamuseum.org/collection/object/79938 The Muriel and Philip Berman Gift, acquired from the John S. Phillips bequest of 1876 to the Pennsylvania Academy of the Fine Arts, with funds contributed by Muriel and Philip Berman, gifts (by exchange) of Lisa Norris Elkins, Bryant W. Langston, Samuel S. White 3rd and Vera White, with additional funds contributed by John Howard McFadden, Jr., Thomas Skelton Harrison, and the Philip H. and A.S.W. Rosenbach Foundation, 1985 forceps saint agatha surgical tools https://european-mastectomy.artinterp.org/files/original/5d172f629bb1043574f363f0cf566f53.jpeg 1a317a4cb8adbf0e9356658bf381f4fe Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha tied to a tree, her breasts have been cut off, from the series 'Piccoli Santi' (Small Saints) Description An account of the resource Medium: Engraving Dimensions: 3-1/4 x 1-7/8 in. (8.3 x 4.8 cm) Inscription: Lettered monogram lower right: 'MAF' Creator An entity primarily responsible for making the resource Artist: Anonymous Artist: After Marcantonio Raimondi (Italian, Argini (?) ca. 1480–before 1534 Bologna (?)) Date A point or period of time associated with an event in the lifecycle of the resource ca. 1500–1540 Contributor An entity responsible for making contributions to the resource The Met https://www.metmuseum.org/art/collection/search/342866 Credit Line: The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1957 Relation A related resource Adam von Bartsch Le Peintre graveur. Vienna, 1803. Henri Delaborde Marc Antonio Raimondi étude historique et critique, suivie d'un catalogue raisonné des ouevres du maitre. Paris, 1887. breasts copy removal saint agatha torture https://european-mastectomy.artinterp.org/files/original/18e2370c8c11a3a86a83e69a57f57220.png 9b6e628a2d082e7b3060e3acf3b8addc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha's Breast is Shorn Description An account of the resource fresco, choir SS. Agata e Margherita, Cremona, Italy Creator An entity primarily responsible for making the resource Giulio Campi Source A related resource from which the described resource is derived Cheney, Liana De Girolami. "The Cult of Saint Agatha." Woman’s Art Journal 17, no. 1 (1996): 3-9. Date A point or period of time associated with an event in the lifecycle of the resource 1537 exposed pincers saint agatha tongs tools https://european-mastectomy.artinterp.org/files/original/2cac8243533c309027b0cdddbfa48cfc.png adb21146937cd07e6c9763ee906d6287 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint John the Baptist with Saint Agatha. Description An account of the resource Material panel Measurements 120 x 45 cm. Description Full view Formerly in the Castello di Vincigliata, Florence and then Baron Alberto Fassini collection, Rome (after 1930). Probably part of the same polyptych as Saint Nicholas of Bari and Saint Seraphina also formerly in the Castello di Vincigliata and no Creator An entity primarily responsible for making the resource Taddeo di Bartolo altar panel saint agatha saints tongs tools worship https://european-mastectomy.artinterp.org/files/original/5dcd2e78680c1290f3bfb55f44079907.jpg 02ca7b6cd8ecbb594c16e75e617a5183 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Julia Subject The topic of the resource her martyrdom Description An account of the resource woodcut Styling is reminiscent of an illustration of St Eufrasia in Giunta, La rapresentatione di santa Eufrasia composta per messer Castellano Castellani, 1558; illustrations for a play rather than for a meditational work. Source A related resource from which the described resource is derived Wellcome https://wellcomecollection.org/works/esvgb5c5 julia knives martyrdom martyrs tools torture https://european-mastectomy.artinterp.org/files/original/75fa1952a8abd171ba60285f0ec3faea.jpeg 2da6235ea0712235ec189cdee2dc9f0d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Reparata Tortured with Red-Hot Irons Description An account of the resource "Martyred under Emperor Decius (ruled 249–51 A.D.), Saint Reparata was a patron saint of Florence, for whom its cathedral was named. This exquisitely