The Walters Art museum Baroque & Renaissance

The Walters Art Museum is one of the few museum that still displays art is the Old Salon style where paintings are exhibited from wainscoting-to-ceiling on heavy Victorian brocade fabric covered walls on every available inch of space.

  

The Walters Art Museum, located in Baltimore, Maryland's Mount Vernon neighborhood, is a public art museum founded in 1934. The museum's collection was amassed substantially by two men, William Thompson Walters (1819–1894), who began serious collecting when he moved to Paris at the outbreak of the American Civil War. His private collection became one of the largest and most valuable in the United States. And his son Henry Walters (1848–1931), who refined the collection and rehoused it in a palazzo building on Charles Street which opened in 1909. Upon his death, Henry Walters bequeathed the collection of over 22,000 works and the original Charles Street palazzo building to the city of Baltimore, “for the benefit of the public.” The collection touches masterworks of ancient Egypt, Greek sculpture and Roman sarcophagi, medieval ivories, illuminated manuscripts, Renaissance bronzes, Old Master and 19th-century paintings, Chinese ceramics and bronzes, and Art Deco jewelry.

18th century Santons of Moor's

The Marriage at Cana 1766 (Baroque)

This scene depicts the first miracle of Christ, related in the Gospel of John. At a wedding, after all the wine had been drunk, Jesus ordered six jars to be filled with water, which he then turned into wine. Here, Jesus points to the jars while his mother gazes reverently at him. Gandolfi introduces a variety of figures, including both an oriental man wearing a turban and an African servant, and anecdotal details (the fighting animals), resulting in a liveliness of pictorial expression comparable to Tiepolo. This work was the "modello" (preparatory version) for an enormous canvas painted for the eating hall in the convent of San Salvatore in Bologna and now in the National Museum there. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 442, p. 553.

The Cleansing of the Temple ca. 1712-1714 (Baroque)

As told in the Gospel of Matthew, during Passover, Christ drove out the sellers of sacrificial animals and the money exchangers from the Temple in Jerusalem. Passeri imagined the Temple as a lavish structure in the ancient, classical style. Despite the chaotic, multi-figure scene, narrative clarity is achieved through expressive gestures, while the chastising Christ at center is set off by his halo of light. In Christian thought, the Temple of Jerusalem was a symbol of Christ. Luminous, light colors lend gracefulness to the dynamic composition. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 332, p. 458.

The Cleansing of the Temple ca. 1712-1714 (Baroque)

As told in the Gospel of Matthew, during Passover, Christ drove out the sellers of sacrificial animals and the money exchangers from the Temple in Jerusalem. Passeri imagined the Temple as a lavish structure in the ancient, classical style. Despite the chaotic, multi-figure scene, narrative clarity is achieved through expressive gestures, while the chastising Christ at center is set off by his halo of light. In Christian thought, the Temple of Jerusalem was a symbol of Christ. Luminous, light colors lend gracefulness to the dynamic composition. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 332, p. 458.

Dancing Faun ca. 1705

The faun (a creature of the woodlands in Greco-Roman mythology, identified by his horns and pointed ears) plays the cymbals and works a clapper with his right foot. Soldani made multiple versions in different sizes of this figure, a copy of a famous life-size ancient Hellenistic marble statue, which was already in the Uffizi gallery in Florence. This small size is perfect for a collector, as it can be easily picked up. This statuette can be compared with the two groups by Soldani: "Adonis Mourned by Venus and Cupids" (Walters 54.677) and "The Dead Christ Mourned by the Virgin and an Angel" (Walters 54.1066). They all share an attention to the tactile qualities of the surface, but the others are complex pieces that demonstrate his artistic imagination and originality in composition.

Allegory of Spring ca. 1720 (Baroque)

Conca represents the different character of the four seasons through one of the most favored artistic motifs of the 18th century, the "putto" (embodying the spirit of a little child). The playful, tender, and fleshy figures convey a light mood. As allegorical personifications here, they act out seasons through typical activities. Seated at the fire of a brazier, Winter wraps himself up against the cold (Walters 37.1791); Spring holds a wreath of flowers; Summer shades his head with a leaf against the heat while cooling his foot in a stream (Walters 37.1744); and Autumn, like a little Bacchus (the ancient god of wine), holds grapes, representing the harvest (Walters 37.1792). The charming series was surely intended to decorate a small room, perhaps a dressing room. For more information on this series, please see Federico Zeri's 1976 catalogue no. 433, pp. 545-546.

