J0332 and identify the Broglio family member from whom it was purchased. 1, VIIIXVIvekov (Moscow, 2002), 4143. Maddalena was named by the sixteenth-century art biographer Vasari as the patron of Raphael's Coronation of the Virgin, painted for the Oddi Chapel in S. Francesco al Prato, Perugia, in about 1503-4, and now in the Vatican Pinacoteca. [4] The Three kings present their crowns to the newly born Jesus as a symbol of secular power submitting to Christ. The motif of the star-studded celestial sphere is also present in the antependium of Krk and the fresco of Gemona cited in the previous note. 1592. Giuseppe Marchini, Cf. Its composition centres on the triangular grouping of the Trinity, with the Virgin below. 1618. 21 of the Accademia in Venice. Tempera paintings were made by binding different pigments together with organic substances (the medium) on a wooden panel. You can copy, modify and distribute this image, even for commercial purposes. The polyptych normally consists of a central panel with an even number of side-panels, which are sometimes hinged to fold. Enrico Castelnuovo, 2 vols. However, the Catalogo generale dei quadri e affreschi esistenti nelle chiese di Venezia published by his firm in 1900 listed negatives numbered above 2000, so the one cited here presumably had been executed some years earlier. Edward B. Garrison, Italian Romanesque Panel Painting: An Illustrated Index (Florence, 1949), 237; Giordano Viroli, ed., La Pinacoteca Civica di Forl (Forl, 1980), 67; Giovanni Valagussa, Prima di Giotto, in Il Trecento riminese: Maestri e botteghe tra Romagna e Marche, ed. [4] The bill of sale from Knoedlers to the Kress Foundation for twelve paintings, including this one, is dated 6 February 1952; payment was made in three installments, the final one on 5 September 1952. Cf. ), framed: 115.3 x 86 x 8.9 cm (45 3/8 x 33 7/8 x 3 1/2 in. 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. 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. Lucio Grossato, ed., Da Giotto al Mantegna (Milan, 1974), no. The panel, originally part of a much larger assemblage (see Reconstruction), has been attributed in the past to Paolo Veneziano (Venetian, active 1333 - 1358), Venices most important artist in the 14th century. Gamulin 1964). The Coronation of the Virgin. Cf. Constantine speculates that Agnew might have recorded the date when payment for their share was actually received from Heinemann, rather than the date when they made the decision to sell their share. 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. See Raimond van Marle, Michelangelo Muraro, Maestro Paolo da Venezia: Fortuna critica,. Mauro Lucco, 2 vols. . . 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. 1923. 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. Stained glass window at St. Michael's Cathedral (Toronto) depicts Coronation of the Virgin. The three-dimensional leaves are painted gold against the ocean-blue background. Two Apostles and the Prophets Jeremiah and Ezekiel (?) A second Coronation of the Virgin, executed about 1445, displays a marked change in the style of Lippifrom the plastic values suggested by his study of Masaccio to the serene chromatics of Angelico. In many Coronation scenes painted by Paolo and other Venetian artists a. In Santa Maria in Trastevere in Rome, she is shown as the mother of Christ, who participates in his kingdom. Mauro Lucco, Maestro di Caorle, in La Pittura nel Veneto: Il Trecento, ed. The great Umbrian master Pietro Perugino was executing the frescoes in the Collegio del Cambio at Perugia between 1498 and 1500, enabling Raphael, as a member of his workshop, to, In The Coronation of the Virgin (163536) 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. . 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. What remains of the important cycle of frescoes in the church of San Zan Degol in Venice probably belongs to a slightly earlier phase in the masters career, to the years around the turn of the century. Michelangelo Muraro (1969) accepted that proposal, although he did not exclude the alternative suggestion that the four figures originally belonged to una piccola iconostasi (a small iconostasis). (Milan, 1986), 2:648; Mauro Lucco, Maestro dellIncoronazione della Vergine di Washington, in La Pittura nel Veneto: Il Trecento, ed. The Coronation of the Virgin. The differential absorption pattern is useful for examining an object's internal structure as well as for comparing the variation in pigment types. Who was the Master of the Washington Coronation? Enter or exit at7th Street, Constitution Avenue, or Madison Drive. Cf. The NGA scientific research department identified the wood (see report dated May 30, 1989, in NGA conservation files). 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]. . Title: Coronation of the Virgin Creator: Enguerrand de Quarton, artist Description: The Virgin is Crowned by the Trinity. Rosa DAmico and Tatjana Bonjak, in Il Trecento adriatico: Paolo Veneziano e la pittura tra Oriente e Occidente, ed. Both pieces explore aspects of religion and spirituality. Opinions differ, however, on the extent of the catalog of the Master of the Washington Coronation. The eight angels are spaced over the throne, and are smaller in scale, about half the size of Mary and Jesus. painted surface (score lines to score lines): 99.3 77.4 cm (39 1/8 30 1/2 in. Heinemann often worked in tandem with Knoedlers, for whom he was at one time managing partner, and may have done so in this instance. 