Madonna and Child Enthroned with Saints | Raphael (Raffaello Sanzio or Santi) | All | European Paintings | Collection Database | Works of Art

Gallery LabelThis important early altarpiece by Raphael was painted for the small Franciscan convent of Sant'Antonio in Perugia and hung in a part of the church reserved for nuns. According to Vasari, it was the nuns who asked Raphael to depict the Christ Child and infant Saint John the Baptist fully clothed. Their patronage may also account for the painting's conservative style and the emphasis given to gold decoration.

Raphael perhaps began the altarpiece in Perugia in 1504 and completed it following a trip to Florence, where he studied the work of Fra Bartolomeo. The lunette retains the purity of Raphael's early, Peruginesque style, while the boldly modeled male saints anticipate his Florentine commissions. The altarpiece remained in situ until 1678, when it entered the Colonna collection in Rome. By 1663, however, the predella had been sold to Queen Christina of Sweden. One panel from the predella is now in the Museum's collection (32.130.1).

The frame, readapted and heavily repainted, is of the period but not original to the altarpiece. The azurite blue of the Virgin's mantle has darkened and the haloes have been regilt.

NotesThese two paintings are the central panel (16.30a) and lunette (16.30b) of an altarpiece commissioned from Raphael by the convent of Sant'Antonio da Padova in Perugia. Most scholars believe that the altarpiece was completed in 1505, after Raphael's return to Perugia from Florence, but was begun at an earlier date.

The four saints depicted in the central panel are, from left to right: Peter, Catherine of Alexandria, Cecilia or Margaret, and Paul. The second female saint has also been identified as Dorothy and Rosalie, but is most probably either Cecilia (as she is called in Ref. Vasari 1568) or Margaret (as she is called in Ref. Fontaiuti 1678).

The predella of the altarpiece is composed of three narrative panels which would have been arranged as follows, from left to right: the Agony in the Garden (MMA 32.130.1), the Road to Calvary (National Gallery, London), and the Lamentation (Isabella Stewart Gardner Museum, Boston). Two smaller panels of standing figures depicting Saints Anthony of Padua and Francis (both Dulwich College Picture Gallery, London) most probably would have been located at either end of the predella, under the pilasters framing the central panel.

Two drawings (Musée Wicar, Lille, and Ashmolean Museum, Oxford) have been identified, apparently incorrectly [see Ref. Zeri and Gardner 1980], as studies for the figure of God the Father in the lunette. Another drawing in the Ashmolean is a study for the landscape on the right side of the painting. The composition of Raphael's altarpiece had great influence on the local Perugian painters; an altarpiece by Francesco Tifernate in the Pinacoteca Comunale, Città di Castello, is an especially close example. There is a copy of Raphael's altarpiece painted by Karl Ritter in 1845 in the Orangerie, Park Sanssouci, Potsdam. There is an engraving after the central panel by Tommaso Aloysio-Juvara, dated 1873 [see Ref. Bernini Pezzini 1985].

Provenancethe convent of Sant'Antonio da Padova, Perugia (until 1678; sold to Bigazzini); conte Giovanni Antonio Bigazzini, Rome (from 1678); Colonna family, Palazzo Colonna, Rome (from shortly after 1678, until 1798; inv., 1714, no. 653; cat., 1783, no. 130); [Alexander Day, Rome, until 1802/3; sold through Venuti to Ferdinand I]; Ferdinand I, King of Naples and the two Sicilies, Naples and Palermo (1802/3–d. 1825); Francis I, King of Naples and the two Sicilies, Palazzo Reale, Naples (1825–d. 1830); Ferdinand II, King of Naples and the two Sicilies, Palazzo Reale, Naples (1830–d. 1859); Francis II, King of Naples and the two Sicilies, Palazzo Reale, Naples (1859–60) and Gaeta (1860–61), and as duca di Castro, Madrid (1861–d. 1894; on loan to the Musée du Louvre, Paris, in 1870; subsequently on loan to the National Gallery, London; his estate, 1894–96; sold to Colnaghi); [Martin Colnaghi, London, 1896; sold to Sedelmeyer]; [Sedelmeyer, Paris, 1896–1901; cat., 1896, no. 75; sold for Fr 2,000,000 to Morgan]; J. Pierpont Morgan, London and New York (1901–d. 1913; on loan to the National Gallery, London, 1901–13; his estate, 1913–16; unnumbered cat., 1907)

Exhibition History

Paris. Sedelmeyer. June 1901, no. ?

London. Royal Academy of Arts. "Winter Exhibition," January 6–March 15, 1902, no. 85.

New York. The Metropolitan Museum of Art. "Collection of Paintings lent by J. Pierpont Morgan," 1913, unnumbered cat.

New York. The Metropolitan Museum of Art. "The J. Pierpont Morgan Collection," February 18, 1914–May 28, 1916, unnumbered cat.

New York. The Metropolitan Museum of Art. "Art Treasures of the Metropolitan," November 7, 1952–September 7, 1953, no. 90.

New York. The Metropolitan Museum of Art. "Masterpieces of Fifty Centuries," November 15, 1970–February 15, 1971, no. 212.

New York. The Metropolitan Museum of Art. "Raphael at the Metropolitan: The Colonna Altarpiece," June 20–September 4, 2006, nos. 1A, 1B.

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Jürg Meyer zur Capellen. "The Beginnings in Umbria and Florence, ca. 1500–1508." Raphael: A Critical Catalogue of His Paintings. 1, Landshut, Germany, 2001, pp. 172, 175, 182, 185, nos. 17A, 17B, ill. pp. 78 (framed, color), 173 (unframed), 174 (detail).

Esmée Quodbach. "'The Last of the American Versailles': The Widener Collection at Lynnewood Hall." Simiolus 29, no. 1/2 (2002), pp. 75, 85, 92, fig. 35.

Carol Plazzotta et al. in Raphael: From Urbino to Rome. Exh. cat., National Gallery. London, 2004, pp. 9, 21, 26, 33–34, 78, 150, 155–56, 160, 228, 301, 303 n. 59, p. 304, fig. 68.

Tom Henry. "United They Stand." Apollo (August 2006), pp. 63–64, fig. 1 (color, reconstruction).

Linda Wolk-Simon. "Raphael at the Metropolitan: The Colonna Altarpiece." Metropolitan Museum of Art Bulletin 63 (Spring 2006), pp. 4–74, nos. 1A, 1B, ill. in color (overall and details) and in black and white (infrared reflectogram mosaic details).

Curatorial Department

European Paintings: All