Key to Umbria: Trevi


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Christus Patiens (early 14th century)

This painted Crucifix came from the church of San Pietro in Pettine, near Trevi.

Detached fresco (early 14th century)

This fresco, which is now on the wall at the entrance to the Pinacoteca, is from the nunnery of Santa Croce.  It is attributed to the Maestro del Crocifisso di Trevi, and depicts the Crucifixion, with the Madonna and Child on the left and the Annunciation on the right. 

Triptych (early 15th century)


                                                                                                                                    Detail: Crucifixion

The triptych, which is attributed to Giovanni di Corraduccio Mazzaforte, came from the nunnery of Santa Croce.   The scenes depict the Coronation of the Virgin and the Annunciation (in the top register) and numerous scenes from the life of Christ.  SS Agnes, Emilianus, Jerome and John the Baptist are on the reverse of the folding wings.  An inscription commemorates the donors, Cicco Urighi and Jacobuccio di Mattia.  The Commune blocked the attempted sale of the triptych in 1839, and it was moved to the Pinacoteca in 1867.

Panels from a Polyptych (ca. 1430)


                                                                                                                     Detail: Flight into Egypt

These four panels, which are attributed to Giovanni di Corraduccio Mazzaforte, came from San Francesco.  They depict scenes from the life of Christ.   A number of scenes (eg. the Crucifixion) are missing, suggesting that there was originally a fifth, central panel.  The surviving panels were moved to the Pinacoteca in 1867.

Cornice of a Processional Standard (ca. 1478)


This double-sided cornice was documented in 1872 in the hospital in the ex-convent of San Domenico and is now in the Pinacoteca.  Each side has an image of Christ in a tondo with two angles below: the Crucified Christ is on one side and the Risen Christ is on the other.  The cornice probably belonged to a processional banner, and the fact that the Crucified Christ is depicted with two whips makes it likely that it had belonged to a penitential confraternity.  The cornice is attributed to Pierantonio Mezzastris, and may well have been commissioned after the outbreak of plague in Trevi in 1478.

Sources in the 18th century document a gilded cornice with an image of the Crucified Christ above a panel of the Assumption of the Virgin on the altar of the now-demolished church of Santa Maria della Piaggia, which belonged to the penitential Confraternita di Santa Maria della Piaggia.  This was probably the side of cornice illustrated above, to the left.  If this link is correct, it is possible to reconstruct the history of the cornice before 1872.  The likelihood is that, when Santa Maria della Piaggia was abandoned, the possessions of the confraternity passed to the Compagnia della Misercordia, who administered the hospice at San Giovanni Decollato.  These goods would have been moved again to the new hospital at San Domenico in 1817.  At some point in this tortuous history, the main panel of the Assumption of the Virgin (which was probably also double-sided) must have been lost. 

Madonna and Child (late 15th century)

The provenance of this panel is unknown before 1872, when it was documented in the civic collection.  It has usually been attributed to Pintoricchio, and this attribution has been strengthened following its recent restoration.  It may well have been a model for a similar but more finished image in the National Gallery, London, which is also attributed to Pintoricchio. 

SS Cecilia and Catherine (ca. 1520)

These panels, which are attributed to Giovanni di Pietro, lo Spagna,  came from the Cappella di Santa Caterina in the church of the Madonna delle Lacrime.  They were removed in 1741, when the chapel was rededicated to St Alfonso. 

Coronation of the Virgin (1522)

In a document dated 1522, the Observant Franciscans of San Martino commissioned an altarpiece from Giovanni di Pietro, lo Spagna.  Its subject was unspecified, but since it was specified that it should be completed before the feast of the Assumption of the Virgin, it was almost certainly this altarpiece, which came from the high altar of their church.  It was removed to the civic collection in 1869.  Most of its components, including its original frame, are now in the Pinacoteca: however the central panel of predella, which depicts the Pietà, is now in the University of Arizona Museum of Art, Tucson, Arizona.

The main panel of the altarpiece is clearly based on that of lo Spagna's altarpiece at Santa Maria di Montesanto, Todi, albeit that the lower part of it has been inverted.  This, in turn, had been based on the altarpiece (1486) that Domenico Ghirlandaio had painted for the Observant Franciscans of San Girolamo, Narni

  1. In the upper part, Christ crowns the Virgin to the accompaniment of musical angels. 

  2. The lower part is set in a landscape of the Valle Umbra, with San Francesco, Assisi clearly visible to the right.  Here, a group of kneeling saints meditate on the coronation: 

  3. St Francis, kneeling at the centre;

  4. SS Martin (the titular of the church) and Bernardino of Siena immediately behind him (to the left and right respectively);

  5. SS Mary Magdalene, Bonaventure, John the Baptist and Jerome on the left;

  6. SS Augustine, Antony of Padua, Louis of Toulouse and Catherine of Alexandria on the right; and

  7. a number of Franciscan saints behind. 

The predella panels in the Pinacoteca depict: 

  1. St Martin and the beggar; and

  2. the stigmatisation of St Francis. 

Pietà (ca. 1530)

Pope Clement VII gave this panel to Benedetto Valenti, his procurator fiscal, in Rome.  It had apparently been confiscated from a man who had been executed for murder.  Valenti installed it on the altar of his family chapel (the Cappella della Resurrezione) in the church of the Madonna delle Lacrime in 1531. 

The panel, which in the past has been attributed to Sebastiano del Piombo, has recently been attributed to Benedetto Coda.  It was first transferred to the Pinacoteca in 1869 but subsequently returned to its original location at the request of the Valenti family.   It was returned to the Pinacoteca after an attempted theft in 1923.

Madonna of the Rosary (16th century)

This panel formed the lower part of a huge altarpiece that Muzio Petroni commissioned for an altar in Sant' Emiliano that belonged to the Compagnia del Rosario. It entered the civic collection in 1878.

Incredulity of St Thomas (ca. 1609)

This altarpiece is from San Tommaso.  Cardinal Erminio Valenti probably commissioned it from a Roman artist after he commissioned the restoration of the church in 1609.

Assumption of the Virgin and Saints (ca. 1640)

This altarpiece was painted in Rome by Vincenzo Turchi, l’ Orbetto for the high altar of  Sant' Antonio Abate.  It has been recently restored. 

Miracle of St Vincent Ferrar (ca. 1729)

This altarpiece seems to have been commissioned for a new altar dedicated to St Vincent Ferrar in San Domenico.  It entered the Pinacoteca in 1994.

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