Key to Umbria

Antonio Gherardi (born Antonio Tatoti, in Rieti) was based in Rome, where he trained as a painter and architect under Pietro da Cortona in 1662-7.   He joined the Academia di San Luca in 1674.

Gualdo Tadino

St Antony Abbot (17th century)

This panel in the Pinacoteca Comunale, which is somewhat tentatively attributed to Antonio Gherardi, came from San Francesco.  When its altar was demolished in 1921-2, it was inserted into the ceiling of the sacristy, from whence it was retrieved in 1954.  It depicts St Antony Abbot in the desert, reading documents.


Birth of the Virgin (1684)

The original inscription on this panel on the left wall of the Cappella del SS Sacramento of the Duomo, which is no longer visible, named the artist, Antonio Gherardi and gave the date.

Vision of St Andrew (1688)

This altarpiece, which is signed and dated by inscription, is in the Pinacoteca Civica.  It depicts the Virgin appearing to St Andrew.  Its original location is unknown.

Altarpieces from Santa Maria dei Laici (1692-3)


These two  altarpieces by Antonio Gherardi  are to the sides or the presbytery of for Santa Maria dei Laici:

  1. the Birth of Jesus (1692), on the left and

  2. the Adoration of the Magi (1693), on the right.

Immaculate Virgin (1693)

This panel by Antonio Gherardi is in San Francesco, on the altar in the 2nd bay on the right, which belonged to the Confraternita della Concezione.

Intercession of the Virgin (ca. 1695)

This panel on the high altar of Santa Lucia, which is attributed to Antonio Gherardi, depicts SS Francis and Dominic praying to the Virgin, imploring her to intercede with Christ on behalf of mankind.


Birth of St John the Baptist (ca. 1690)

This altarpiece in Santa Restituta was documented on the high altar of the church of San Giovanni Decollato di Narni in 1780.  This church [where was it??] was demolished in ca. 1860, and this and other works of art there were transferred to San Francesco.   It was restored in 2003 and subsequently moved to Santa Restituta.

The restoration, which could not completely remedy the damage sustained by the altarpiece, confirmed its traditional attribution to Antonio Gherardi.  It seems to belong to the later period of his career, when he also worked in Gubbio.

Read more: 
L. Saraca Colonnelli (Ed.), “Antonio Gherardi: Artista Reatino (1638-1702) : Un Genio Bizzarro Nella Roma Del Seicento” (2003) Rome

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Antonio Gherardi (1638-1702)  

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