Giovanni di Paolo_ The Metropolitan Museum of Art Bulletin, v. 46 ..

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57. Giovanni di Paolo. The Crucifixion with Saints Jerome and Bernardino. Church of Santo Stefano alla Lizza, Siena58. Giovanni di Paolo. The Crucifixion. Australian National Gallery,Canberra59. Giovanni di Paolo. The Crucifixion. Gemaldegalerie, StaatlicheMuseen Preussischer Kulturbesitz, Berlin-Dahlem42
60-62. Giovanni di Paolo. The Coronation of the Virgin with Saints Andrew and Peter and Angels. Church of Sant'Andrea, Sienafrom after 1450 since it includes a figure of San Bernardino.The same cartoon is employed once more, on a much largerscale, in a panel of the Crucifixion, seemingly painted about1455, that is now in the Australian National Gallery atCanberra (fig. 58). And then just after 1460 it is repeated,with much greater intensity, in a little panel with thePiccolomini stemma in Berlin (fig. 59), where it is, rathersurprisingly, combined with a mourning Saint John basedon a cartoon originally used in the earliest of Giovanni diPaolo's predellas, that of I426. The process was not mechanical,and the repeated image could acquire an intensity fargreater than it had at the time it first appeared.Whole compositions were sometimes reproduced. This isthe case with two altarpieces of the Coronation of the Virgin,one painted in 1445 for the Church of SantAndrea inSiena, and the other in the Lehman Collection (figs. 61, 63).The SantAndrea altarpiece is a triptych; it was dismantledbefore 1835 and has now been reconstituted with a largelymodern frame. The wings are occupied by figures of SaintsAndrew and Peter, with music-making angels in the frontplane (figs. 60, 62). There are six angels behind the throneand six in the wings, twelve in all, and the floor of thecentral panel is marked out with inlaid orthogonals.Originally the triptych must have had a predella, butthough it probably exists, there are no clues to the panelsthat formed part of it.The painting in New York is by far the richer and morebeautiful of the two; thirteen angels are introduced behindthe throne, the foreground is marbled, and the forwardstep is covered with patterned red brocade. The dating ofthe painting is generally regarded as conjectural, and so isits form. But it can be demonstrated first that the paintingdates from the very late I450S, and second that it was neverwider than it is today. The reason for this is that its predella43
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Page 13 and 14: by the operaio, the sculptor Jacopo
Page 15 and 16: I 5. Gentile da Fabriano. The Prese
Page 17 and 18: I7. Giovanni di Paolo. The Creation
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Page 21 and 22: 2 . Giovanni di Paolo. The Baptist
Page 23 and 24: 25. Giovanni di Paolo. TheAngel Gab
Page 25 and 26: but about I440 it reappears in the
Page 28 and 29: 2633. Giovanni di Paolo. The Miracu
Page 30 and 31: 35. Giovanni di Paolo. SaintJohn th
Page 32 and 33: 38. Giovanni di Paolo. The Adoratio
Page 34 and 35: 3240. Giovanni di Paolo. Saint Ambr
Page 36 and 37: 45. Giovanni di Paolo. SaintJerome
Page 38 and 39: 3648-5 I. Giovanni di Paolo. Four S
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Page 42 and 43: 55. Sano di Pietro (I406-I48I). Mad
Page 46 and 47: 446 3. Giovanni di Paolo. The Coron
Page 48 and 49: 66. Giovanni di Paolo. Pieta. Priva
Page 50 and 51: NOTESPhotography of Robert Lehman C
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Giovanni di Paolo_ The Metropolitan Museum of Art Bulletin, v. 46 ..

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