Search	The Work of San Casciano Val di Pesa, Museo di Arte Sacra :: Processional cross Tuscan Manifacture, Late 14th century - early 15th century :: Martyrdom of St. Lucy Giovan Camillo Ciabilli, Late 17th century :: Thurible Tuscan Manifacture, Dated 1775 :: Navicule Tuscan Manifacture, Dated 1775 :: Madonna and Child Gino Micheli da Castello, Dated 1341 :: Sculpted Column Master of Cabestany, Second half of the 12th century :: Chasuble Tuscan Manifacture, 16th century and late 15th century-16th century :: Cope Tuscan Manifacture, Late 17th century :: Madonna and Child Lippo di Benivieni, Second decade of the 14th century :: Coronation of the Virgin Neri di Bicci, Dated 1476 and 1481 :: The Archangel St. Michael and stories from the legend of his life Coppo di Marcovaldo, 1250-1260 ca. :: St. Anthony Abbot, St. Sebastian and St. Rocchus Master of Tavarnelle, 1510-1515 ca. :: Madonna and Child Ambrogio Lorenzetti, Dated 1319	.:. works .:. artists The Archangel St. Michael and stories from the legend of his life 1250-1260 ca. Coppo di Marcovaldo San Casciano Val Di Pesa, Museum of Religious Art Tempera on wood; 122 x 96cm. Source:   The most recent critics are unanimously in agreement in attributing Coppo diMarcovaldo with having carried out the reredos with the Archangel St. Michael and six stories from his life, in honour of the eponymous saint of the tiny Church of Sant'Angelo at Vico l'Abate. Coppo, one of the most important exponents of 13th century Florentine painting, carried out the tempera shortly before taking part in the Battle of Montaperti. He was captured and carried off to Siena, where he continued to work as a painter. Darkened by time (it was originally in varnished silver), the central image portraying the archangel stands out from the background of the painting. He is shown sitting with open wings on a throne in a hieratic and frontal position and wearing a pink tunic decorated with a long stole, which was once also varnished. The Saint, shown with the symbols that identify him, holds his sword in his right hand, the symbol of the battle fought against the Devil, with an orb topped by a cross in his left. The stories are shown in chronological succession, according to Byzantine iconographic traditions, and start from the panel on the top right and then continue in an S-shaped direction. The first panel shows the investiture of the Archangel chosen by God, who gives him a lance to defend the Church and humanity. The next panel, on the left, shows Michael helping to prepare a throne in the Third Order of angels in Paradise, the order that includes the archangels in the celestial hierarchy. The central panel on the left describes the victory against Lucifer as told in the Apocalypse: Michael threw "the dragon" and all his followers out of Heaven as he wished to be equal to God. The next story, in the same centre row, refers instead to the miracle of the bull as told in the Leggenda Aurea: a bull escaped from its herd at the top of Mount Gargano and when its owner found it at last by the entrance to a cave, he was so infuriated and full of spite, that he shot it with a poisoned arrow; however the arrow returned and wounded him instead. The next story is narrated in the panel below, on the right, where St. Michael appears before the herdsman to explain that he has caused all this to come about and that the place indicated by the bull is to be consecrated in his name. The Leggenda Aurea also tells about an episode that took place in the time of Pope Gregory, when the plague broke out in Rome and was later brought to an end by the intercession of St. Michael, who appeared by the Mausoleum of Hadrian in the city. The mausoleum, called Castel Sant'Angelo ever since, can be recognised within the city walls in the last panel, on the bottom left. The stories can be paired together: the first two at the top illustrate the divine will and the definition of Michael's celestial hierarchy, head of the angels faithful to God and protector of the Church; the central panels refer to the manifestations of his power (his victory over Lucifer and the miracle of the bull); while the last ones refer to two apparitions, both of which led to two buildings being dedicated to him (Castel Sant'Angelo and the Sanctuary on Gargano). In spite of being chronologically very close to the stylistic changes that were taking place in Florence under the influence of Cimabue, Coppo's St. Michael is still completely Byzantine in style with stereotyped faces, lively chromatic contrasts, absence of perspective, linearism and a decorative richness that flatten the figures against the background.The six episodes in the squares reveal the same graphic refinement though they are characterised by a greater expression, thanks to the narrative requirements. back print
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