The work has lost almost all of its original polychromy but remains however a touching example of how the old theme of the affectionate relationship between Mother and Son was still being developed in the 15th century. The sculptor, even if informed about the innovations of the early Renaissance, preserves in the style of the drapery a reminiscence of the late Gothic elegance that goes back to Ghiberti: the prototype is in fact a polychrome stucco in the Museum of the Bargello coming precisely from Ghiberti’s workshop. The critics have assigned this work to the sculptor Nanni di Bartolo, a collaborator of Donatello during the years 1421-1422. To be remembered, among his works, shortly before this one, there is the Saint Lawrence of the basilica of Santa Maria delle Grazie in San Giovanni Valdarno. In the display cases, proceeding from the right Sector I 32. tuscan workshop second half of the 18th century Reliquary of Saint Vincent Ferrer Embossed and silver-plated brass lamina; gilded wood; 55x25 cm. (inv. 71) Provenance: Church of San Michele in Dudda 33. workshop all’insegna della torre (Florence) Reliquary of Saint Christina
1737-1740 Embossed and engraved silver lamina; carved and gilded wood; 40x18.5 cm. (inv. 41) Stampings: on the stem a walking lion in a circular field; rooster in an oval field; tower in an oval field. Provenance: Church of Santa Croce in Greve 34. florentine workshop first half of the 19th century Reliquary of Saint Martin 1848 Embossed and carved silver lamina; carved and gilded wood; 71x27.7 cm. (inv. 46) Inscriptions: on the base: “Dono della Contessa Capponi, nata nei Duchi di S. Clemente fatto alla Chiesa di Sa. Martino ad Uzzano l’anno 1848” (i.e. “Donated by Countess Capponi, born in the S.Clemente Dukes’ family,to the church of San Martino in Uzzano in 1848”) Provenance: Church of San Martino in Uzzano The countess mentioned in the inscription had wed Marquis Giovanbattista Capponi in 1830, whose family was the patron of the church in Uzzano at the time. The reliquary is an interesting union of late 18th century decoration and neo-classical motifs, like the garland that surrounds the oval shrine. 35. tuscan workshop second half of the 18th century Reliquary of the Blessed Virgin Mary Embossed and silver-plated brass lam-
museo d’arte sacra di san francesco a greve in chianti
184