The infant Christ places a wedding ring on the finger of Saint Catherine of Alexandria, while the Virgin gives Saint Barbara a crown. One of the rare surviving examples of the numerous cloth paintings produced in the Netherlands in the 15th & 16th centur ...

The seven figures in the tympanum above the central panel, are the Old Testament prophets Daniel, Moses, Isaiah, David, Abraham, Jacob & Jeremiah; on the left wing, Saint Dominic; on the right wing, Saint Aurea (probably Aurea of Ostia). It may have been made for the private devotion of Cardinal Niccolò da Prato (died 1321), a high-ranking Dominican who was Cardinal of Ostia & would therefore have had reason to venerate Saint Aurea of Ostia, otherwise rarely shown. This type of small-scale altarpiece with closing shutters was intended to be portable. The

Dimensions of this triptych are identical to those of a triptych of ' The Crucifixion with Saints Nicholas & Gregory' on the shutters (Boston, Museum of Fine Arts) which also seems to have been painted in Duccio's workshop. The exterior of the shutters in both triptychs have the same geometric patterns. The geometric patterns painted on the shutters prompt the worshipper as to the correct order of opening.

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Oradea, the widow of Giovanni Becchetti, founded an altar dedicated to S. Maria della Consolazione (Holy Mary of Consolation) in the church of San Francesco at Fabriano in 1490. This fulfilled her husband's wish, expressed in his will. Crivelli painted th ...

This altarpiece was painted for the burial chapel of the Rucellai family in the new church of S. Pancrazio, Florence, belonging to the Vallombrosans, an order of reformed Benedictine monks. Saint Jerome is represented in the background, deep inside his cave, as well as in the foreground. The entrance of the cave is protected from a wild bear by the saint's lion. The figure on the hill with an ass may be Joseph. There is a hospital in the distance on the right, perhaps associated with the charities of Saint Dominic. A bird carries a worm to its young in the nearest tree. The predella is original. The lamenting Saint Francis & Saint Mary Magdalene flank the dead body of Christ, which is supported by Joseph of Arimathaea. The body of Christ is placed in the centre of the predella, just above the place on the altar where the bread & wine of the Mass were placed. ...

An altarpiece depicting the Virgin of Loreto with Saints Jerome & Francis was commissioned from Perugino by Giovanni di Matteo Schiavone (died 7 June 1507) for a chapel to be built on his behalf in the church of Santa Maria de' Servi, Perugia. The executors' contract demanded completion of the painting by September 1507, but it is not known if it was delivered on time. It is possible the execution was not entirely by Perugino. ...

Saint Paul at the left carries his attribute, a sword. The other saint may be Jerome. He is dressed in cardinal's robes & is reading a book. Both saints are placed behind rather than beside the Virgin, the composition, which is cramped, was perhaps orig ...

This work was painted for the high altar of the Oratory of the Conception, Ferrara (attached to the church of S. Francesco) & was probably commissioned by Carlo & Camillo Strozzi. A lunette of the Pietà (Ferrara, private collection) has been associated with it. Narratives generally shown on the the lower edge of a large altarpiece, or 'predella', are here represented on the plinth of the throne. Unusually, they read from right to left, beginning with the Nativity & concluding with Christ among the Doctors. The Virgin was identified as the second Eve, through whom mankind would be saved, which is symbolised by the presence of Adam & Eve below her feet. The paintings beside the arch show the Sacrifice of Isaac & probably Esther before Ahaseurus. These Old Testament episodes were believed to foreshadow Christ's sacrifice & the exceptional purity of the Virgin. ...

The Virgin & Child are clothed with the sun, perhaps in reference to the Woman & Child of the Apocalypse as described in the New Testament (Revelation 12: 1). Saint Anthony is shown with his attributes of a bell & a hog. This work may have been made for private devotion. It has been extensively restored. The 19th-century frame contains imitations of medals by Pisanello. ...

The figure of Saint John the Baptist in this painting is derived from a picture ascribed to Giovanni Bellini in the Accademia, Venice. In the inscription, Previtali refers to himself as Bellini's disciple. Saint Catherine of Alexandria is shown holding a martyr's palm; Christ places a ring over her finger, recalling her vision of a 'mystic marriage' to Christ. ...

The figure on the right is the Franciscan Bernardino of Feltre (1439
- 1494; formally beatified in 1653). He is sometimes confused
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