5 10 414 https://european-mastectomy.artinterp.org/files/original/dc6e10d8e626323b063c2e6f035a8ea0.jpg d068c3621c393d24cf3db9fa3c460ab9 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 Die Heyligen Junckfrawen unnd Mertirerin inn dem Himlischen Rosengartten Description An account of the resource Broadside on the heavenly rose garden; with a stencil-coloured woodcut from eight (?) blocks of virgin saints and the Holy Kinship seated on benches in front of rose bushes arranged in four horizontal strips; below 30 lines of German letterpress verse in eight columns describing the Christian path to the rose garden. (Nuremberg: n.d.) Height: Height: 1005 millimetres (Borderline) (Borderline) Height: Height: 1061 millimetres (Sheet size) (Sheet size) Width: Width: 704 millimetres (Borderline) (Borderline) Width: Width: 704 millimetres (Sheet size) (Sheet size) Inscription content: Publication line: 'Gedruckt zu Nürnberg, bey Hans Wolff Glaser.' Representation of: St Lucy Representation of: St Christina Representation of: St Mary Magdalene Representation of: St Elizabeth of Hungary Representation of: St Apollonia Representation of: St Ursula Representation of: St Margaret of Antioch Representation of: St Martha Representation of: St Agatha Representation of: St Agnes Representation of: St Dorothea Representation of: St Barbara Representation of: St Catherine of Alexandria Representation of: St Joseph Representation of: Virgin Mary Representation of: Jesus Christ Representation of: St Anne Representation of: St Joachim Representation of: God Creator An entity primarily responsible for making the resource Printed by: Hans Wolfgang Glaser Publisher An entity responsible for making the resource available Printed in: Nuremberg Europe: Germany: Bavaria (state): Mittelfranken (region): Nuremberg Date A point or period of time associated with an event in the lifecycle of the resource 1550-70 Contributor An entity responsible for making contributions to the resource British Museum https://www.britishmuseum.org/collection/object/P_1930-0617-37 Purchased from: C G Boerner (sale Leipzig, 6/9 May 1930/637) Previous owner/ex-collection: Friedrich August II, King of Saxony (Lugt 971) Format The file format, physical medium, or dimensions of the resource woodcut, letterpress, stencil printing https://european-mastectomy.artinterp.org/files/original/aff8acc57d37e6108bf9b762da4165d2.jpg 02ff2a4731d5d7f209262e1276e9629d https://european-mastectomy.artinterp.org/files/original/50fdfe3da3ca159e0df98a430b5f2f76.jpg e15ccd1fd6b6862023806858928c9824 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 Female saints Description An account of the resource Sixteen female saints; half-length figures with their respective attributes, arranged in four rows. Woodcut Height: Height: 216 millimetres Width: Width: 166 millimetres Inscription content: Lettered with the names of the individual saints on banderoles below the figures. Forming a pair with E,8.175, the style corresponds closely with Wechtlin's scenes from the life of the Virgin and of Christ (Passavant III.331-2, II.53) but there is no printing on the versos and it is unclear whether they were designed as book illustrations or not. See Röttinger p.1 note 1; manuscript catalogue by Karl Parker (compiled in the 1920s) for a proposed sequel to Campbell Dodgson's 'Catalogue of Early German Woodcuts in the British Museum' [and British Library], vol.2, woodcuts by Wechtlin, no. 30. Representation of: St Anne Representation of: St Mary Magdalene Representation of: Virgin Mary Representation of: St Martha Representation of: St Ursula Representation of: St Catherine of Alexandria Representation of: St Barbara Representation of: St Margaret of Antioch Representation of: St Dorothea Representation of: St Agatha Representation of: St Lucy Representation of: St Agnes Representation of: St Cecilia Representation of: St Catherine of Siena Representation of: St Otilia Representation of: St Elizabeth of Hungary Creator An entity primarily responsible for making the resource Print made by: Hans Wechtlin Source A related resource from which the described resource is derived Passavant 1860-64 / Le Peintre-Graveur (Undescribed) Publisher An entity responsible for making the resource available German Date A point or period of time associated with an event in the lifecycle of the resource 1500-26 Contributor An entity responsible for making contributions to the resource British Museum https://www.britishmuseum.org/collection/object/P_E-8-176 female saints saint agatha tools https://european-mastectomy.artinterp.org/files/original/dc44549c1f1ecbf8104a64734c57250c.jpg 9fed9e5fc2d42a7bb69641e5cb494b52 https://european-mastectomy.artinterp.org/files/original/e18ed7cf96a6dd5158bd8b0cb7b04a73.jpg f5bac9c42dd628d1ac4b346b6b1d02a1 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 Seal-matrix for Adolf von Epstein, Archdeacon of Trier Description An account of the resource Seal-matrix for Adolf von Epstein, Archdeacon of Trier; bronze; circular. Obverse: