In fact the lost laterals of the Coronation, to judge from the still intact polyptychs of Paolo Venezianos earliest phase (such as the altarpiece in Krk and the polyptych of Santa Chiara now in the Accademia in Venice), must have been only slightly broader than the centerpiece. A late thirteenth-century date had already been postulated by Lazarev (1965), the first to compare the San Zan Degol cycle with the Madonna in the Pushkin Museum in Moscow and the Washington Coronation, followed by Boskovits (1989), who included in the masters oeuvre, in addition to the aforesaid works, the panels in Caorle (for which see also note 22 below). (Florence, 2001), 531539. The early gothic style overlapped chronologically with Romanesque and flourished after the onset of Renaissance art in Italy and elsewhere. F Tschochner, Krone in Marienlexikon Eos St. Ottilien 1988, p.685, "The Coronation of the Virgin Mary", Augusta State University, Veneration of Mary in the Catholic Church, https://en.wikipedia.org/w/index.php?title=Coronation_of_the_Virgin&oldid=1110319647, Articles with unsourced statements from August 2022, Creative Commons Attribution-ShareAlike License 3.0, Mary crowned in Heaven by Jesus or jointly with God the Father, surrounded by Cherubim and/or Saints, This page was last edited on 14 September 2022, at 20:14. The panel in the National Gallery of Art is one of the earliest representations of the subject that has come down to us from the Veneto region. [3] [3]A fresco in the church of Santi Fermo e Rustico in Verona representing the Coronation of the Virgin must date several years before 1324. These works are preceded in date by the vigorous language of some other paintings in which the artist strives to create strong effects of plastic relief and to present his figures in illusionistically convincing architectural settings. Reconstruction of a dispersed polyptych by the Master of the Washington Coronation: a. 9; Paolo Veneziano, in Dizionario enciclopedico Bolaffi dei pittori e degli incisori italiani: Dall XI al XX secolo, ed. The historic Coronation Chair on which Henry VIII and other monarchs of England and later Britain have been crowned for some 700 years is getting a makeover ahead of this year's ceremony for King Charles, London's Westminster Abbey said. Photograph in the NGA conservation files. and the fragment of a Crucifixion that surfaced at an auction sale in Rome in 1974, but which has since gone untraced. 1] Archival photograph, late nineteenth century, Master of the Washington Coronation, This photo (Naya, no. 2]  [fig. [4] [4]Photograph in the NGA conservation files. (Milan, 1992), 2:534; Mauro Lucco, Marco di Martino da Venezia (Marco Veneziano), in La Pittura nel Veneto: Il Trecento, ed. the panel during a restoration treatment in 1953. The scriptural basis is found in the Song of Songs (4.8), Psalms (45.1112) and Revelation (12.17). 1618. As for the cartoon for the stained-glass window with the figure of the Baptist in the lower church of San Francesco at Assisi, I think it is attributable to Jacopo Torriti. Download it once and read it on your Kindle device, PC, phones or tablets. These paintings reveal an undeniable kinship with the first works attributed to Paolo Veneziano. [4] [4]As found in polyptych no. . the two fragments of an altarpieceAltarpiece An image-bearing structure set on the rear part of the altar, abutting the back of the altarblock, or set behind the altar in such a way as to be visually joined with the altar when viewed from a distance. The Roman Catholic Church celebrates the feast every August 22, where it replaced the former octave of the Assumption of Mary in 1969, a move made by Pope Paul VI. East Building You may download complete editions of this catalog from the catalogs home page. In Christian iconography, the crown develops religious meanings. If the artist followed a decidedly philo-Byzantine orientation in his initial phase, in his paintings of the 1320s he draws closer to the classicism pursued by Giotto and other artists of central Italy. Although in principle every object with two panels or more may be called a polyptych, the word is normally used as a general term for anything larger than a triptych. The woman looks at us while holding both hands up to gesture toward Jesus. According to the U.S. Virgin Islands Police Department , Cail, 42, was found unresponsive . [20] [20]The neo-Hellenistic tendency, attested in the field of monumental painting by the frescoes of Sopoani, is also exemplified by various icons in the collection of the monastery of Saint Catherine on Mount Sinai, or by the miniatures in the Prophet Book of the Biblioteca Vaticana (Vat. Instead, the look of his painting is the product of a pervasive, and enduring, Byzantine influence on all art of the Veneto, the region around Venice. 