Portrait of a Lady ca. 1780-1789 (Baroque)

This unidentified, fashionably dressed lady wishes to be represented, above all, as a student of ancient culture. On the table next to a sheet of music is a cabinet with casts of ancient carved gems, which were often collected along with-or instead of-the actual gems; for the serious student, even one such as the sitter who is armed with a magnifying glass, casts bring out details that hard to see in the original carving. Also, they could be duplicated as a set for those with scholarly interests but without the means to acquire the originals. In addition, the lady wears a portrait miniature of a gentleman (her deceased husband, father, or teacher?). The portrait is painted in the new neoclassical style, which emphasizes clearly delineated forms. For more information on this portrait, please see Federico Zeri's 1976 catalogue no. 428, pp. 539-540.

Portrait of the Marchioness Angela Maria Lombardi

Angela Maria Lercari was born in Genoa in 1684 and married Marquis Anton Filippo Lombardi in 1704. The marchioness wears a splendid costume that enhances her beauty and marks her social status. Her "mantua" (a one-piece open robe) is made of a sky-blue silk damask brocaded in silver and trimmed in the finest lace. The so-called "bizarre" pattern of the damask, produced in France and Italy, was highly fashionable around 1700. The Latin inscription along the edges, possibly a later addition, cites her birth date, family relations, and Christian virtues. The attention to detail is remarkable but has not led to the identification of the artist. For more information on this portrait, please see Federico Zeri's 1976 catalogue no. 388, pp. 502-504.

Young Russian Woman ca. 1756-1762 (Baroque)

This painting of a young woman with her head slightly tilted back, parted lips, low cut dress, and gaze that meets that of the beholder is a study in the coy sensuality so often encountered in French rococo art of the period. The painting lacks the formality of a commissioned portrait and is rather a study of female seductiveness meant for a male patron. Rotari worked in his native Verona before moving to Vienna and Dresden and finally became court painter to Empress Elizabeth of Russia in 1756. This work is from his time in St. Petersburg. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 456, pp. 568-569.

Allegory of Grammar 1650

As in the companion "Allegory of Arithmetic" (Walters 37.1917), this personification of the liberal art of Grammar is engaged in an activity to show how ideas impact real life. To demonstrate how important grammar and clear writing are in making ideas "bloom," the artist metaphorically represents Grammar watering two pots of flowers. Over her arm is a scroll bearing an ancient definition of grammar in Latin: "A literate tongue, spoken in the required manner." By the inscription, L. DE LA Hyre In. & F. 1650-"In." is an abbreviation for invenit (Latin for invented) and "F." for fecit (made it)-the artist emphasized his responsibility for the conception as well as the execution of the paintings.

Allegory of Grammar 1650

As in the companion "Allegory of Arithmetic" (Walters 37.1917), this personification of the liberal art of Grammar is engaged in an activity to show how ideas impact real life. To demonstrate how important grammar and clear writing are in making ideas "bloom," the artist metaphorically represents Grammar watering two pots of flowers. Over her arm is a scroll bearing an ancient definition of grammar in Latin: "A literate tongue, spoken in the required manner." By the inscription, L. DE LA Hyre In. & F. 1650-"In." is an abbreviation for invenit (Latin for invented) and "F." for fecit (made it)-the artist emphasized his responsibility for the conception as well as the execution of the paintings.

Allegory of Arithmetic 1650

The importance of the intellect was often celebrated in representations of the Seven Liberal Arts: Grammar, Rhetoric, Logic, Geometry, Arithmetic, Astronomy, and Music. They could be personified as poised young women in a setting and clothing suggestive of ancient Greece, the homeland of Western abstract thought. On the book held by Arithmetic is the name of the Greek mathematician Pythagoras, while on the worksheet are the primary mathematical functions: addition, subtraction, and multiplication. La Hyre produced at least two such series--including the "Allegory of Grammar" (Walters 37.862)--as decoration for the homes of the wealthy. He conveys this classical theme with the cool, rounded, carefully balanced forms of the new idealized style inspired by Raphael and Greco-Roman sculpture.

Allegory of Arithmetic 1650

The importance of the intellect was often celebrated in representations of the Seven Liberal Arts: Grammar, Rhetoric, Logic, Geometry, Arithmetic, Astronomy, and Music. They could be personified as poised young women in a setting and clothing suggestive of ancient Greece, the homeland of Western abstract thought. On the book held by Arithmetic is the name of the Greek mathematician Pythagoras, while on the worksheet are the primary mathematical functions: addition, subtraction, and multiplication. La Hyre produced at least two such series--including the "Allegory of Grammar" (Walters 37.862)--as decoration for the homes of the wealthy. He conveys this classical theme with the cool, rounded, carefully balanced forms of the new idealized style inspired by Raphael and Greco-Roman sculpture.