painted panel is from the high altarpiece of the cathedral (the main panels are now in the Uffizi , Florence). Unusually, it had a double, or two-tiered, base (predella), the lower level of which showed eight scenes from the saint’s life. The Met owns two other badly damaged panels from the series. In this work Daddi transposed the grave manner of Giotto into a charming and rich narrative style." Medium: Tempera on wood, gold ground (tooled pattern added possibly in the late nineteenth century) Dimensions: 13 x 16 1/2 in. (33 x 41.9 cm) Creator An entity primarily responsible for making the resource Bernardo Daddi (Italian, Florence (?) ca. 1290–1348 Florence) Date A point or period of time associated with an event in the lifecycle of the resource 14th century Contributor An entity responsible for making contributions to the resource The Met https://www.metmuseum.org/art/collection/search/436071 Credit Line: Bequest of George Blumenthal, 1941 cathedral of Santa Reparata, Florence (demolished 1375); cathedral of Santa Maria del Fiore, Florence (until 1442; sold to Giovanni di Andrea Minerbetti); church of San Pancrazio, Florence (1442–at least 1568); Léon de Somzée, Brussels (until 1904; his sale, J. Fievez, Brussels, May 27, 1904, vol. 2, no. 295, as by Taddeo Gaddi); Madame Léon de Somzée, Brussels (until 1907; her sale, J. Fievez, Brussels, May 28, 1907, no. 206, as by Taddeo Gaddi); George Blumenthal, New York (by 1914–d. 1941; cat., vol. 1, 1926, pl. II, as "The Martyrdom of Saint Agatha," by School of Giotto) Relation A related resource Giorgio Vasari. Le vite de' più eccellenti pittori, scultori, ed architettori. Ed. Gaetano Milanesi. 1906 ed. Florence, 1568, vol 1, p. 639, mentions among the works of Agnolo Gaddi a painting for the high altar of San Brancazio [sic] with a predella composed of eight stories of the Madonna and Saint Reparata which may have included this work. Oswald Sirén. "Pictures in America by Bernardo Daddi, Taddeo Gaddi, Andrea Orcagna and His Brothers: I." Art in America 2 (June 1914), p. 264, as in the collection of George Blumenthal, New York; identifies the subject as the Martyrdom of Saint Agatha, and attributes it to Bernardo Daddi. Osvald Sirén. "Giuliano, Pietro and Giovanni da Rimini." Burlington Magazine 29 (October 1916), p. 281, as "The Martyrdom of S. Agatha"; tentatively suggests an attribution to Pietro da Rimini. Osvald Sirén. Letter to George Blumenthal. February 20, 1916, states that it is not by Bernardo Daddi, but by a painter of the Giottesque school in the Romagna, possibly Giovanni Baronzio da Rimini; dates it about the middle of the fourteenth century. Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 3, The Florentine School of the 14th Century. The Hague, 1924, p. 408 n. 1, as "the martyrdom of St. Agatha" by Daddi's school. Stella Rubinstein-Bloch. Catalogue of the Collection of George and Florence Blumenthal. Vol. 1, Paintings—Early Schools. Paris, 1926, unpaginated, pl. II, calls it the "The Martyrdom of Saint Agatha" by the School of Giotto, reporting that Perkins ascribes it to the Romagnole School of Giotto; illustrates it with the latter attribution . Helen Comstock. "The Bernardo Daddis in the United States—Part II." International Studio 89 (March 1928), pp. 75–76, calls it the "Martyrdom of St. Agatha," not by Daddi himself but very close to him. Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 3, section 3, New York, 1930, p. 9, as the "Martyrdom of St. Agatha"; lists it among works attributed to Bernardo Daddi. Luigi Serra in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 27, Leipzig, 1933, p. 27, as the Martyrdom of Saint Agatha; lists it among works attributed to Pietro da Rimini. Mario Salmi. "Nota su Pietro da Rimini." Dedalo 13 (1933), p. 17 n. 8, as the Martyrdom of Saint Agatha; calls it a Florentine work derived from Daddi. Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 4, section 3, New York, 1934, pp. 165–66, pl. LXII, as the "Martyrdom of St. Agatha"; attributes it to a remote follower of Daddi, observing its similarities to other panels from the same predella; dates it about 1345. George Kaftal. Iconography of the Saints in Tuscan Painting. Florence, 1952, col. 892, fig. 1001, identifies the subject as Saint Reparata tortured with red-hot irons, and attributes it to a remote follower of Daddi. Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 26. Klara Steinweg. "Contributo a due predelle di B. Daddi." Rivista d'arte 33 (1956), pp. 37–40, fig. 7 (reconstruction), attributes it to Daddi and identifies the saint as Reparata, citing the opinion of Ulrich Middeldorf; reconstructs the original predella to include, from left to right, Saint Reparata before the Emperor Decius (The Met, 43.98.3), Saint Reparata in Prison (Pechère collection, Brussels), this picture, Saint Reparata in a Furnace (Wallraf-Richartz-Museum, Cologne), Saint Reparata Being Prepared for Execution (The Met, 43.98.4), and the Beheading of Saint Reparata (Gemäldegalerie Alte Meister, Dresden; see Hipp 2010); suggests the predella belonged to a five-panel polyptych probably painted for the church of Santa Reparata in Florence, demolished in 1375. Richard Offner. A Critical and Historical Corpus of Florentine Painting. Vol. 8, section 3, New York, 1958, pp. X, XIV–XV, XVII–XVIII, 29, 202, pl. VI (reconstruction), accepts the reconstruction and provenance suggested by Steinweg (1956) and dates the predella about 1345. Ugo Procacci. "Recensioni." Rivista d'arte 8 (1958), p. 135. Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, pp. 52, 56, lists it, along with the other two MMA scenes of Saint Reparata (43.98.3 and 43.98.4), as by Daddi, connecting them with the other panels of the predella. Brigitte Klesse. Italienische Gemälde der Gotik und Frührenaissance im Wallraf-Richartz-Museum. Cologne, 1964, pp. 7–8, follows Steinweg (1956) on the reconstruction and provenance of the predella. Brigitte Klesse. Seidenstoffe in der italienischen Malerei des 14. Jahrhunderts. Bern, 1967, p. 357, no. 305a, dates it about 1345, based on the patterned textile hanging from the loggia. Alessandro Conti. "Quadri alluvionati 1333, 1557, 1966 (II)." Paragone 19 (September 1968), pp. 4, 21 n. 7, identifies the predella as belonging to the altarpiece for the church of San Pancrazio, Florence, mentioned by Vasari (1568). Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. New York, 1971, pp. 26–29, ill., identify the saint as Reparata; attribute the predella to Daddi, placing it in his late period, about the mid-1340s, and state that it belonged to an unidentified altarpiece. Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 62, 446, 608. Arno Preiser. Das Entstehen und die Entwicklung der Predella in der italienischen Malerei. PhD diss., Julius-Maximilians-Universität, Würzburg. Hildesheim, 1973, pp. 325–26, accepts Conti's (1968) identification of the predella and suggests that it is missing two panels that probably showed scenes from the life of Saint Reparata, rather than her martyrdom. Brigitte Klesse. Kataloge des Wallraf-Richartz-Museums. Vol. 6, Katalog der italienischen, französischen und spanischen Gemälde bis 1800 im Wallraf-Richartz-Museum. Cologne, 1973, pp. 43–44, under no. 878. Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 9, section 3, The Fourteenth Century: The Painters of the Miniaturist Tendency. new ed. Florence, 1984, p. 74, cites Conti 1968. Wolfgang Fritz Volbach. Catalogo della Pinacoteca Vaticana. Vol. 2, Il Trecento: Firenze e Siena. Vatican City, 1987, p. 28, erroneously as in the Galleria degli Uffizi, Florence. Il Duomo di Firenze: documenti sulla decorazione della chiesa e del campanile tratti dall'archivio dell'opera. Ed. Giovanni Poggi. Florence, 1988, vol. 2, p. 141, nos. 2125–26, publishes two documents of August 25, 1442, detailing the sale of the altarpiece with its predella to Giovanni di Andrea Minerbetti for 200 lire. Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 3, section 3, The Fourteenth Century: The Works of Bernardo Daddi. new ed. Florence, 1989, pp. 22, 71, 263, 277, 280, 283, 286, 386, pls. XIV (hypothetical reconstruction of polyptych), XV (reconstruction of predella), XV/4, considers it likely that the predella originally belonged to the polyptych painted by Daddi for the church of San Pancrazio, Florence (later dismembered, now in the Galleria Degli Uffizi), and believes it must have included two more scenes now missing. Miklós Boskovits in Richard Offner et al. A Critical and Historical Corpus of Florentine Painting. Vol. 4, section 3, The Fourteenth Century: Bernardo Daddi, His Shop and Following. new ed. Florence, 1991, pp. 332, 463, 510. Mary Bergstein. "Marian Politics in Quattrocento Florence: The Renewed Dedication of Santa Maria del Fiore in 1412." Renaissance Quarterly 44 (Winter 1991), pp. 690–91, notes that Spilner's study "currently in preparation" (see Spilner 1997) will propose that the San Pancrazio altarpiece was originally made for the high altar of the Florence cathedral. Anna Padoa Rizzo. "Bernardo di Stefano Rosselli, il 'polittico Rucellai' e il polittico di San Pancrazio di Bernardo Daddi." Studi di storia dell'arte 4 (1993), p. 214, argues that the polyptych recorded by Vasari (1568) was painted by Daddi for the high altar of the cathedral of Florence, and later moved to the church of San Prancrazio by 1568. Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 6, ill. Enrica Neri Lusanna in The Dictionary of Art. Ed. Jane Turner. Vol. 8, New York, 1996, p. 443, mentions the predella as one of two that Vasari assigned to an altarpiece painted by Daddi for Florence Cathedral and later in the church of San Pancrazio . Paula Lois Spilner. The Case for the Missing Maestà: New Documents and a Proposal for the High Altar of Florence Cathedral. April 1997 [see Bergstein 1991, Lavin 1999, Strehlke 2004, and Strehlke 2015], demonstrates that the San Pancrazio altarpiece was commissioned and executed between 1337 and 1344 for the high altar of the cathedral of Florence. Irving Lavin. Santa Maria del Fiore: il Duomo di Firenze e la Vergine incinta. Rome, 1999, pp. 40–41, cites Spilner's (1997) unpublished study. Miklós Boskovits et al., ed. "The Fourteenth Century: Bernardo Daddi and His Circle." A Critical and Historical Corpus of Florentine Painting.. By Richard Offner. Vol. 5, section 3, new ed. Florence, 2001, p. 572, catalogue a panel depicting Saint James Major from the upper register of the San Pancrazio altarpiece; do not include the Saint Reparata panels in the reconstruction of the work (add. pl. V; see Boskovits 1989, pl. XIV). Carl Brandon Strehlke. Italian Paintings 1250–1450 in the John G. Johnson Collection and the Philadelphia Museum of Art. Philadelphia, 2004, pp. 96, 219, 222 n. 8, accepts Spilner's (1997) evidence showing that the San Pancrazio altarpiece was originally in the Florence cathedral. Lisa Monnas. Merchants, Princes and Painters: Silk Fabrics in Italian and Northern Paintings, 1300–1550. New Haven, 2008, pp. 80, 82, 349 nn. 63–64, 70. Elisabeth Hipp. "Eine 'verschollene' Florentiner Predellentafel in Dresden." Dresdener Kunstblätter 54, no. 1 (2010), pp. 8–13, 15 n. 25, identifies the panel depicting the beheading of Saint Reparata in the Gemäldegalerie Alte Meister, Dresden. Stefano G. Casu. The Pittas Collection: Early Italian Paintings (1200–1530). Florence, 2011, pp. 42, 44, fig. 8.2 (altarpiece reconstruction), discusses the history of the San Pancrazio altarpiece in the entry for a panel depicting Christ Blessing which he proposes as the cimasa, or crown, of the polyptych. Victor M. Schmidt in Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350. Ed. Christine Sciacca. Exh. cat., J. Paul Getty Museum. Los Angeles, 2012, pp. 88, 91 n. 22. The Grove Encyclopedia of Medieval Art and Architecture. Ed. Colum P. Hourihane. Oxford, 2012, vol. 2, p. 251. Stefano G. Casu in La fortuna dei primitivi: tesori d'arte dalle collezioni italiane fra Sette e Ottocento. Ed. Angelo Tartuferi and Gianluca Tormen. Exh. cat., Galleria dell'Accademia. Florence, 2014, pp. 320, 322, 324, fig. 1 (altarpiece reconstruction), under no. 52a–c. Andreas Henning in An der Wiege der Kunst: Italienische Zeichnungen und Gemälde von Giotto bis Botticelli. Exh. cat., Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden. Berlin, 