2] Master of the Washington Coronation, Two Apostles and the Prophets Jeremiah and Ezekiel (? Agnew and Sons, Ltd., London) and (Rudolf Heinemann, New York); Agnew share sold to (Rudolf Heinemann, New York); (M. Knoedler and Co., New York);[3] purchased February 1952 as by Paolo Veneziano by the Samuel H. Kress Foundation, New York;[4] gift 1952 to NGA. All three areas showed the same elements; therefore, this type of analysis could not be used to determine if the inscription is original. Mary usually is represented seated on the same throne as her son and to his right as he crowns her with his right hand. The three-dimensional leaves are painted gold against the ocean-blue background. Alberto Bolaffi and Umberto Allemandi, 11 vols. In The Coronation of the Virgin (1635-36) the solemnity and dignity of the holy persons are set off by their voluminous colourful robes in a composition of exceptional splendour specially fitting for a painting of the Queen of Heaven made to adorn the oratory of the Read More Contact with Byzantine art was close in the early 13th century, but after c. 1250 survived principally in the Holy Roman Empire and Italy. According to Pallucchini, the panel in question is a work by Paolo Veneziano dating to c.1330 and must have originally formed part of the predella of a now disassembled polyptych. The proportions of the individual panels of the former Cini painting, less squat than those of the predellas of Venetian altarpieces of the period, also suggest that they are more likely to belong to the upper register of an altarpiece. The upper part of the painted area terminates in a mixtilinear arch placed within an ogival arch with crocketed ornament. The term gothic is applied to western European painting of the 13th century to the early 15th century. (Rome, 1998), 9:157; Francesca Flores dArcais, in Il Trecento adriatico: Paolo Veneziano e la pittura tra Oriente e Occidente, eds. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/2111. The Coronation of the Virgin Coronation of the Virgin Depicts same location Saint Anne 'Metterza' Uses same medium Coronation of the Virgin From same collection Altarpiece of St Lucia de' Magnoli From related movement. The gold striations that define the figures robes, the flat gold background, and the almost abstract way that colors and shapes fill the field might have been copied from a Byzantine icon. West Building Carla Travi, Il Maestro del trittico di Santa Chiara: Appunti per la pittura veneta di primo Trecento, Arte cristiana 80 (1992): 96 n.57. Victor M. Schmidt, Grove Art Oxford University Press of the full maturity of Paolo Veneziano. Learn more about our exhibitions, news, programs, and special offers. Some other works that Muraro ascribed to the anonymous master, whom he hypothetically identified with Marco, brother of Paolo, should rather be ascribed to other hands, according to the present writer: the Madonna in Belgrade; the painted crucifix in the monastery of the Benedictine nuns at Trogir (Tra); and that in the Borla collection at Trino Vercellese all probably should be considered youthful works by Paolo himself. The painted surface is generally in fair condition. 137, 315, 399. Cf. One angel above places a crown on her head, while two others flank her in the folding . By the 15th century, more individual interpretations are found. The eight angels are spaced over the throne, and are smaller in scale, about half the size of Mary and Jesus. The Last Judgment (144045) and The Coronation of the Virgin (c. 143032), for example, the human figures receding toward the rear themselves create a feeling of space similar to that in the paintings of Angelicos great Florentine contemporary Masaccio. The sale catalog linked this work with the circle of the painter of the Washington Coronation, and Carla Travi later inserted it in the catalog of the Master of Caorle (alternative name of the Master of the Washington Coronation). Christ and the Father are normally differentiated by age, and to some extent by costume: God the Father is often wearing a beehive-shaped crown, reminiscent of a Papal tiara. Jane Turner, 34 vols. In it Annibale brings together two currents of Italian painting: a north Italian sensitivity to the effects of natural light and color, and the spatial . . The Virgin Mary is crowned Queen of Heaven by God the Father and Jesus Christ at the same time. The polyptych normally consists of a central panel with an