Female figure standing, facing, wearing a long dress and her hands above her head grasping a cross-bar resting on side posts. On either side an executioner seizing her breast with a pair of pincers. Background sprinkled with flowers and below a shield of arms chevronée; Inscription in legend within beaded borders, disrupted by the cross bar and shield of arms. Reverse: high shaped pierced ridge With wax impression. Diameter: Diameter: 4 centimetres Inscription position: obverse, legend Inscription language: Latin Inscription script: Black Letter Inscription content: /SI.ADOLFI.DE.EPSTEI.A/RD.IN.ECCIA.TREU' Inscription transliteration: /SI[GILLUM].ADOLFI.DE.EPSTEI[N].AR[CHI]D[IACO].IN.ECC[LES]IA[E].TRE[VERICA]U[RBS] Inscription translation: Seal of Adolf of Epstein, archdeacon? in the curch of Trier. Siegel des Adolf von Epstein, Erzdiakon? der Kirche von Trier. Inscription note: The Transliteration of "AR" as archdeacon is unsure. Orbis Latinus gives more options for the latin name of Trier, so their might be different possibilities to transliterate the last abbreviation. Two wax impressions, one on paper and one gutta percha. Identified as the Matryrdom of St. Agatha. Tonnochy Slip Catalogue says that the arms of Eppstein are argent, three chevrons gules. Source A related resource from which the described resource is derived Named in inscription: Trier Europe: Germany: Rhineland-Palatinate (state): Trier Publisher An entity responsible for making the resource available Made in: Germany Europe: Germany Date A point or period of time associated with an event in the lifecycle of the resource 15th century Contributor An entity responsible for making contributions to the resource British Museum https://www.britishmuseum.org/collection/object/H_1847-0802-7 Purchased from: Curtis Format The file format, physical medium, or dimensions of the resource bronze, wax, engraved pincers sait agatha tools torture https://european-mastectomy.artinterp.org/files/original/56af31978fb31308130eca4b74ab48c5.jpg 512b02bd6e062883cccc223424712873 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 Portrait of a Lady with the Attributes of Saint Agatha Description An account of the resource The lady in the picture is shown with the attributes of Saint Agatha, the third-century Sicilian martyr who was reported to have been tortured for rejecting the marriage proposal of the Roman governor. A dish with Agatha’s severed breasts and the pliers used to remove them are depicted on the right. However, technical examination of the painting has shown that the breasts, pliers, martyr’s palm and halo are later additions, suggesting that the work was originally a portrait, although the sitter remains unidentified. The letter ‘F’ before the name ‘Sebastianus’ in the signature shows that this work was painted in or after the year 1531, when Sebastiano del Piombo (‘Sebastiano of the Seal’) became the bearer of the papal seal and adopted the honorific title associated with that role: frate (friar). The painting of the lady’s dress and hair are well preserved although the flesh areas are now damaged and have a greyish appearance. oil on canvas 92.4 × 75.3 cm Signed Creator An entity primarily responsible for making the resource Sebastiano del Piombo Date A point or period of time associated with an event in the lifecycle of the resource early 1530s Contributor An entity responsible for making contributions to the resource NGA, London https://www.nationalgallery.org.uk/paintings/sebastiano-del-piombo-portrait-of-a-lady-with-the-attributes-of-saint-agatha The Reverend William Holwell Carr Holwell Carr Bequest, 1831 https://www.nationalgallery.org.uk/people/the-reverend-william-holwell-carr breasts female subject pincers pliers portrait saint agatha tools https://european-mastectomy.artinterp.org/files/original/63b2e403f1c78dd3b12e338df4bd5414.jpg ee7d35828c2b1d8dc6ecca66c66cac39 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 Martyrdom of Saint Agatha Description An account of the resource panel 132 x 178 cm "This is one of the most important examples of Venetian painting from the 16th century, signed and dated Sebastianus Venetus faciebat Rome 1520 on the parapet in the foreground, where the henchmen’s knife has been placed. In a letter dated 29 December 1519, and addressed to Michelangelo Buonarroti, Sebastiano talks about a newly finished painting for Cardinal Rangone. Critics have highlighted the fact that the work was commissioned by Ercole Rangone, appointed cardinal by Pope Leo X in 1517 and holder of the church of Sant’Agata in Rome. The painting’s particular shape (rectangular but developed across its width), suggests that it was for private worship, meaning that the cardinal did not intend to display it on the altar of his church but rather, to keep it for himself. The painting shows the martyrdom of Agatha, a Sicilian virgin, who was born and lived in Catania in the 3rd century A.D. According to tradition, the proconsul of Catania, Quintianus, who