The Virgin of the Immaculate Conception ca. 1660 (Baroque)

According to the Catholic doctrine of the Immaculate Conception, the Virgin was already free from the original sin that applied to all the descendants of Adam and Eve at the moment she was conceived by her parents. This became official dogma in 1854 but was widely accepted long before, especially in 17th-century Counter Reformation Spain. The image of a virgin whose triumph over sin is acknowledged by the cosmos in the form of a crown of stars, an aura of golden light from the sun, and the moon for a footrest is from the Book of Revelation. At Mary's feet, cherubim hold a proclamation of the uniqueness of her freedom from sin taken from the story of the Old Testament heroine Esther (15): "for this law does not apply to you but for all others." Many artists in Murillo's native Seville specialized in the Immaculate Conception, but none equaled him in giving pictorial form to the Virgin's purity through the delicate use of color and light. The difference in style between the polished brushstrokes defining the Virgin's face and the more fluid rendering of the lively cherubim suggests that two assistants collaborated in painting this altarpiece.

Flowers by a Pond with Frogs 1670-1679 (Baroque)

This intriguing close-up of beautiful flowers, frogs, and insects is presented from what seems like the low viewing angle of an avid naturalist searching for specimens in the underbrush on the edge of an upland meadow. However, the knowledgeable viewer would delight in recognizing that this is a fantasy. Tulips were expensive, carefully cultivated flowers that were only to be found in well-tended gardens. Recco was the foremost painter of still lifes in 17th-century Naples. His works reveal the influence of Dutch painters working in Italy who introduced such "underbrush" subjects. The artist's signature is hidden among the greenery. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 345, p. 468.

Susannah and the Elders ca. 1700-1727 (late Baroque)

The biblical book of Daniel tells of Susanna, a married woman who is spied upon by two old judges while bathing in her garden. They attempt to force themselves upon her, saying that if she does not submit, they will accuse her of adultery. With Daniel's assistance, Susanna's innocence is established, and the two elders are put to death. This painting depicts the unhappy woman as she tries to escape the advances and gazes of the men. The focus on her body testifies to her innocence and virtue, as truth was often symbolized by a nude woman, but was also meant to appeal to male patrons. The soft, luminous coloring is characteristic of the late Roman baroque style. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 334, pp. 459-460.

The Infant Christ Sleeping ca. 1600-1615 (Baroque)

In the strong, harsh light, the naked, sleeping baby Jesus appears alarmingly vulnerable yet monumentally imposing, in contrast to the tiny figures of his mother and St. Joseph in the background. The death-like state of his sleep points to his future Passion and death, while the white cloth on which he lies is meant to bring to mind his shroud. Schedoni's curiously tender yet brutal naturalism owes much to the extended influence of Caravaggio's painting style, even though the artist may never have actually met him. Schedoni often had copies made of his works. This painting, of which several versions exist, was probably painted by an assistant. For more information on this panel, please see Federico Zeri's 1976 catalogue no. 264, pp. 389-390.

The Fall of Man ca. 1650-1700

Adam and Eve, the first humans, are depicted at the moment of their transgression, which led to their expulsion from Eden. Spurred on by the serpent, Eve hands Adam an apple from the tree of the knowledge of good and evil. The monkey, an animal known for its lustfulness, indicates their folly. The bodies of Adam and Eve are arranged in graceful curves that draw them together around the central axis of the tree. The representation of a leafy tree, a motif associated with landscape painting, is a striking example of a 17th-century sculptor challenging the limits of his medium in the pursuit of naturalism.

The Penitent Magdalene ca. 1635 (Baroque)

According to Christian tradition, after meeting Christ, Mary Magdalene repented of her former sinful ways. With her ivory skin and long golden hair, the beautiful Magdalene turns her gaze toward heaven. Her cross and the skull make it clear she is meditating on the brevity of life and the salvation made possible by Christ's death. Reni created an idealized, as well as classical style influenced by ancient sculpture and by the Renaissance artist Raphael (1483-1520). This influence is visible in the Magdalene's rounded, even features, painted so smoothly that the strokes seem to disappear, in contrast with the broad, energetic strokes used for the drapery, more typical of 17th-century painting. Images of female saints sometimes depicted in a seductive manner, were very popular with some artists and patrons in the 17th century, and Reni painted many versions of this composition.