even number of side-panels, which are sometimes hinged to fold. All the people and angels have pale skin with a greenish cast, though their cheeks are blush pink. Rodolfo Pallucchini, ed.. Various scholars (including Flores dArcais 1992) have attributed it to Paolo Veneziano, but Filippo Pedrocco (2003) cited it as the work of a maestro precedente (i.e., a master earlier than Paolo). According to Luciano Bellosi, on the other hand (1985), the architectural settings of these frescoes were troppo solide e concrete per non postulare un precedente assisiate (too concrete and solid not to postulate a precedent [for them] in Assisi), and this implied a dating to the early years of the fourteenth century. The NGA scientific research department identified the wood (see report dated May 30, 1989, in NGA conservation files). The subject became common as part of a general increase in devotion to Mary in the Early Gothic period, and is one of the commonest subjects in surviving 14th-century Italian panel paintings, mostly made to go on a side-altar in a church. )overall: 108.3 79 1.5 cm (42 5/8 31 1/8 9/16 in. De Marchi (206) dated the frescoed decoration of the church in Verona to the early 1320s, in a period in cui il giovanissimo Paolo sembra muoversi ancora sotto tutela del Maestro dellIncoronazione del 1324, forse suo padre Martino (in which the very young Paolo seems still to be moving under the tutelage of the Master of the 1324 Coronation, perhaps his father Martino). In Santa Maria in Trastevere in Rome, she is shown as the mother of Christ, who participates in his kingdom. In works such as the panel now in Washington (dated 1324) he aspires to a figural style characterized by gothicizing elegance of movement and fluency in linear rhythms [fig. 1153), or those of the Gospels (ms. 5) of the Monastery of Iviron on Mount Athos and of ms. grec. (Turin, 1993), 4:139; John Hand, National Gallery of Art: Master Paintings from the Collection (New York, 2004), 10. This work is based on a print by Albrecht Drer. Since the 1970s, an ever growing number of scholars have accepted Muraros proposal, and even in some cases his conjectural attribution to Marco Veneziano: Michelangelo Muraro, Maestro Marco e Maestro Paolo da Venezia, in Scritti di storia dellarte in onore di Antonio Morassi (Venice, 1971), 23, 3031; Giuseppe Marchini, Corpus vitrearum Medii Aevi, vol. But a slightly earlier dating, to the end of the second decade, should not be excluded. My interest in Enguerrand Quarton's Coronation of the Virgin goes back to the early 1980s when 1 chose it as topic for a memoire de licence ("Le Couronnement de la Vierge d'Enguerrand Quarton: Thologie et histoire des mentalits d'une iconographie. Let us know if you have suggestions to improve this article (requires login). The fact that works of such importance had been commissioned from the artist some two to three decades before he executed the painting now in Washington shows that the Master of the Washington Coronation must have become a well-established painter by the time of its creation, even if he still proposed very different figurative ideas than those of his full maturity. Very similar to the composition of the present panel is the embroidered antependium from the cathedral of Krk (Veglia) in Croatia, now in the Victoria and Albert Museum in London (cf. Francesca Flores dArcais and Giovanni Gentili (Cinisello Balsamo, Milan, 2002), 118; Luciano Bellosi, La pecora di Giotto (Turin, 1985), 147 n.93, 214; Viktor Nikiti Lazarev, Saggi sulla pittura veneziana dei secoli XIIIXIV: La maniera greca e il problema della scuola cretese, Arte veneta 19 (1965): 2426, 31 n.62; Mikls Boskovits, Pittura e miniatura a Milano: Duecento a primo Trecento in La nuova citt dal Comune alla Signoria, ed. . the altarpieces of San Pantalon at Venice, that of the stories of Saint Lucy at Krk (Croatia), and polyptych no. See Raimond van Marle, Michelangelo Muraro, Maestro Paolo da Venezia: Fortuna critica,. 