2014, p. 52, under no. 2, discusses the predella in the entry for the Dresden "Beheading of Saint Reparata". Carl Brandon Strehlke in Carl Brandon Strehlke and Machtelt Brüggen Israëls. The Bernard and Mary Berenson Collection of European Paintings at I Tatti. Florence, 2015, pp. 223–24 n. 1. Andrea De Marchi in Legati da una cintola: l'"Assunta" di Bernardo Daddi e l'identità di una città. Ed. Andrea De Marchi and Cristina Gnoni Mavarelli. Exh. cat., Museo di Palazzo Pretorio, Prato. Florence, 2017, p. 122, under nos. 4–6, dates the predella to the beginning of the 1340s. Carl Brandon Strehlke in Legati da una cintola: l'"Assunta" di Bernardo Daddi e l'identità di una città. Ed. Andrea De Marchi and Cristina Gnoni Mavarelli. Exh. cat., Museo di Palazzo Pretorio, Prato. Florence, 2017, pp. 137–39, fig. 1 (altarpiece reconstruction), under nos. 8a–b, dates the predella about 1340. breasts female saints hot pokers tools torture https://european-mastectomy.artinterp.org/files/original/88774bae2463dd683e368b1136e02503.jpeg 7e80d04a67bb4cc6e06bf6272a5d2aad https://european-mastectomy.artinterp.org/files/original/2388f63ba8db09045e53455975a77dc9.jpeg 62b0ef85201ce1411c73bb28ca1d6c27 https://european-mastectomy.artinterp.org/files/original/008ad1b7dabc688b76b1af047d541ba7.jpeg 9a80bdd923968183d35c33f4bc8ce18f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saints Catherine of Alexandria, Barbara, Agatha, and Margaret Description An account of the resource "Together with two other female saints, these panels were originally stacked in two groups of three, one above the other, to form the piers flanking the main panels of an altarpiece. By this date Giovanni di Paolo’s work must have begun to seem out of step with the naturalism of Renaissance style. For more information about these four paintings, including the other panels of the altarpiece, visit metmuseum.org." Medium: Tempera on wood, gold ground Dimensions: (a) overall 18 3/4 x 6 in. (47.6 x 15.2 cm), painted surface 18 1/4 x 5 1/2 in. (46.4 x 14 cm); (b) overall 18 3/4 x 6 in. (47.6 x 15.2 cm), painted surface 18 3/8 x 5 5/8 in. (46.7 x 14.3 cm); (c) overall 18 3/4 x 6 in. (47.6 x 15.2 cm), painted surface 18 3/8 x 5 3/8 in. (46.7 x 13.7 cm); (d) overall 18 3/4 x 6 in. (47.6 x 15.2 cm), painted surface 18 1/4 x 5 5/8 in. (46.4 x 14.3 cm) Creator An entity primarily responsible for making the resource Giovanni di Paolo (Giovanni di Paolo di Grazia) (Italian, Siena 1398–1482 Siena) Date A point or period of time associated with an event in the lifecycle of the resource c. 1470 Contributor An entity responsible for making contributions to the resource The Met https://www.metmuseum.org/art/collection/search/436514 Credit Line: The Friedsam Collection, Bequest of Michael Friedsam, 1931 Alphonse Kann, Paris (in 1914); [Duveen, New York]; [Kleinberger, New York, until 1919]; Michael Friedsam, New York (1919–d. 1931) Relation A related resource F. Mason Perkins. "Dipinti senesi sconosciuti o inediti." Rassegna d'arte 14 (1914), p. 165 n. 1 [first], as Saints Catherine, Barbara, Agatha, and another saint, by Giovanni di Paolo; as in the Alphonse Kann collection, Paris. [Curt H.] Weigelt in Allgemeines Lexikon der bildenden Künstler. Ed. Ulrich Thieme and Fred C. Willis. Vol. 14, Leipzig, 1921, p. 136, erroneously as still in the Alphonse Kann collection, Paris; does not identify the fourth saint. Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 9, Late Gothic Painting in Tuscany. The Hague, 1927, p. 452 n. 2, erroneously as still in the Kann collection; does not identify the fourth saint. Luitpold Dussler. "Some Unpublished Works by Giovanni di Paolo." Burlington Magazine 50 (1927), p. 36, pl. IIA, notes the influence of Sassetta and suggests that the panels may be fragments of a large altarpiece dating from the 1430s. Bernard Berenson in The Michael Friedsam Collection. [completed 1928], pp. 97a–97b, identifies the saints as Catherine of Alexandria, Barbara, Lucy, and Dorothy; dates the works to the middle of the artist's career and states that they must have formed part of the same polyptych. Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 246. Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), p. 34, no. 53, identify the fourth saint as Dorothy; state that the four panels must originally have formed part of the framework of a polyptych. Marialuisa Gengaro. "Eclettismo e arte nel Quattrocento senese." La Diana 7 (1932), p. 30. Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 212. Edward S. King. "Notes on the Paintings by Giovanni di Paolo in the Walters Collection." Art Bulletin 18 (June 1936), p. 237, includes them in a list of works that he tentatively attributes to Giovanni di Paolo's workshop or imitators. John Pope-Hennessy. Giovanni di Paolo, 1403–1483. London, 1937, pp. 93, 112 n. 87, p. 172, dates them before 1450; identifies the fourth saint as Dorothy. Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 88, ill. Cesare Brandi. Giovanni di Paolo. Florence, 1947, p. 120, identifies the fourth saint as Dorothy. Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 42. Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 178, calls them the pilasters of a polyptych. Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 90, 367, 376, 383, 392, 607. Michel Laclotte and Elisabeth Mognetti. Peinture italienne. Paris, 1976, unpaginated, under no. 90, mention Zeri's hypothesis connecting these four panels with the Avignon triptych [see Ref. Zeri and Gardner 1980]; add that Saints Barbara and Catherine would have appeared on the left and Saints Agatha and Dorothy [Margaret] on the right; date the Avignon triptych to after 1470. Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Sienese and Central Italian Schools. New York, 1980, pp. 23–24, pls. 42, 43, identify the fourth saint as Margaret; date the panels to the artist's late period; tentatively associate them with a triptych of the Nativity now in the Musée du Petit Palais, Avignon, where they would have formed two vertical pilasters, with one saint on top of another, on either side of the central panels; cite two other intact altarpieces with the same configuration of panels: one in the church of San Pietro Apostolo at Trequanda, and one in the Walters Art Gallery, Baltimore. Michel Laclotte and Elisabeth Mognetti. Avignon, musée du Petit Palais: Peinture italienne. 3rd ed. Paris, 1987, p. 110, under no. 90. John Pope-Hennessy. "Giovanni di Paolo." Metropolitan Museum of Art Bulletin 46 (Fall 1988), p. 39, figs. 48–51 (color), mentions and illustrates two additional panels from the series, depicting Saints Mary Magdalen and Agnes (private collection); believes that these six panels formed the left and right pilasters of an altarpiece, with Saints Barbara and Agatha at the top, Saints Catherine and Margaret in the middle, and Saints Mary Magdalen and Agnes at the bottom; suggests a Nativity in the Keresztény Múseum, Esztergom, Hungary, as the central panel of this altarpiece, based on the similarity of the haloes; associates the two panels of male saints in Avignon with the Esztergom Nativity rather than with the Avignon Nativity they currently flank [see Ref. Laclotte and Mognetti 1976]. Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 56, ill., as "Saints Catherine of Alexandria, Barbara, Agatha, and Margaret". Meryle Secrest. Duveen: A Life in Art. New York, 2004, p. 445. Michel Laclotte and Esther Moench. Peinture italienne: musée du Petit Palais Avignon. new ed. Paris, 2005, p. 113, under no. 106, ill. pp. 113 and 237 (reconstruction), reconstruct the altarpiece with the Esztergom Nativity in the center, the two male saints in Avignon as the wings, and the four MMA saints forming the outer vertical pilasters. Dóra Sallay. "Early Sienese Paintings in Hungarian Collections, 1420–1520." PhD diss., Central European University, Budapest, 2008, pp. 107–9, figs. 11/14 (color, with Saints Mary Magdalen and and Agnes), 11/17 (reconstruction), favors identifying the fourth saint as Martha; locates the panels depicting Saints Mary Magdalen and Agnes in the Salini collection, Siena; supports the association of the two Avignon panels