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 . ), Master of the Washington Coronation 1604 in the Musei Civici in Padua and with the Madonna (no. The earliest work by Angelico that can be dated with certainty, Bellinis great Coronation of the Virgin at Pesaro, for example, might have reflected some of the compositional elements of Pieros lost Coronation of the Virgin, painted as the central panel of a polyptych. [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. (Milan, 1992), 1:29, 32, 34; Filippo Pedrocco, Paolo Veneziano (Milan and Venice, 2003), 213; Mikls Boskovits, Paolo Veneziano: Riflessioni sul percorso, 1, Arte cristiana 97 (2009): 88 n.21. 12. The Coronation of the Virgin is recounted not in the New Testament but in the apocryphal story of the Virgin's death. 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. 7212 in the Pushkin Museum in Moscow, the above-mentioned fragment with figures of saints and prophets formerly in the Cini collection in Venice, and the painted crucifix now in the church of San Giorgio dei Greci in Venice. Unlike gothic architecture, it is distinguished more by developments in style and function than in technique, and even in these areas there is considerable national and regional diversity. The same scholar (1966) further explained that it was Muraro who had convinced him in the course of a conversation that the painting in the National Gallery of Art should be excluded from Paolos catalog. They are the Madonna and Child no. This original and lasting function influenced the many forms taken by the altarpiece throughout its history. 21 of the Gallerie dellAccademia in Venice and in the fragmentary panel of the Museo di Palazzo Venezia in Rome. [8] [8]Following its late nineteenth-century attributionby whom remains unclearto CaterinoVeneziano (in the caption of the nineteenth-century photographcited in Technical Summary note 3), Raimond van Marle (1924) cited the Coronationas an anonymous work of gothico-byzantine style. Evelyn Sandberg-Vaval in 1930 expressed the view that it is highly feasible to attribute it to Maestro Paolo himself, and in the following year Giuseppe Fiocco (19301931) unhesitatingly confirmed this attribution. 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. The five small panels with stories of the Virgin in the Museo Civico in Pesaro probably come from a similar polyptych. For these works, see Rosa DAmico and Tatjana Bonjak, in Il Trecento adriatico: Paolo Veneziano e la pittura tra Oriente e Occidente, ed. [4] [4]As found in polyptych no. 1 . Angels and cherubs float among billowing clouds. See Gertrude Coor, The Earliest Italian Representation of the Coronation of the Virgin, The Burlington Magazine 99 (1957): 328330. 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. Andrea De Marchi (Cinisello Balsamo, Milan, 2005), 1415; Andrea De Marchi, La postrit du devant dautel Venise: Retables orfvrs et retables peints, in The Altar and its Environment, 11501400, ed. Maria Cristina Bandera Viani, Museo delle icone bizantine e post bizantine e Chiesa di San Giorgio dei Greci (Bologna, 1988), 12; Clara Santini, Un episodio della pittura veneziana di primo Trecento: Il Maestro dellIncoronazione della Vergine di Washington, Il Santo 37 (1997): 125 and pl. 1, Le vetrate dellUmbria (Rome, 1973), 136; Lucio Grossato, ed., Da Giotto al Mantegna (Milan, 1974), no. 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. In addition, there are Canonical coronations authorized by the Pope which are given to specific Marian images venerated in a particular place. (Milan, 1992), 2:541542; Mauro Lucco, Paolo Veneziano, in La Pittura nel Veneto: Il Trecento, ed. (Washington, DC, 1979), 1:326328; Pietro Scarpellini (intro. The Coronation of the Virgin was painted between the time of 1370-1380. (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. Francesca Flores dArcais, in Il Trecento adriatico: Paolo Veneziano e la pittura tra Oriente e Occidente, ed. Although various scholars have expressed doubt, I think Rodolfo Pallucchini (1964) was right to see the hand of the young Paolo in the figures of the two tiny donors painted kneeling at the feet of the wooden relief of San Donato in the altarpiece at Murano, a work dated 1310 and hence the earliest testimony of the artists activity. shows the picture covered with dirt and darkened varnish. The term gothic is applied to western European painting of the 13th century to the early 15th century. It has lost 1,779 tanks since February 2022, Oryx reported. 1923, and in more recent years Alessandro Marchi, in Il Trecento adriatico: Paolo Veneziano e la pittura tra Oriente e Occidente, ed. One of the principal concerns of iconography is the discovery of symbolic and allegorical meanings in a work of art. This image is in the public domain. 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. The applicability of the term to Italian painting is debated, as is its usefulness in accounting for developments in Netherlandish painting from the early 15th century. 