Christ and the Tribute Money ca. 1618-1620 (Baroque)

The Pharisees tried to trap Christ by asking him whether people should pay taxes to the Romans. Pointing to a denarius (Roman coin with the image of the emperor), he replied: "Give to the emperor the things that are the emperor's, and to God the things that are God's" (Mark 12:17). Fetti painted this work while court artist to the Gonzagas, the ruling family of Mantua, as a copy of a painting by Titian (ca. 1490-1576), famous for his use of impasto (strokes of thick oil paint). Fetti also imitated Titian's signature on the neck of the Pharisee's shirt. For more information on this panel, please see Federico Zeri's 1976 catalogue no. 313, pp. 441-442.

Adoration of the Shepherds ca. 1615 (Baroque)

The Evangelist Luke recorded that the birth of Christ was announced first to shepherds, who then went to Bethlehem to find the baby, but his Gospel does not state that they worshipped Jesus. This interpretation was introduced by St. Francis of Assisi, who stressed that the glad news was first revealed to the shepherds to signify the importance of the poor in God's plan; it remained important to the teachings of the Franciscan religious order, founded by St. Francis. Bernardo Strozzi, a member of a reform branch of the Franciscans, suggests these shepherds' poverty through their appearance and their humble gift. This combination of a naturalistic treatment of the subject with an artistic mixing of bright colors is characteristic of painting in Genoa at this time. The clarity of the composition is in keeping with the Church's Counter-Reformation demands that artists should be more concerned with conveying an effective message than displaying their own artistry. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 374, pp. 492-493.

Flying and Adoring Angels 1613-1614 (Baroque)

This early work by Fetti was installed in the chapel of the Mainardi family in the church of San Lorenzo in Damaso in Rome. It was painted as a background for an image of the Virgin and Child in an oval frame. At some point, the inset painting was removed, and today there is an 18th-century Virgin and Child in its place. During the 17th century, early religious images were often considered more sacred than contemporary ones, which explains why Fetti was commissioned to paint a monumental work to frame and enhance another picture. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 312, pp. 439-441.

Judith with the Head of Holofernes 1638-1665 (Baroque)

According to the Book of Judith, the Jewish widow Judith saved the Israelites from the Assyrians by decapitating their general Holofernes, whose army had besieged her city. She did this after having made him drunk at a banquet. Judith is commonly depicted as being assisted by an older maidservant in placing the head in a sack. The contrast between Holofernes's crude features and the heroine's beauty underlines the moral message of the eventual triumph of virtue over evil. The Bolognese painter Elisabetta Sirani based her style on that of Guido Reni (1575-1642), who was admired for his idealized depictions of women, as in his Penitent Magdalene (Walters 37.2631). For more information on this painting, please see Federico Zeri's 1976 catalogue no. 359, pp. 478-479.

Saint Francis Receiving the Stigmata El Greco (Greek, 1541-1614)

In 1226, St. Francis of Assisi had a vision of a seraph (the highest order of angels) with an image of the crucified Christ amid its six wings, from which he miraculously received the stigmata - the wounds inflicted upon Christ during the Crucifixion. El Greco depicts the wounds on Francis's elegant hands, and the saint's transfixed gaze conveys the spiritual impact of the experience. The absence of setting, the brilliance of the apparition, and the elongation of the figure contribute to an other-worldly effect. This is accentuated by the white paint and loose brushstrokes, which suggest rather than define the forms and which the artist learned in Venice before settling in Spain. The effect is magnified by the contrast of what appears to be a real piece of paper, stuck to the canvas and bearing the words "Domenikos Theotokopoulos Made This" in Greek, expressing El Greco's pride in his origins. The miraculous vision was a favorite  

Jacob's Dream Giorgio Vasari II (Italian, 1511-1574) 1557-1558 (Renaissance)

As recounted in the Old Testament book of Genesis, on his way to Haran, Jacob lay down in the wilderness to sleep, resting his head on a stone. He dreamed of angels ascending and descending a stairway or ladder to heaven (here depicted as a monumental Renaissance-style staircase). God then appeared and blessed Jacob and his descendants. This large panel, apparently intended for a ceiling, was done by the painter, architect, and author Giorgio Vasari for the Florentine Marsilio degli Albizi in 1558. The figures of God the Father and Jacob are based on famous frescoes by Michelangelo (1475-1564) and Raphael (1483-1520) in the Vatican. Vasari wrote the first history of Italian art, in which he praised these Roman frescoes as the culmination of the art of painting. His references to them in his painting are another form of homage. For more information on this panel, please see Federico Zeri's 1976 catalogue no. 215, pp. 331-333.