2] Archival photograph, pre-1953, Master of the Washington Coronation, The Coronation of the Virgin, 1324, tempera on poplar, National Gallery of Art, Washington, Samuel H. Kress Collection, made before the 1953 treatment, proves that in the meantime the painting was probably treated. Apart from the paintings cited in notes 35 above, I think that Paolos initial phase also should include some paintings significantly attributed in the past to the Master of the National Museum in Belgrade (inv. Cf. The title "Queen of Heaven", or Regina Coeli, for Mary goes back to at least the 12th century. In early versions the setting is a Heaven imagined as an earthly court, staffed by saints and angels; in later versions Heaven is more often seen as in the sky, with the figures seated on clouds. (Milan, 1992), 2:537; and by Carla Travi, Il Maestro del trittico di Santa Chiara: Appunti per la pittura veneta di primo Trecento, Arte cristiana 80 (1992): 96 n.57. Mauro Lucco, 2 vols. Another panel that retains its upper Crucifixion is the small altarpiece in the Galleria Nazionale in Parma, on which see Rodolfo Pallucchini, ed.. [fig. The subject seems to first appear in art, unusually, in England, where a tympanum over the door of the church at Quenington in Gloucestershire of perhaps 1140 may be the earliest surviving depiction, and there is another in Reading, Berkshire. In Italian paintings of the subject the Virgin is generally shown being crowned by her son, Jesus Christ, surrounded by members of the heavenly hierarchy.In this context the Virgin is seen as representing the Church. Omissions? Inspired by African and Iberian art, he also contributed to the rise of Surrealism and Expressionism. Peter Kidson, Grove Art Oxford University Press mannerthan that of the Master of the Washington Coronation. 4] Detail, Master of the Washington Coronation. Yet, the painting also has a strongly Byzantine character. They both sit on an olive-green cushion on the gold throne. God the Father and God the Son are represented as identical youthful bearded males while the Holy Spirit appears as a dove that hovers between them. Two angels hold up a ruby-red cloth behind Mary and Jesus, and the back of the throne curves in a half moon above the cloth. Another work for San Pedro was, period, famous for his Coronation of the Virgin., and influential work was his Coronation of the Virgin, signed and dated in February 1413, which was installed on the high altar of Santa Maria degli Angeli. The richly decorated surfaces and extensive use of silver and gold indicate that this panelone of the artist's finest and best preserved worksderives from an important altarpiece, though its early . Francesca Flores dArcais and Giovanni Gentili (Cinisello Balsamo, Milan, 2002), 144; Grgo Gamulin, The Painted Crucifixes in Croatia (Zagreb, 1983), 120 and pl. and that standing figures of saints or prophets would have been placed at the two sides of the upper register [fig. Note: Exhibition history, provenance, and bibliography are subject to change as new information becomes available. Fra Angelico with a larger court setting, 1430-1431, German 15th-century version with donors, Master of the Life of the Virgin, Filippo Lippi (1467-1469); apse of the cathedral of Spoleto, Botticelli, with only God the Father in evidence, 1490-1492, Swedish 15th-century altarpiece in carved and painted wood (Kllunge Church), Conventional depiction of the Trinity, with Christ showing the wounds of his Passion, Enguerrand Quarton with Christ and God the Father as identical figures, as specified by the cleric who commissioned the work, Page from Book of Hours, with three human figures for the Trinity, Jean Fouquet, also with three human figures, in this case three identical depictions of Jesus, Albrecht Drer combines the subject with an Assumption, Attributed to Amaro do Vale[pt], c. 1615-1619, Banner of the Irish Catholic Confederation (16421652). reveal that four knots were cut out of the panel and replaced with insets, and the areas were covered with pieces of fabric. (fig. Cf. 65; Michelangelo Muraro, Paolo da Venezia (Milan, 1969), 151152; Mauro Lucco, Maestro di Caorle, in La Pittura nel Veneto: Il Trecento, ed. The painting was executed on a two-member, vertically grained poplar panel. More correctly, Mauro Lucco (1992) connected the panels in Caorle with some works in the catalog of the Master of the Washington Coronation, while Travi (1994) combined under the conventional name of the Master of Caorle the majority of the works attributable to the master of the panel in Washington. The Triptych with the Coronation of the Virgin (1325-50), a precious ivory carving with details in gold and paint, depicts angels adoring the Virgin Mary, crowned as the Queen of Heaven. The alternation of full-length prophets and half-figure apostles would seem to exclude the alleged provenance of the former Cini collection panel either from a predella or from an iconostasis. 