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. See Francesca Flores dArcais, Venezia, in La Pittura nel Veneto: Il Trecento, ed. Inspired by African and Iberian art, he also contributed to the rise of Surrealism and Expressionism. The Coronation of the Virgin marks the final episode of the legend of the mother of Jesus, that of her ultimate glorification after her bodily assumption into heaven. Following its late nineteenth-century attributionby whom remains unclearto CaterinoVeneziano (in the caption of the nineteenth-century photographcited in Technical Summary note 3), Raimond van Marle (1924) cited the Coronationas an anonymous work of gothico-byzantine style. Evelyn Sandberg-Vaval in 1930 expressed the view that it is highly feasible to attribute it to Maestro Paolo himself, and in the following year Giuseppe Fiocco (19301931) unhesitatingly confirmed this attribution. also notes 9 and 19 above. The upper part of the painted area terminates in a mixtilinear arch placed within an ogival arch with crocketed ornament. 1455 On view at The Met Fifth Avenue in Gallery 956. An investigation has been launched into the mysterious death of ex-American collegiate swimmer Jamie Cail. 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. Viktorija Markova, Italija: Sobranie ivopisi, vol. East Building Mikls Boskovits, Ada Labriola, and Martina Ingendaay Rodio, new ed. This scheme, which subsequently underwent some changes, especially in Tuscany,[2] [2]On paintings by Tuscan artists in which Christ crowns Mary generally with both hands, cf. 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. 54 in the Bibliotheque Nationale in Paris. He holds a long staff in his other hand, which rests in his lap. Francesca Flores dArcais and Giovanni Gentili (Cinisello Balsamo, Milan, 2002), 146. . The Holy Ghost, appears above them in the form of a dove, occupying the upper vertex of a rhombus formed by the four figures. Other objects include books, most likely Bibles, a cross, a crown, a huge cathedral like stage that Mary and Jesus sit upon, and possibly a sword. Victor M. Schmidt, Grove Art Oxford University Press of the full maturity of Paolo Veneziano. They all have long, wavy, blond hair except for the woman, Mary, whose head is covered. as distinguished from the soft and elegant structure of the Kress figures, wrapped in draperies much more closely tied to the Byzantine tradition). It measures nearly 70 x 52 inches and the original work is in Museo del Prado. 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. Paolo Golinelli and Caterina Gemma Brenzoni (Verona, 2004), 199219. Christies, Rome, May 20, 1974, lot. Subsequently, only Viktor Lazarev, at least in a first publication dating to 1931, preferred to leave the painting in anonymity, while other art historians, until 1965, remained convinced of Paolos authorship. 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. However, the. Mary usually is represented seated on the same throne as her son and to his right as he crowns her with his right hand. was faithfully followed by Venetian painters throughout the fourteenth century and beyond. Instead, the author of the Washington Coronation dedicates particular attention to the corporeal substance of his figures, which in general seem more restricted in movement and more reserved in comportment than those that populate the paintings of Paolo Veneziano. See also M. Knoedler and Co. Records, accession number 2012.M.54, Getty Research Institute, Los Angeles: Series II, Box 76 (Sales Book No. These paintings reveal an undeniable kinship with the first works attributed to Paolo Veneziano. the same time, Lippis well-known Coronation of the Virgin, is a complex work crowded with figures. 1604 in the Musei Civici in Padua;[10] [10]Cf. Our editors will review what youve submitted and determine whether to revise the article. and the busts of apostles from the iconostasis of Caorle Cathedral. 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. [18] [18]Published as a work of the Veneto-Byzantine school of the 14th century by Ettore Merkel, Isole del nord della Laguna, Quaderni della Soprintendenza ai beni artistici e storici di Venezia 14 (1986): 159160, the panel was reassigned to the Master of Caorle by the present writer. [2] [2]Fern Rusk Shapley, Catalogue of the Italian Paintings, 2 vols. An old photograph, taken in the late nineteenth century [fig. 1153), or those of the Gospels (ms. 5) of the Monastery of Iviron on Mount Athos and of ms. grec. The Coronation Of The Virgin And Christiza Artwork 2 Summary Artwork 1, The Coronation of the Virgin and Artwork 2, Christ Crucified were created by Velazquez. (Milan, 1992), 2:544; Mojmir Svatopluk Frinta, Punched Decoration on Late Medieval Panel and Miniature Painting (Prague, 1998), 127, 128; Fulvio Zuliani, in Da Giotto al tardogotico: Dipinti dei Musei Civici di Padova del Trecento e della prima met del Quattrocento, ed. On paintings by Tuscan artists in which Christ crowns Mary generally with both hands, cf. Sculpture Garden 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). The Coronation of the Virgin; b. Francesca Flores dArcais and Giovanni Gentili (Cinisello Balsamo, Milan, 2002), 118; Viktorija Markova, Italija: Sobranie ivopisi, vol. Measuring 53 73 cm, it is a fragment of the lower part of a panel depicting the Crucifixion. I am indebted to . 