Jacob's Dream Giorgio Vasari II (Italian, 1511-1574) 1557-1558 (Renaissance)

As recounted in the Old Testament book of Genesis, on his way to Haran, Jacob lay down in the wilderness to sleep, resting his head on a stone. He dreamed of angels ascending and descending a stairway or ladder to heaven (here depicted as a monumental Renaissance-style staircase). God then appeared and blessed Jacob and his descendants. This large panel, apparently intended for a ceiling, was done by the painter, architect, and author Giorgio Vasari for the Florentine Marsilio degli Albizi in 1558. The figures of God the Father and Jacob are based on famous frescoes by Michelangelo (1475-1564) and Raphael (1483-1520) in the Vatican. Vasari wrote the first history of Italian art, in which he praised these Roman frescoes as the culmination of the art of painting. His references to them in his painting are another form of homage. For more information on this panel, please see Federico Zeri's 1976 catalogue no. 215, pp. 331-333.

Jacob's Dream Giorgio Vasari II (Italian, 1511-1574) 1557-1558 (Renaissance)

As recounted in the Old Testament book of Genesis, on his way to Haran, Jacob lay down in the wilderness to sleep, resting his head on a stone. He dreamed of angels ascending and descending a stairway or ladder to heaven (here depicted as a monumental Renaissance-style staircase). God then appeared and blessed Jacob and his descendants. This large panel, apparently intended for a ceiling, was done by the painter, architect, and author Giorgio Vasari for the Florentine Marsilio degli Albizi in 1558. The figures of God the Father and Jacob are based on famous frescoes by Michelangelo (1475-1564) and Raphael (1483-1520) in the Vatican. Vasari wrote the first history of Italian art, in which he praised these Roman frescoes as the culmination of the art of painting. His references to them in his painting are another form of homage. For more information on this panel, please see Federico Zeri's 1976 catalogue no. 215, pp. 331-333.

Jacob's Dream Giorgio Vasari II (Italian, 1511-1574) 1557-1558 (Renaissance)

As recounted in the Old Testament book of Genesis, on his way to Haran, Jacob lay down in the wilderness to sleep, resting his head on a stone. He dreamed of angels ascending and descending a stairway or ladder to heaven (here depicted as a monumental Renaissance-style staircase). God then appeared and blessed Jacob and his descendants. This large panel, apparently intended for a ceiling, was done by the painter, architect, and author Giorgio Vasari for the Florentine Marsilio degli Albizi in 1558. The figures of God the Father and Jacob are based on famous frescoes by Michelangelo (1475-1564) and Raphael (1483-1520) in the Vatican. Vasari wrote the first history of Italian art, in which he praised these Roman frescoes as the culmination of the art of painting. His references to them in his painting are another form of homage. For more information on this panel, please see Federico Zeri's 1976 catalogue no. 215, pp. 331-333.

Jacob's Dream Giorgio Vasari II (Italian, 1511-1574) 1557-1558 (Renaissance)

As recounted in the Old Testament book of Genesis, on his way to Haran, Jacob lay down in the wilderness to sleep, resting his head on a stone. He dreamed of angels ascending and descending a stairway or ladder to heaven (here depicted as a monumental Renaissance-style staircase). God then appeared and blessed Jacob and his descendants. This large panel, apparently intended for a ceiling, was done by the painter, architect, and author Giorgio Vasari for the Florentine Marsilio degli Albizi in 1558. The figures of God the Father and Jacob are based on famous frescoes by Michelangelo (1475-1564) and Raphael (1483-1520) in the Vatican. Vasari wrote the first history of Italian art, in which he praised these Roman frescoes as the culmination of the art of painting. His references to them in his painting are another form of homage. For more information on this panel, please see Federico Zeri's 1976 catalogue no. 215, pp. 331-333.

Portrait of a Baby Boy Agnolo Bronzino (Italian, 1503-1572)

Bronzino served for several years as court painter to Cosimo I de' Medici (1519-1574), the wealthy and powerful grand duke of Tuscany. The artist painted portraits of many members of the Medici family, and this picture may represent Duke Cosimo's and Eleonora da Toledo's son Garcia, born in 1547, or another son, Ferdinando, born in 1549. Wrapped in swaddling clothes, the baby recalls representations of the infant Jesus, revealing the pious intentions of the child's parents. Importance was given to the portrayal of children during the 16th century because of the high mortality rate. This portrait shows Bronzino's elegant and relief-like style. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 212, p. 328.

