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 Madonna and Child Dated 1341 Gino Micheli da Castello San Casciano Val Di Pesa, Museum of Religious Art Polychrome marble; 121,5 x 40 x 25cm Source: Church of San Lorenzo at Castelbonsi.   The polychrome marble sculpture portrays the group of the Madonna and Child according to the traditional iconographic designs of the 14th century. The Virgin is standing, wearing a red dress and wrapped in a blue mantle lined with green; she holds the partly mutilated Baby Jesus on her left arm, while raising the mantle enveloping her body with her right hand. The restoration of this work has retained the many over-paintings carried out in ancient times in the attempt to recover the original colours. The marble base bears the inscription "MCCCXLI: GINO MICHELI: DA CH(A)STELLO"; this is why the statue has been attributed to a sculptor who was presumably called Gino Micheli, though he has not been found documented elsewhere. He was certainly well integrated in the Florentine Gothic environment of the mid 14th century and has been attributed with a large group of sculptures that share the same stylistic characteristics. This sculptor interpreted the trend to create the more compact and solid forms so typical of formal Florentine traditions, in an extremely lively way. He tried to avoid any stiffness in the figures whose supple movements are, if anything, animated by a lively vitality that is further helped by the soft and flowing lines of the clothing, together with the open expressions on the wide and flattened faces. back print
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