Search	The Work of Greve in Chianti, Museo di San Francesco :: Thurible Tuscan Manifacture, 15th century :: Reliquary Cross Florentine Workshop, Second half of the 14th century :: Assumption of the Virgin between Sts. Lucy and Anthony of Padua Francesco Curradi, 1640 ca. :: Reliquary of San Cassiano Tuscan Manifacture, First half of the 17th century :: Madonna and Child Nanni di Bartolo, Second decade of the 15th century :: Chasuble Italian Manifacture, Third quarter of the 18th century :: Annunciation Florentine Painter, Mid 14th century :: Madonna and Child between Sts. Anthony Abbot and Lucy Florentine Painter, First quarter of the 16th century :: Madonna and Child between Sts. Bartholomew and Francis Francesco Granacci, Last decade of the 15th century :: Lamentation over the Dead Christ Sphere of Baccio da Montelupo, 1520 - 1530 ca. :: St. Sylvester Workshop of the Jesuit Monks, First decade of the 14th century	.:. works .:. artists Madonna and Child between Sts. Bartholomew and Francis Last decade of the 15th century Francesco Granacci Greve in Chianti , Museum of San Francesco Tempera on wood 152 x 168cm Source: Church of Santa Maria at Cintoia   This tempera of the Sacred Conversation was mentioned in documents from the end of the last century as being in the Church of Santa Maria at Cintoia. Federico Zeri definitely attributed it to Florentine artist Francesco Granacci in 1963. The painting reflects a typical 15th century composition, flat, rigorously symmetrical and with architectural elements. The Madonna and Child are seated on a throne, the symbol of majesty, that is placed on centrally placed steps, thus creating a perspective space of great depth that starts from the bottom of the picture, reaches the throne and lastly the steps behind it. The latter lead to a low wall, whose perspective panelling fits in perfectly with and closes off the geometric composition, so that we can only see a few clouds behind it, just enough to suggest that this is an open space. The various levels of the composition are further emphasised by the way the Virgin is sitting, with her right foot placed lower than her left, so that it protrudes as far as the edge of the step. Mary's informal position on the throne continues in the affectionate way she draws the Child close to her. Jesus, holding a little bird in His hand, a frequently used symbol of his sacrifice on the Cross, gradually relaxes in his Mother's tender embrace. The two composed and elegant saints standing on either side seem to have nothing to do with this intimate relationship between Mother and Son. St. Francis stands on the right dressed in his usual grey habit and bearing the Bible and a crucifix, while also showing the stigmata on his side and hands. St. Bartholomew is painted on the opposite side, also holding the Book of the Gospel, while a knife, used to flay him alive when he refused to adore idols, is shown in his right hand. The painting, with clear influences from Ghirlandaio, still appears to be strongly attached to the 15th century traditions, as we can see from the intimate embrace between Mother and Son, and the little angels squatting on the curving summit of the throne, an iconographic citation from a painting on wood by Piero di Cosimo, at present in the Museum of the Innocenti in Florence.These details lead critics to believe that it was carried out in the late 15th century, in other words in the very early stages of Granacci's career, probably when he was still an apprentice in Domenico Ghirlandaio's workshop. back print
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