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. 203204, published the six panels in question, with busts of apostles; he attributed them to a Master of Caorle. (Rome, 1998), 9:157; Francesca Flores dArcais, in Il Trecento adriatico: Paolo Veneziano e la pittura tra Oriente e Occidente, eds. 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. [4] Marian crowns often include elements of victory and glory, especially during the Baroque period. The subject also drew from the idea of the Virgin as the "throne of Solomon", that is the throne on which a Christ-child sits in a Madonna and Child. 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). Peter Kidson, Grove Art Oxford University Press mannerthan that of the Master of the Washington Coronation. The celebrated altarpiece is exquisitely sumptuous in appearance and marks a historic point in Florentine painting in its success in uniting as one scene the various panels of a polyptych. The title "Queen of Heaven", or Regina Coeli, for Mary goes back to at least the 12th century. Following Muraros intervention, many art historians continued to maintain with varying degrees of conviction the attribution of the Washington Coronation to Paolo Veneziano, while others preferred to leave it in anonymity. 73. 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. Cf. Alexander Nagel, Grove Art Oxford University Pressone with three, the other with four figures of saintsnow in the Pinacoteca Civica in Forl;[17] [17]The two fragments in Forl, left in anonymity by earlier art historians such as Edward B. Garrison (1949) and Giordano Viroli (1980), were attributed to the Master of Caorle by Giovanni Valagussa (1995). 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. Art historians now generally agree on the need to exclude his works from the catalog of Paolo Veneziano, to whom they were almost unanimously attributed for some thirty years, beginning with Giuseppe Fiocco (19301931), and to whom the Gallery (1985), Francesca Zava Boccazzi (1993), and John Oliver Hand (2004) continued to attribute the Coronation in Washington. I. str. 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? Enrico Castelnuovo, 2 vols. 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). In 1442 Lippi had been made rector of the church of San Quirico at Legnaia. Here, the Virgin holds the infant Jesus in a naturalistic manner. Contact with Byzantine art was close in the early 13th century, but after c. 1250 survived principally in the Holy Roman Empire and Italy. See Raimond van Marle, The Development of the Italian Schools of Painting, vol. The subject matter is fairly straightforward, an image of the Virgin Mary rising into the heavens, to be crowned by Christ to her right, God the Father to her left, and a dove representing the Holy Spirit overhead . 21 of the Gallerie dellAccademia in Venice and in the fragmentary panel of the Museo di Palazzo Venezia in Rome. Export from an artist page includes image if available, biography, notes, and bibliography. The altarpiece was never officially prescribed by the Church, but it did perform a prescribed function alternatively carried out by a simple inscription on the altarblock: to declare to which saint or mystery the altar was dedicated. Use features like bookmarks, note taking and highlighting while reading Fibonacci Analysis of The Coronation of the Virgin (Louvre) by Fra Angelico. Omissions? 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. Iconology, which is based on the results of iconography, is the more wide-ranging and comprehensive. In general the art of this period, often paid for by royalty and the nobility, increasingly regarded the heavenly court as a mirror of earthly ones. ), 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. Giuseppe Marchini, Corpus vitrearum Medii Aevi, vol. Overview This Coronation of the Virgin may be the first time the subject, which originated in the West, appears in Venetian art. Paolo died between 1358 and 1362, so he probably would not have been all that young around 1315. In the picture there are a lot of objects, there are two musicians with a violin and a harp. Mary is sometimes shown, in both Eastern and Western Christian art, being crowned by one or two angels, but this is considered a different subject. (Milan, 1992), 2:537; Carla Travi, Su una recente storia della pittura del Veneto nel Trecento, Arte cristiana 82 (1994): 7172. 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. Michelangelo Muraro (1969) accepted that proposal, although he did not exclude the alternative suggestion that the four figures originally belonged to una piccola iconostasi (a small iconostasis). Fibonacci Analysis of The Coronation of the Virgin (Louvre) by Fra Angelico - Kindle edition by Gulcugil, Ates. Italian paintings, 2 vols ; Pietro Scarpellini ( intro painted surface ( score lines ):.... Represented seated on the results of iconography, is a fragment of Virgin... And lasting function influenced the many forms taken by the altarpiece throughout its history as a symbol of power... 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