2005
DOI: 10.1111/j.1477-4658.2005.00112.x
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Sano di Pietro's Assunta polyptych for the Convent of Santa Petronilla in Siena

Abstract: Since its incorporation into Siena's first public art collection early in the nineteenth century, the provenance of Sano di Pietro's polyptych of The Virgin of the Assumption with Saints has been recognised as the Clarissan church of Santa Petronilla. To date, however, there has been very little comment as to the significance of the provenance of the altarpiece, particularly in relation to the choice of subject matter. This essay explores the complex history of this major Clarissan foundation in Siena, identif… Show more

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“…17 Other than the predella of a fifteenth-century Sienese altarpiece, where Petronilla is shown serving guests, the Saint lacked any iconography, especially that conducive to the Counter-Reformation zeal for pious spectacle. 18 Reformers like the Bolognese archbishop Cardinal Gabriele Paleotti worried that unconventional iconography, such as the 'chief of apostles' visiting his infirm daughter, 'would doubtless stimulate more wandering fantasy in the mind than devotion'. 19 No gruesome demise, no great feat or miraculous act or vision, Petronilla's quietly willed death was the badge of sanctity, according her the status of a spiritual martyr.…”
Section: Tabula Rasamentioning
confidence: 99%
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“…17 Other than the predella of a fifteenth-century Sienese altarpiece, where Petronilla is shown serving guests, the Saint lacked any iconography, especially that conducive to the Counter-Reformation zeal for pious spectacle. 18 Reformers like the Bolognese archbishop Cardinal Gabriele Paleotti worried that unconventional iconography, such as the 'chief of apostles' visiting his infirm daughter, 'would doubtless stimulate more wandering fantasy in the mind than devotion'. 19 No gruesome demise, no great feat or miraculous act or vision, Petronilla's quietly willed death was the badge of sanctity, according her the status of a spiritual martyr.…”
Section: Tabula Rasamentioning
confidence: 99%
“…60 Although the adjacency of statue to relics in the rotunda was brief -demolition of the structure began in 1514 to make way for New St Peter's and was complete before 1520 -Michelangelo's sculpture and the Saint's remains were occasionally returned to close proximity as they were relocated to various altars and chapels of the old and new basilica. Around the time of the rotunda's demolition the Pietà and the Saint appear to have been moved to undisclosed locations in the neighbouring ancient rotunda of St Andrew, where they remained for different durations ('e' in plate 18). Sometime between 1517 and 1524 the Pietà was transferred into the Secretarium of Gregory the Great (also known as Santa Maria della Febbre), a rectangular chapel at the south-east corner of the nave of Old St Peter's ('dd'), and placed at the first altar to the right of the primary entrance ('148').…”
Section: Peregrinatiomentioning
confidence: 99%