Hercules Carrying the Erymanthian Boar Giovanni Francesco Susini (Italian, 1585-1653)

The mythical Greek hero Heracles, known to the Romans as Hercules, was renowned for his great strength and the heroic deeds he performed, which were favorite subjects for painters and sculptors alike. Around 1580, Jean Boulogne (Flemish, 1529-1608), know as Giambologna, produced for Grand Duke Francesco I de' Medici (1541-87) of Tuscany a set of bronze statuettes of the Twelve Labors of Hercules, deeds which King Eurystheus ordered him to carry out, assuming them to be impossible. These groups are characterized by highly dramatic poses, with the limbs of the figures spiraling outwards from center. The smooth surface of the bronze enhances the muscles of Hercules's imposing physique. These figures were extremely popular all over Europe and were replicated in great numbers, beginning in the artist's lifetime and continuing for decades. Individual casts are difficult to date, but the bronzes exhibited here were surely 

Madonna and Child with Saints Mark and Peter Attributed to Polidoro da Lanciano (Italian, ca. 1515-1565)

Held by his mother, the infant Christ instructs the Evangelist Mark (seated on a lion, his symbol) while blessing him with his right hand. St. Peter can be recognized by his keys. By representing the holy figures interacting, the painter has added liveliness to the otherwise static representation of the Virgin and Child flanked by saints. The placement of saintly figures in an idyllic landscape is characteristic of Venetian painting, which is also known for its pictorial naturalism and rich colors. In the Renaissance, a last name was often nothing more than the city of the person's origin. Polidoro was identified by his native town of Lanciano. For more information on this piece, please see Federico Zeri's 1976 catalogue no. 273, p. 400.

Saint Helena Francesco Morandini (Italian, 1544-1597)

St. Helena (ca. 247-ca. 327) was the mother of Emperor Constantine the Great (ca. 288-337), who, according to tradition, christianized the Roman Empire. Helena is shown holding the True Cross (the cross on which Christ was crucified), which she is said to have discovered in Jerusalem. Her elaborate headdress and idealized, slightly masculine facial features reveal the artist's study of Michelangelo's so-called teste divine (divine heads), admired for their great beauty. Morandini and other Florentine artists of the later 16th century thought of Michelangelo as the greatest artist of all time, and they devotedly imitated his works. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 218, p. 337.

The Annunciation Santi di Tito (Italian, 1536-1602)

The archangel Gabriel announces to the Virgin Mary that she will bear the Christ Child, while God the Father and the Holy Ghost (in the form of a dove) appear above left. The white lilies Gabriel holds are symbolic of the Virgin's chastity. The painter has depicted the loggia of the Church of the Santissima Annunziata (Annunciate Mary) in Florence behind his own Annunciation scene, revealing his pride in being a Florentine artist. The elongated and graceful style and the decorously draped figures were characteristic of Florentine painting of the late 16th century. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 227, pp. 343-344.

Madonna of the Candelabra Raphael (Italian, 1483-1520)

Painted in Rome, this tondo (circular painting) of the Virgin and Child employs a rare motif of flanking candelabra that was derived from representations of ancient Roman emperors. Through this reference to the rulers of antiquity, Raphael alludes to Christ's and Mary's roles as the king and queen of Heaven. Raphael was famed for his graceful style. which combined the study of classical sculpture and nature. The chiaroscuro effects (modeling in light and shade) and gentle coloring give the figures a soft, delicate appearance. The painting relies heavily on the participation of Raphael's workshop, and the two angels certainly were done by his assistants. This was the first Madonna painted by Raphael to enter a North American collection. For more information on this tondo, please see Federico Zeri's 1976 catalogue no. 232, pp. 348-354.

Madonna of the Candelabra Raphael (Italian, 1483-1520)

Painted in Rome, this tondo (circular painting) of the Virgin and Child employs a rare motif of flanking candelabra that was derived from representations of ancient Roman emperors. Through this reference to the rulers of antiquity, Raphael alludes to Christ's and Mary's roles as the king and queen of Heaven. Raphael was famed for his graceful style. which combined the study of classical sculpture and nature. The chiaroscuro effects (modeling in light and shade) and gentle coloring give the figures a soft, delicate appearance. The painting relies heavily on the participation of Raphael's workshop, and the two angels certainly were done by his assistants. This was the first Madonna painted by Raphael to enter a North American collection. For more information on this tondo, please see Federico Zeri's 1976 catalogue no. 232, pp. 348-354.