desired Agatha, accused her of blaspheming the state religion and ordered her capture. In order to bend her to his will, he subjected her to an increasing amount of torture. The suffering that has most remained in popular memory, and the most widespread of the images, is when Agatha’s breasts were cut off with enormous pincers. The painter has included a building in the background that’s in danger of falling into the flames, a reference to the earthquake that occurred during the saint’s martyrdom. Giorgio Vasari saw the painting in the Guardaroba of Guidobaldo della Rovere in the Palace of Pesaro while on his travels in the Marches in 1566; he mentioned it two years later in a short informative piece in the Life of Sebastian del Piombo. The painting was brought to Florence in 1631 as part of Vittoria della Rovere’s dowry, last of the family and wife of Grand Duke of Tuscany, Ferdinando II de’ Medici. From a style point of view, critics have highlighted how Sebastiano del Piombo chose a formal solution for this violent scene, characterized by the composition’s strong horizontal accent, as was frequently used by his fellow countrymen for subjects with a meditative or domestic tone, such as the Ages of man (for example in Giorgione's painting) or the numerous Madonnas and saints. There are also style elements of Venetian origin, such as the profil perdu of governor Quintianus on the far left, a technique previously used by Giorgione." Creator An entity primarily responsible for making the resource Sebastiano del Piombo Date A point or period of time associated with an event in the lifecycle of the resource 1520 Contributor An entity responsible for making contributions to the resource Le Gallerie degli Uffizi https://www.uffizi.it/en/artworks/martyrdom-of-st-agatha blacksmithing breasts pincers saint agatha tools torture https://european-mastectomy.artinterp.org/files/original/f0314ce80c6b69a2a44b03309ab606d9.jpeg 7caa7bc4b2c849b65dfad8214d11e450 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 Overall (confirmed): 5 3/8 × 3 1/2 × 3 1/8 in. (13.7 × 8.9 × 7.9 cm) "This small, half-length statuette depicts the early Christian saint Agatha gazing heavenward with her hands bound behind her back. According to legend, the Sicilian virgin-martyr died in the third century after a prolonged period of torture at the hand of the Roman prefect Quintianus. Among other ordeals, Agatha’s breasts were cut off with pincers; these body parts became the principal iconographic attribute of the saint in early modern representations (see, for example, Sebastiano del Piombo’s painting of 1520 in the Uffizi). There are no other known casts of this model, which has not been discussed since 1910, when Wilhelm von Bode published it as “Italian, XVII century” in his catalogue of J. P. Morgan’s collection. The saint was indirectly cast in a high-copper alloy and shows traces of a previous black lacquer. Both breasts seem to have been prostheses, cast separately and soldered into place; only the right one remains.[1] This gruesome detail reflects the morbid seventeenth-century interest in the lives and deaths of early Christian martyrs. More specifically, the half-length composition, naturalistic details, and upturned eyes of our statuette align with contemporary paintings of female saints that were especially popular in Naples and produced by artists like Andrea Vaccaro.[2] The bronze, which features a delicate floral patterning on Agatha’s dress, likely served a private, devotional purpose. A small hole at the back of the head suggests a missing halo. The probable date and place—Naples during the first half of the seicento—allows one to speculate that the bronze is linked to the renovation of the Palazzo di Sant’Agata by the powerful cardinal Cesare Firrao, who commissioned sculptors Bernardino Landini and Giulio Mencaglia to execute a series of statues for the facade (1637–44). Their figure of Magnanimity bears a resemblance to our bronze in its elegant elongated neck and elaboration of the coiffure.[3] -JF" Publisher An entity responsible for making the resource available Italian, probably Naples Date A point or period of time associated with an event in the lifecycle of the resource mid-17th century Contributor An entity responsible for making contributions to the resource The Met https://www.metmuseum.org/art/collection/search/197071 The Friedsam Collection, Bequest of Michael Friedsam, 1931 Charles Mannheim ; J. Pierpont Morgan ; Michael Friedsam (until 1931; bequeathed to MMA) Relation A related resource (For key to shortened references see bibliography in Allen, Italian Renaissance and Baroque Bronzes in The Metropolitan Museum of Art. NY: The Metropolitan Museum of Art, 2022.) 1. See R. Stone/TR, April 27, 2011. The right breast is a similar alloy with the same pattern of impurities as the rest of the statuette, but with the addition of lead, which has resulted in its slightly lighter color. 