and the six panels depicting female saints with the Nativity in Esztergom. Carl Brandon Strehlke in La collezione Salini: Dipinti, sculture e oreficerie dei secoli XII, XIII, XIV e XV. Ed. Luciano Bellosi. Florence, 2009, vol. 1, pp. 306, 309, ill. p. 308 (reconstruction, color), discusses them in connection with the two companion panels depicting Saints Mary Magdalen and Agnes in the Salini collection; reconstructs the altarpiece with the Esztergom Nativity in the center, flanked by the two male saints (identified as Savino or Vittorino and Ansano) in Avignon. breasts pincers saint agatha tools https://european-mastectomy.artinterp.org/files/original/30ca610183bfe83a5270fb0c60ac67dc.jpg 4e49a36f4a4dab82b3cfa73d8cd72a57 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Agatha Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Subject The topic of the resource Series: Series: Les images de tous les saints et saintes de l'année Description An account of the resource Four oval scenes, each related to religious events or saints celebrated in February; from left to right and top to bottom, a soldier shearing the breast of a young female saint tied to a pillar (St Agatha's Day); a man armed with a brand and burning the side of a young female saint tied to a pillar (St Dorothea's Day); a Bishop saint standing in a landscape with a palm leaf in right hand, and reading a book (St Paul of Verdun's Day); a bespectacled hermit saint standing in a landscape and reading a book; a rosary hangs from his belt (St Romuald's Day). c.1632/35 Etching Height: Height: 210 millimetres Width: Width: 123 millimetres Inscription content: Each scene lettered with name of publisher, date of feastday and title From a set of 124 plates (a title, a frontispiece and 122 plates of 4 scenes each), see 1861,0713.511 for comment. Representation of: St Agatha Representation of: St Dorothea Representation of: St Paul of Verdun Representation of: St Romuald Creator An entity primarily responsible for making the resource Print made by: Jacques Callot Published by: Israël Henriet Source A related resource from which the described resource is derived Lieure 1927 / Jacques Callot (848-851.II) Meaume 1860 / Recherches sur la vie et les ouvrages de Jacques Callot (302-425) Publisher An entity responsible for making the resource available French Date A point or period of time associated with an event in the lifecycle of the resource 1632-35 Contributor An entity responsible for making contributions to the resource British Museum https://www.britishmuseum.org/collection/object/P_1861-0713-526 Purchased from: Charles Scarisbrick (From the Scarisbrick collection of Callot's work) Purchased through: Christie's (14.v.1861/part of lot 475) Purchased through: Colnaghi Title A name given to the resource Saints celebrated in February female saints saint agatha tools torture https://european-mastectomy.artinterp.org/files/original/cf47681a2815358fd7e728253f2a7d8e.jpg 88ec268b9b8960c9d8dc59cbeb5bfd27 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Caricatures Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sallot dit Casque de Fer Description An account of the resource 1 print : wood engraving, with watercolour Lettering La Lune. ... Portrait authentique de Sallot dit casque de fer. D'apres une photographie communiquée par M. Francal, notre correspondant à Foix. And. Gill. Relief Marchandeux. Lettering note The top of the newspaper contains several pieces of text Sallot holds a pair of pincers up in his hands with a a tooth and leaning on a grossly oversized set of dentures through which a fleur-de-lis is growing, in the background is a oversized skull wearing a helmet. Creator An entity primarily responsible for making the resource Coloured wood engraving by Marchandeux after A. Gill Source A related resource from which the described resource is derived Wellcome Collection https://wellcomecollection.org/works/rnyh7ukk Publisher An entity responsible for making the resource available Paris (Bureaux, 5, Cite Bergere) : La Lune, 4 Août 1867. caricature dentistry pincers portrait sallot tool