Madonna of the Candelabra Raphael (Italian, 1483-1520)

Painted in Rome, this tondo (circular painting) of the Virgin and Child employs a rare motif of flanking candelabra that was derived from representations of ancient Roman emperors. Through this reference to the rulers of antiquity, Raphael alludes to Christ's and Mary's roles as the king and queen of Heaven. Raphael was famed for his graceful style. which combined the study of classical sculpture and nature. The chiaroscuro effects (modeling in light and shade) and gentle coloring give the figures a soft, delicate appearance. The painting relies heavily on the participation of Raphael's workshop, and the two angels certainly were done by his assistants. This was the first Madonna painted by Raphael to enter a North American collection. For more information on this tondo, please see Federico Zeri's 1976 catalogue no. 232, pp. 348-354.

The Madonna and Child with Saint John the Baptist Giulio Romano (Italian, probably 1499-1546)

Both Mary and the Christ Child rest their hands on the Lamb of God, a symbol of Jesus' future sacrifice. St. John the Baptist, who stares reverently at Christ, is dressed in camel's skin in reference to his future ministry in the desert. Jesus' nakedness reminds us of his humanity. Giulio Romano completed this painting after he set up his own workshop in Rome after the death of his teacher Raphael (1483-1520). Although he initially followed the style of his famous master, he made his figures even more sculptural and gracefully elongated. The building in the background is based on the Cortile del Belvedere in the Vatican gardens in Rome designed by the great architect Donato Bramante (1444-1514). For more information on this panel, please see Federico Zeri's 1976 catalogue no. 233, pp. 355-357.

The Madonna and Child with Saint John the Baptist Giulio Romano (Italian, probably 1499-1546)

Both Mary and the Christ Child rest their hands on the Lamb of God, a symbol of Jesus' future sacrifice. St. John the Baptist, who stares reverently at Christ, is dressed in camel's skin in reference to his future ministry in the desert. Jesus' nakedness reminds us of his humanity. Giulio Romano completed this painting after he set up his own workshop in Rome after the death of his teacher Raphael (1483-1520). Although he initially followed the style of his famous master, he made his figures even more sculptural and gracefully elongated. The building in the background is based on the Cortile del Belvedere in the Vatican gardens in Rome designed by the great architect Donato Bramante (1444-1514). For more information on this panel, please see Federico Zeri's 1976 catalogue no. 233, pp. 355-357.

The Madonna and Child with Saint John the Baptist Giulio Romano (Italian, probably 1499-1546)

Both Mary and the Christ Child rest their hands on the Lamb of God, a symbol of Jesus' future sacrifice. St. John the Baptist, who stares reverently at Christ, is dressed in camel's skin in reference to his future ministry in the desert. Jesus' nakedness reminds us of his humanity. Giulio Romano completed this painting after he set up his own workshop in Rome after the death of his teacher Raphael (1483-1520). Although he initially followed the style of his famous master, he made his figures even more sculptural and gracefully elongated. The building in the background is based on the Cortile del Belvedere in the Vatican gardens in Rome designed by the great architect Donato Bramante (1444-1514). For more information on this panel, please see Federico Zeri's 1976 catalogue no. 233, pp. 355-357.

Madonna and Child with Saints Francesco di Bosio Zaganelli (Italian, ca. 1470-ca. 1532) (?)

This grouping of the Virgin and Child with saints (Mary Magdalene, Jerome, an unidentified saint, and Sebastian) is known as a "sacra conversazione" (sacred conversation). Even though the figures are outdoors, a brocade drapery hangs down behind Mary and Jesus to mark their status as King and Queen of Heaven. The Lamb of God held by Christ is a symbol of his future sacrifice. This type of horizontal composition with half-length figures before a tranquil landscape was popular in northern Italian painting. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 149, pp. 222-223.

The Adoration of the Three Kings Girolamo da Santacroce (Italian, 1480/1485-1556)

Three wise men, or magi, from the East are described in the Gospels as having seen a new star and journeyed to pay tribute to the child marked as divine by the heavens. The wise men were often depicted as kings, and, by the Renaissance, the youngest was frequently depicted as an African, here holding a gold vessel containing myrrh, a precious resin from Arabia and Africa used for perfume. His portrayal reflects both the ethnic diversity encountered by Renaissance painters in a port like Venice, frequented by African traders, and also the concept of Christ's promise of salvation for all people. The splendor of the kings contrasts with the simplicity of the Holy Family. Chubby little angels sing the words inscribed on the scroll "Glory to God in Heaven and Peace to Men on Earth," accompanied by others playing flutes and a violin. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 276, pp. 403-404.

