Search	The Work of Impruneta, Il Tesoro di Santa Maria :: Cushion Tuscan Manifacture, 15th century, before 1477 :: The discovery of the sacred image of the Virgin Florentine Sculptor, Mid 15th century :: Altar trappings composed of four candleholders and a cross bearer with a cross Florentine Workshop, Before 1632 :: Antiphonary (previously called Vesperal 6) Antonio di Girolamo di Ugolino, 1538-1539. :: 1. Gradual (previously called Antiphonary I) Lippo di Benivieni, 1315-1320 ca. :: Basin and jug Tuscan Manifacture, Datable as 1711 :: Pyx Tuscan Manifacture, 16th century :: Processional cross Lorenzo Ghiberti, 1425 ca. :: Reliquary of St. Sixtus Simone Pignoni, Dated 1614 :: Pyx Cosimo Merlini, 1637 :: Pair of votive vases Tuscan Manifacture, Second quarter of the 17th century, datable as 1633 :: Pax Antonio di Salvi, 1515 :: Little cape - image cover in canvas Tuscan Manifacture, 1568 :: Chasuble Tuscan Manifacture, Early 18th century :: Series of two tunicles Tuscan Manifacture, 17th century	.:. works .:. artists The discovery of the sacred image of the Virgin Mid 15th century Florentine Sculptor Impruneta, The Treasure of Santa Maria 73,6 x 236,7cm. Source: Basilica of Santa Maria at Impruneta This marble bas-relief, which was once the altar frontal for the altar of the Madonna in the Basilica of Santa Maria, narrates, in a series of episodes, the legend about the discovery of the sacred image of the Madonna as told by the Parish Priest Stefano in the second half of the 14th century. A very long time ago, though it is not known exactly when, the townspeople of Impruneta decided to dedicate a church to the Madonna and build it on the hill known as the "Sante Marie". However the walls that were built by day regularly fell down again during the night. As it was clear that the Virgin Mary did not approve of the site, they decided to load up a cart with building stone, harness it to two oxen and then allow the animals to roam freely, guided by the divine will alone. The site chosen by the animals, when they finally came to a halt and knelt on the ground was therefore where the new church was to be built. The icon of the Holy Virgin was found during the digging of the foundations. It not only gave the Sanctuary its name but also was to be the object of great devotion for centuries. The altar frontal faithfully describes the story, setting it in the hillside landscape of Impruneta: at centre top, we can see the chapel on the Mount of Santa Maria, whose walls kept falling down at night, and the oxen ready to draw the cartload of stone. At the bottom the oxen are shown kneeling before the Holy Image as it is dug up. We can see the Basilica already built in the centre, with the Romanesque facade preceded by a portico, while various figures hurry in from the sides to watch the event.As to the author of the work, he was certainly a Florentine who was active in around the mid 15th century. Over the centuries, critical studies have recognised the hand of various artists, from Michelozzo to Luca della Robbia, Filarete and, last but not least, Antonio Natali's recent attribution to Pasquino from Montepulciano.These are all plausible theories as this bas-relief, apart from expressing an originality of its own, is undoubtedly technically and stylistically the result of the early Renaissance culture that was inevitably influenced by the work of Donatello. back print
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