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Lot Essay
This impressive altarpiece panel which has at various times been attributed to Ridolfo Ghirlandaio, Raphael and Fra Bartolommeo is actually documented as being painted by Francesco Granacci in 1505 for the Compagnia San Benedetto in Palco. The confraternity was based in the church of Santa Maria Novella in Florence and it is likely that this large-scale devotional panel was displayed in its meeting room.
Granacci studied with Domenico Ghirlandaio in whose workshop he trained along with Michelangelo, and his paintings also bear the influence of Fra Bartolommeo. The San Benedetto in Palco altarpiece shows the sculptural depiction of drapery deriving from Michelangelo combined with the more classical composition and poses of Fra Bartolommeo. It can be compared to a slightly later work done for the Medici Chapel in the now-destroyed church of San Pietro Maggiore in Florence (now in Sarasota, Ringling Museum of Art).
The subject, as well as the inclusion of specific saints and the documentary evidence, confirms the link between this altarpiece and the Compagnia di San Benedetto Nero. The confraternity held a special devotion to the Assumption of the Virgin (celebrated on 15 August), hence the subject. The Virgin is surrounded by Saints Benedict and Julian, patron saints of the Compagnia. Benedict is identified by the rod he is holding, which he used to sprinkle holy water, and Julian is carrying a drawn sword. The kneeling figures are Saint Francis, in his customary habit, and Saint Thomas, who reaches for the Virgin's girdle which she sent down to the apostle as a sign of her ascension. The inclusion of Saint Thomas was popular among Florentine artists as a relic of the Virgin's girdle was in the nearby town of Prato.
There are two silverpoint drawings related to this composition, one for the head of Saint Francis, the other for the hands of Saint Thomas (Uffizi, inv. 186F, 14516F).
Granacci studied with Domenico Ghirlandaio in whose workshop he trained along with Michelangelo, and his paintings also bear the influence of Fra Bartolommeo. The San Benedetto in Palco altarpiece shows the sculptural depiction of drapery deriving from Michelangelo combined with the more classical composition and poses of Fra Bartolommeo. It can be compared to a slightly later work done for the Medici Chapel in the now-destroyed church of San Pietro Maggiore in Florence (now in Sarasota, Ringling Museum of Art).
The subject, as well as the inclusion of specific saints and the documentary evidence, confirms the link between this altarpiece and the Compagnia di San Benedetto Nero. The confraternity held a special devotion to the Assumption of the Virgin (celebrated on 15 August), hence the subject. The Virgin is surrounded by Saints Benedict and Julian, patron saints of the Compagnia. Benedict is identified by the rod he is holding, which he used to sprinkle holy water, and Julian is carrying a drawn sword. The kneeling figures are Saint Francis, in his customary habit, and Saint Thomas, who reaches for the Virgin's girdle which she sent down to the apostle as a sign of her ascension. The inclusion of Saint Thomas was popular among Florentine artists as a relic of the Virgin's girdle was in the nearby town of Prato.
There are two silverpoint drawings related to this composition, one for the head of Saint Francis, the other for the hands of Saint Thomas (Uffizi, inv. 186F, 14516F).