2]  [fig. [fig. 1923, and in more recent years Alessandro Marchi, in Il Trecento adriatico: Paolo Veneziano e la pittura tra Oriente e Occidente, ed. (Entry fig. The Coronation of the Blessed Virgin is also a subject of devotion throughout Christianity. the same time, Lippis well-known Coronation of the Virgin, is a complex work crowded with figures. Rosa DAmico and Tatjana Bonjak, in Il Trecento adriatico: Paolo Veneziano e la pittura tra Oriente e Occidente, ed. We are closed on December 25 and January 1. They all have long, wavy, blond hair except for the woman, Mary, whose head is covered. The two painters, however, should not be confused. [3] The crown has several meanings in secular depictions. As regards it possibly belonging to the Washington Coronation, I can only make a tentative hypothesis, given that I am only familiar with the work from photographs; however, the stylistic features of the two paintings show that they belong to the same chronological phase of the painter, and even their proportional relations make their common origin plausible. Another photo [fig. The Virgin, enclosed within an open arcade of soft grey stone, stands in front of an open door and draws her arm up across her breast in fear. Sculpture Garden See Gertrude Coor, The Earliest Italian Representation of the Coronation of the Virgin, The Burlington Magazine 99 (1957): 328330. Two Apostles and the Prophets Jeremiah and Ezekiel (?) An old photograph, taken in the late nineteenth century [fig. This image is in the public domain. The Coronation of the Virgin is recounted not in the New Testament but in the apocryphal story of the Virgin's death. From his earliest works (those datable between the second and early third decade of the century, such as the scenes from the life of the Virgin in the Musei Civici at Pesaro[14] [14]Cf. Davide Banzato and Franca Pellegrini (Rome, 1989), 7779. Artwork 1 depicts the scene when Mary was crowned Queen of Heaven and Earth. Our editors will review what youve submitted and determine whether to revise the article. Color reproductions in the reconstruction indicate panels in the National Gallery of Art collection. Here, the Virgin holds the infant Jesus in a naturalistic manner. The differential absorption pattern is useful for examining an object's internal structure as well as for comparing the variation in pigment types. In my view, Marchis dating to the third decade of the fourteenth century should be pushed back to the second decade. 73. Rodolfo Pallucchini, ed., La pittura veneziana del Trecento (Venice, 1964), figs. The belief in Mary as Queen of Heaven obtained the papal sanction of Pope Pius XII in his encyclical Ad Caeli Reginam (English: 'Queenship of Mary in Heaven') of October 11, 1954.[1][2]. Although most Venetian polyptychs of the fourteenth century have come down to us either disassembled or incomplete, two altarpieces painted by Paolo Venezianoin the Bishops Palace of Krk and the (now dismembered) polyptych from the Collegiata of Pirano (on loan to the Museo di Palazzo Venezia in Rome)still retain a gable panel with the Crucifixion. Gamulin 1964). On paintings by Tuscan artists in which Christ crowns Mary generally with both hands, cf. Enrico Castelnuovo and Bruno Toscano, 6 vols. It was released as the band's second single and was later included on their only studio album, Never Mind the Bollocks, Here's the Sex Pistols.The song was released during Queen Elizabeth II's Silver Jubilee in 1977.. These paintings are still strongly indebted to the classicizing aspirations of the Palaeologan Renaissance. You can copy, modify and distribute this image, even for commercial purposes. Paolo Golinelli and Caterina Gemma Brenzoni (Verona, 2004), 205206; Mikls Boskovits, Paolo Veneziano: Riflessioni sul percorso, 1, Arte cristiana 97 (2009): 83; Grgo Gamulin, Alcune proposte per Maestro Paolo, Emporium 139 (1964): 151153. Export from an object page includes entry, notes, images, and all menu items except overview and related contents. This Coronation of the Virgin may be the first time the subject, which originated in the West, appears in Venetian art. I refer to such works as the Madonna and Child with Donors[fig. 880; negative now with Osvaldo Bhm in Venice) is not listed in the catalogs of the photographer Carlo Naya (18161882) that I have been able to consult. The man, Jesus, sits to our right on the throne and looks toward Mary as he places a crown on her bowed head with one hand. Enrico Castelnuovo, 2 vols. Who was the Master of the Washington Coronation? Picasso's sizable oeuvre grew to . Francesca Flores dArcais and Giovanni Gentili (Cinisello Balsamo, Milan, 2002), 118; Viktorija Markova, Italija: Sobranie ivopisi, vol. The artist applied the paint on a moderately thick gessoGesso A mixture of finely ground plaster and glue applied to wood panels to create a smooth painting surface. also notes 9 and 19 above. 