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This beautiful panel, one of the oldest Italian paintings in America, is a fragment from the left side, or apron, of a large painted crucifix. With one hand touching her cheek in a tender expression of sorrow, the Virgin points to her left (towards to the now-missing central panel) with her other hand. Her gesture was originally directed towards Christ's wound, the source of her grief. The rippling drapery and elegant contours of the Virgin's body are derived from Byzantine icons. Created before painting on wooden panels was widely practiced, this is a rare example of an early Italian painting executed on parchment (prepared animal skin, generally used for manuscripts) applied to a wooden panel. This fact, together with the artist's remarkable control of line and expressive gesture, suggest that he also worked as a manuscript illuminator.
Page data
- Page
- 2
- Source index
- 0
- Type
- photo
- Media ID
- e8e704c92e4eb7a2
- Size
- unknown
Document data
- ID
- 28077
- Core
- obj
- Type
- drawing
DTO data
{
"id": "28077",
"sourceUrl": "https://purl.thewalters.org/art/37.1155",
"contentType": "drawing",
"stage": "normalized",
"title": "The Mourning Virgin Mary",
"description": "This beautiful panel, one of the oldest Italian paintings in America, is a fragment from the left side, or apron, of a large painted crucifix. With one hand touching her cheek in a tender expression of sorrow, the Virgin points to her left (towards to the now-missing central panel) with her other hand. Her gesture was originally directed towards Christ's wound, the source of her grief. The rippling drapery and elegant contours of the Virgin's body are derived from Byzantine icons. Created before painting on wooden panels was widely practiced, this is a rare example of an early Italian painting executed on parchment (prepared animal skin, generally used for manuscripts) applied to a wooden panel. This fact, together with the artist's remarkable control of line and expressive gesture, suggest that he also worked as a manuscript illuminator.",
"provenance": "Don Marcello Massarenti Collection, Rome, prior to 1897 [1881 catalogue: no. 5; 1897 catalogue: no. 12 as Margaritone d'Arezzo]; Henry Walters, Baltimore, 1902, by purchase; Walters Art Museum, 1931, by bequest.",
"date": "ca. 1180-1190 (Medieval)",
"citationUrl": "https://purl.thewalters.org/art/37.1155",
"rightsUri": "CC0",
"language": "en",
"genreSpecific": [
"Painting & Drawing",
"panel paintings"
],
"iiifBase": "https://art.thewalters.org/images/art/PL1_37.1155_Fnt_TR_T87III.jpg",
"thumbnailUrl": "https://art.thewalters.org/images/art/PL1_37.1155_Fnt_TR_T87III.jpg",
"largeImageUrl": "https://art.thewalters.org/images/art/PL1_37.1155_Fnt_TR_T87III.jpg",
"imageCount": 4,
"pageCount": 4,
"source": "import",
"dimensions": [
{
"units": "cm",
"width": 89,
"height": 29,
"depth": 5.8
}
],
"dimensionsRaw": "H: 35 1/16 x W: 11 7/16 x D: 2 5/16 in. (89 x 29 x 5.8 cm); Painted surface H: 33 1/4 x W: 9 5/8 in. (84.5 x 24.5 cm); Original panel max. H: 33 3/4 x W: 10 1/4 x D: 1 11/16 in. (85.8 x 26 x 4.3 cm)",
"style": "Italo-Byzantine"
}
Context sent to Scholar
Document identity
{
"localId": "28077",
"label": "The Mourning Virgin Mary",
"core": "obj",
"dtoType": "drawing",
"citationUrl": "https://purl.thewalters.org/art/37.1155"
}
Document source metadata
{
"id": "28077",
"sourceUrl": "https://purl.thewalters.org/art/37.1155",
"contentType": "drawing",
"stage": "normalized",
"title": "The Mourning Virgin Mary",
"description": "This beautiful panel, one of the oldest Italian paintings in America, is a fragment from the left side, or apron, of a large painted crucifix. With one hand touching her cheek in a tender expression of sorrow, the Virgin points to her left (towards to the now-missing central panel) with her other hand. Her gesture was originally directed towards Christ's wound, the source of her grief. The rippling drapery and elegant contours of the Virgin's body are derived from Byzantine icons. Created before painting on wooden panels was widely practiced, this is a rare example of an early Italian painting executed on parchment (prepared animal skin, generally used for manuscripts) applied to a wooden panel. This fact, together with the artist's remarkable control of line and expressive gesture, suggest that he also worked as a manuscript illuminator.",
"provenance": "Don Marcello Massarenti Collection, Rome, prior to 1897 [1881 catalogue: no. 5; 1897 catalogue: no. 12 as Margaritone d'Arezzo]; Henry Walters, Baltimore, 1902, by purchase; Walters Art Museum, 1931, by bequest.",
"date": "ca. 1180-1190 (Medieval)",
"citationUrl": "https://purl.thewalters.org/art/37.1155",
"rightsUri": "CC0",
"language": "en",
"genreSpecific": [
"Painting & Drawing",
"panel paintings"
],
"iiifBase": "https://art.thewalters.org/images/art/PL1_37.1155_Fnt_TR_T87III.jpg",
"thumbnailUrl": "https://art.thewalters.org/images/art/PL1_37.1155_Fnt_TR_T87III.jpg",
"largeImageUrl": "https://art.thewalters.org/images/art/PL1_37.1155_Fnt_TR_T87III.jpg",
"imageCount": 4,
"pageCount": 4,
"source": "import",
"dimensions": [
{
"units": "cm",
"width": 89,
"height": 29,
"depth": 5.8
}
],
"dimensionsRaw": "H: 35 1/16 x W: 11 7/16 x D: 2 5/16 in. (89 x 29 x 5.8 cm); Painted surface H: 33 1/4 x W: 9 5/8 in. (84.5 x 24.5 cm); Original panel max. H: 33 3/4 x W: 10 1/4 x D: 1 11/16 in. (85.8 x 26 x 4.3 cm)",
"style": "Italo-Byzantine"
}
Document source extras
{
"cul": "Italian",
"inscriptions": "[Transcription] S[ANC]TA M; [Transcription] Inscribed on the rectangular strip near the Virgin's feet: S[C]A M[ARIA].",
"med": "tempera paint gold on parchment mounted on wood panel",
"creator_ids": [
"15162"
],
"collection_ids": [
"MED"
],
"exhibition_ids": [
"335"
]
}
Page context
{
"seq": 2,
"pageIndex": 0,
"type": "photo",
"url": "https://art.thewalters.org/images/raw/PS4_37.1155_Back_DD_AT20_18089-tms.jpg",
"mediaId": "e8e704c92e4eb7a2"
}