Bernardo Daddi may have trained in the Florentine workshop of Giotto, a pivotal figure in the history of European painting. Daddi fused Giotto’s grandeur and monumentality with a refined grace and lyricism. It has been suggested that while Daddi was responsible for the design of this panel, it was executed by a leading member of his workshop. The panel is likely the upper half of an important altarpiece painted for a chapel in the Cathedral of Prato, near Florence, which houses the highly venerated girdle, or belt, of the Virgin Mary. As evidence of her Assumption, the Virgin lowers her girdle to St. Thomas, whose hands are visible at the panel’s lower edge and who was depicted in the missing lower section of the painting.
Lombardi-Baldi, Florence (oral communication to M. Boskovits by F. Zeri); Harold Parsons, Rome, 1954 (note on a photograph in the library of the Harvard Center for Renaissance Studies, Villa I Tatti, Florence); Carlo and Marcello Sestieri, Rome; acquired by Robert Lehman in 1954
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John Pope-Hennessy assisted by Laurence B. Kanter inThe Robert Lehman Collection. Vol. 1, Italian Paintings. New York, 1987, pp. 48-51, no. 23.
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Artist: Bernardo Daddi (Italian, Florence (?) ca. 1290–1348 Florence)Medium: Tempera on wood, gold ground (tooled pattern added possibly in the late nineteenth century)Accession: 41.190.15On view in:Not on view
Artist: Workshop of Bernardo Daddi (Italian, Florence (?) ca. 1290–1348 Florence)Date: ca. 1335–39Medium: Tempera on wood, transferred to canvas and laid down on wood, gold groundAccession: 1975.1.59On view in:Not on view