9; Fulvio Zuliani, in Da Giotto al tardogotico: Dipinti dei Musei Civici di Padova del Trecento e della prima met del Quattrocento, ed. . Oil on canvas. and the frescoes on the triumphal arch and nave of the church of San Fermo at Verona),[15] [15]See Andrea De Marchi, La prima decorazione della chiesa francescana, in I santi Fermo e Rustico: Un culto e una chiesa, per il XVII centenario del loro martirio (3042004), ed. More likely, however, its painter belonged to the previousgenerationhe may even have been Paolos father, Martino da Venezia. ), in Fra Ludovico da Pietralunga and Pietro Scarpellini, Descrizione della Basilica di S. Francesco e di altri Santuari di Assisi (Treviso, 1982), 344; Robert Gibbs, Locchio di Tomaso: Sulla formazione di Tomaso da Modena (Treviso, 1981), 37; Robert Gibbs, A Fresco by Marco or Paolo Veneziano in Treviso, Studi trevisani 1 (1984): 2729, 30 n.7; Robert Gibbs, Tomaso da Modena: Painting in Emilia and the March of Treviso, 13401380 (Cambridge, 1989), 29; Robert Gibbs, Master of the Washington Coronation, in The Dictionary of Art, ed. Origin [ edit] Coronations are a case of two paintings, both altarpieces, of nearly identical size (the Sant'Ambrogio Coronation is 200 X 287 cm., and the San Bernardo panels now measure 172 X 254 cm. [fig. The five small panels with stories of the Virgin in the Museo Civico in Pesaro probably come from a similar polyptych. the painted crucifix in the Istituto Ellenico in San Giorgio dei Greci in Venice;[11] [11]Cf. 3] Master of the Washington Coronation, Madonna and Child with Angels and Donors, early fourteenth century, tempera on panel, Pushkin Museum of Fine Arts, Moscow. These include one other dated painting: namely, the altar frontal of the Blessed Leone Bembo now at the treasury of the Church of Saint Blase in Vodnjan (Dignano dIstria) in Croatia, painted for the Venetian church of San Sebastiano in 1321. Lazarev (1965) was the first to reunite the Washington Coronation with the Madonna no. As with diptychs and triptychs, the size and material can vary. Fibonacci Analysis of The Coronation of the Virgin (Louvre) by Fra Angelico - Kindle edition by Gulcugil, Ates. 3] Master of the Washington Coronation, Published by Viktor Nikiti Lazarev, Saggi sulla pittura veneziana dei secoli XIIIXIV: La maniera greca e il problema della scuola cretese,. [1] The NGA scientific research department analyzed the gilding of the inscription, that of the background, and that of an area of restoration using x-ray fluorescence spectroscopy (see report dated February 9, 1999, in NGA conservation files). More recently, Mauro Lucco (1992) included the painting in the catalog of the Master of Caorle, the conventional name for an artist whose outlines perfectly coincide, in my view, with those of the Master of the Washington Coronation. 2] Master of the Washington Coronation. The Coronation of the Virgin by Velzquez - Oil on Canvas (La Coronacin de la Virgen de Velzquez) In this painting, Mary is placed in the center with Christ on the left, God the Father on the right, and the Holy Spirit between the two, forming the Holy Trinity. Read more: yahoo a differenza della morbidissima ed elegante struttura delle figure Kress [i.e., the figures of the Washington panel] avvolte in vesti che molto pi si legano alla tradizione bizantina. Paolo died between 1358 and 1362, so he probably would not have been all that young around 1315. Richard Offner, A Critical and Historical Corpus of Florentine Painting: The Fourteenth Century, sec. Coronation of the Virgin, 1429-1447 Tempera on wood 78 3/4 113 in | 200 287 cm Galleria degli Uffizi Florence Get notifications for similar works Create Alert Want to sell a work by this artist? The Coronation of the Blessed Virgin Mary is the fifth of the Glorious Mysteries of the Rosary (following the Assumption, the fourth Glorious Mystery) and therefore the idea that the Virgin Mother of God was physically crowned as Queen of Heaven after her Assumption is a traditional Catholic belief echoed in the Rosary. On paintings by Tuscan artists in which Christ crowns Mary generally with both up! By Gulcugil, Ates Fra Angelico - Kindle edition by Gulcugil, Ates to western painting. By Tuscan artists in which Christ crowns Mary generally with both hands, cf paintings Tuscan. Seated on the same time, Lippis well-known Coronation of the Washington Coronation with the first to reunite Washington. Come from a similar polyptych second decade, should not be confused Virgin holds the infant Jesus in a arch. San Pantalon at Venice, that of the Washington Coronation the article Historical Corpus of Florentine painting: the century. 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