2. See, for example, the painting of Saint Agatha attributed to Vaccaro in the Museo Civico Gaetano Filangieri (Palazzo Como di Napoli). 3. For Cardinal Firrao, his palazzo, and his chapel in the church of San Paolo Maggiore, which features a marble statue of the Madonna by Mencaglia, see Iorio 2012, pp. 320, 328, and throughout Format The file format, physical medium, or dimensions of the resource Statuette Sculpture-Bronze Bronze, traces of black lacquer patina breasts ecstasy missing breast saint agatha sculpture https://european-mastectomy.artinterp.org/files/original/03938b22174da3e66c7c009877ed835d.jpeg 47a18cb613b79c6f9ac163e2a328a805 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 Martyrdom of Saint Agatha in an Initial D Description An account of the resource "This miniature was originally included in an antiphonary volume illuminated by Sano di Pietro for the Hospital of Santa Maria della Scala in Siena. The scene inside the initial D illustrates one of the responses for the Feast of Saint Agatha (February 5): "Dum torqueretur beata Agatha in mamilla graviter dixit ad iudicem impie crudelis et dire tyranne" (While blessed Agatha was being cruelly tortured in her breasts, she said to the judge: godless, cruel, infamous tyrant). The initial portrays the martyrdom of Saint Agatha, whose torture and execution were ordered by the Roman consul Quintianus, enthroned at right, after she refused his advances. The beautifully appointed interior, graceful figures, and luminous palette contrast markedly with the gruesome subject. The Hospital choirbooks, written and decorated between 1456 and 1476/77, represent one of the largest and most prestigious manuscript commissions in fifteenth-century Siena. Sano di Pietro, who by the mid-fifteenth century was one of the principal painters and illuminators in Siena, was entrusted with the decoration of at least five of the twenty volumes in the series. The Lehman Saint Agatha is one of many initials and full leaves painted by his hand that were removed from these books and sold to collectors sometime during the nineteenth century, before transfer of the choirbooks to the Museo dell'Opera del Duomo." Dimensions: 10 3/8 x 10 1/8 in. (26.3 x 25.7cm) Initial: 8 11/16 x 9 1/4 in. (22.1 x 23.5cm) Medium: Tempera and gold on parchment Creator An entity primarily responsible for making the resource Sano di Pietro (Ansano di Pietro di Mencio) (Italian, Siena 1405–1481 Siena) Date A point or period of time associated with an event in the lifecycle of the resource c. 1470-73 Contributor An entity responsible for making contributions to the resource The Met https://www.metmuseum.org/art/collection/search/461122 Credit Line: Robert Lehman Collection, 1975 1975.1.2488 Santa Maria della Scala, Siena; [M. Drey, Munich (1914)]; Luigi Grassi, Florence; Marczell de Nemes (sale, Frederick Muller et Cie., November 13-14, 1928, lot 103, ill. [as Sano di Pietro]); Anton W. M. Mensing, Amsterdam (Mensing sale, November 23-25, 1937, lot 8, ill. [as attributed to Sano di Pietro]). Acquired by Robert Lehman through Harold Beenhouwer on 23 November 1937. breasts dismember pincers pliers saint agatha torture https://european-mastectomy.artinterp.org/files/original/7319da1275aa9b85231a05f868fadd6d.jpg 711d93c8d6d3fc4decd1b2f816e93978 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 The Virgin and Child Appearing to Saint Agatha and Saint Lucy Description An account of the resource Medium: Red chalk; framing lines in pen and brown ink Dimensions: 6 x 4 7/16in. (15.3 x 11.3cm) Annotated on paper support on verso, in blue crayon, "It5 [or s] - A13" along upper left border; below, "Moretto da Brescia"; at center, in graphite, "107" (crossed out in graphite); in blue crayon, "219." Along bottom border, in brown crayon, "219," and, in graphite, "219 (192)" [?], crossed out in graphite. Note: Saint Agatha on the left holds a cooking fork associated with witchcraft at this time Creator An entity primarily responsible for making the resource Nicola Grassi (Italian, Formeaso before 1682–ca. 1750 Turin (?)) Date A point or period of time associated with an event in the lifecycle of the resource Date: 1682–1750 Contributor An entity responsible for making contributions to the resource The Met https://www.metmuseum.org/art/collection/search/338913Credit Line: Gift of Cornelius Vanderbilt, 1880 James Jackson Jarves; Cornelius Vanderbilt (American) Relation A related resource Coles Gallery, 8: Tapestries and Paintings, Malachites, Vases, etc.; Drawings by Old Masters, Etchings, Photographs, and Tapestries in Gallery 4, Main Hall. Exh. cat., The Metropolitan Museum of Art. Hand-book, no. 8, New York, 1895, cat. no. 219, p. 17. Jacob Bean, William M. Griswold 18th Century Italian Drawings in The Metropolitan Museum of Art. Exh. cat. The Metropolitan Museum of Art, New York, 1990, cat. no. 78, fig. no. 78, pp. 91-92, ill. breasts cooking fork madonna and child sacred saint agatha supplication 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/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