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拍品專文
Prior to its publication here, this Saint Vito was known only through old, black and white photographs in the archives of Bernard Berenson and Federico Zeri. It was on the basis of these that Fabio Bisogni recognized the saint as having formed part of a largescale polyptych for the high altar of the cathedral of San Flaviano, Recanati. The altarpiece was commissioned by the bishop in 1441 from Giovanni di Nicola da Recanati – who was to be paid fifty ducati for his work – and the original contract for its execution survives today in the state archives (loc. cit.). The polyptych as reconstructed by Bisogni (ibid., p. 286) comprised a Saint Flavian (Antichità Moretti, Prato); Saints John the Baptist and Jerome (the latter fig. 1; both Pinacoteca Nazionale, Bologna); a Madonna and Child (Museo Diocesano, Recanati); a Crucifixion (location unknown) and two predella panels depicting Scenes from the life of Saint Flavian (Musée des Beaux Arts, Petit Palais, Avignon).
As the cathedral’s namesake, Saint Flavian is prominently represented and the presence of Saint Vito accords with his being a fellow patron saint of Recanati. The present panel was at some point cut along the lower edge and curtailed slightly along the upper, but would originally have shown the saint full length.
As the cathedral’s namesake, Saint Flavian is prominently represented and the presence of Saint Vito accords with his being a fellow patron saint of Recanati. The present panel was at some point cut along the lower edge and curtailed slightly along the upper, but would originally have shown the saint full length.