Detail of Madonna and Child with Saints Francesco di Bosio Zaganelli (Italian, ca. 1470-ca. 1532) (?)

This grouping of the Virgin and Child with saints (Mary Magdalene, Jerome, an unidentified saint, and Sebastian) is known as a "sacra conversazione" (sacred conversation). Even though the figures are outdoors, a brocade drapery hangs down behind Mary and Jesus to mark their status as King and Queen of Heaven. The Lamb of God held by Christ is a symbol of his future sacrifice. This type of horizontal composition with half-length figures before a tranquil landscape was popular in northern Italian painting. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 149, pp. 222-223.

Detail of Madonna and Child Enthroned with Saints Michele di Luca dei Coltellini (Italian, ca. 1480-1543)

This monumental altarpiece, signed and dated by the artist in Latin below the Virgin's throne, was once in the now ruined church of Sant'Andrea in Ferrara. In front are Saint Michael, standing on a dragon and weighing human souls (as he will do it at the Last Judgment), and Saint John the Baptist. Behind these stand Saints Catherine of Alexandria and Jerome. Mary's role as a symbol of the Christian Church is emphasized by her placement at the center of a temple-like building that opens up to a beautiful landscape. The simple and harmonious style of the painting was a means of expressing devotion. For more information on this panel, please see Federico Zeri's 1976 catalogue no. 244, pp. 366-367.

Detail of Madonna and Child Enthroned with Saints Michele di Luca dei Coltellini (Italian, ca. 1480-1543)

This monumental altarpiece, signed and dated by the artist in Latin below the Virgin's throne, was once in the now ruined church of Sant'Andrea in Ferrara. In front are Saint Michael, standing on a dragon and weighing human souls (as he will do it at the Last Judgment), and Saint John the Baptist. Behind these stand Saints Catherine of Alexandria and Jerome. Mary's role as a symbol of the Christian Church is emphasized by her placement at the center of a temple-like building that opens up to a beautiful landscape. The simple and harmonious style of the painting was a means of expressing devotion. For more information on this panel, please see Federico Zeri's 1976 catalogue no. 244, pp. 366-367.

St. Sebastian Antonio Pirri (Italian, active 1509-1511)

According to tradition, St. Sebastian was a Roman commander who was martyred under Emperor Diocletian (284-305) for his faith in Christ. Soldiers tied him up, show him with arrows, and left him for dead. Two days later, however, he returned to the emperor's palace, only to be beaten to death. The artist has set the scene in an engaging and idealized landscape. The city in the background is probably meant to represent ancient Rome, where the story took place. Sebastian was venerated, as he was believed to offer protection from plague. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 134, pp. 201-202.

Saint Sebastian Antonio Rimpacta (Italian, active 1509-1511)

Saint Sebastian was a Roman commander who, according to legend, was executed under Emperor Diocletian (284-305) for being a Christian. First, soldiers attempted to kill him by shooting him with arrows, but he miraculously survived. He was then beaten to death. In Rimpatta's image, the soldiers depart in the background, thinking they have killed the saint. He is depicted in a beautiful landscape, perhaps to show us that, through his faith and sufferings, he has entered Paradise. Sebastian was among the saints who were believed to protect people from the plague. The painting is probably an "ex-voto," an image commissioned in gratitude for protection against the disease and dedicated to the saint by the wealthy kneeling woman in the foreground, who has placed herself and her children under his protection. For more information on this painting, please see Federico Zeri's 1976 catalogue no. 135, pp. 202-203.

The Mourning Saint John the Evangelist, Virgin Mary, and Saint Mary Magdalene ca. 1500 (early Renaissance)

These three terracotta figures, which originally were painted with multiple colors, are from an unknown group of sculptures, probably showing the Lamentation of the Dead Christ. Such dramatic groups, which were installed in churches, were popular in northern Italy, where they provided the devout with a focus for meditation on the sufferings of Christ and those who loved him. These figures show subtle variations in their response to Christ's death.

The Mourning Saint John the Evangelist, Virgin Mary, and Saint Mary Magdalene ca. 1500 (early Renaissance)

These three terracotta figures, which originally were painted with multiple colors, are from an unknown group of sculptures, probably showing the Lamentation of the Dead Christ. Such dramatic groups, which were installed in churches, were popular in northern Italy, where they provided the devout with a focus for meditation on the sufferings of Christ and those who loved him. These figures show subtle variations in their response to Christ's death.