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 St. Anthony Abbot, St. Sebastian and St. Rocchus 1510-1515 ca. Master of Tavarnelle San Casciano Val Di Pesa, Museum of Religious Art Tempera on wood; 117 x 148cm Source: Oratory of the Pieve Vecchia (Old Church) of Sugana.   This painting is attributed to the so-called Master of Tavarnelle, an artist over whose identity there is some controversy. He takes his name from the painting on wood of the Madonna and Child enthroned between Saints Sebastian and Martin contained in the Museum of Religious Art at Tavarnelle Val di Pesa. It has become a point of reference for all the other works attributed to this artistic personality. The tempera portrays the three Saints, St. Anthony Abbot, St. Sebastian and St. Rocchus placed in the centre foreground. All three of these saints were invoked for help against the plague, a disease that was extremely frequent in Tuscany in the early decades of the 16th century. The subject is not a common one and has led to the theory that the painting may have been commissioned as a votive offering. St. Sebastian is placed in the centre and shown as in the traditional portrayal of the scene of his martyrdom. The naked young man is tied to a tree trunk, his body pierced with arrows that should have killed him, but were instead unable to damage any vital organs; two angels in flight are shown at the height of his head bearing a crown and a palm leaf, the symbols of the Christian martyr. St. Anthony Abbot is placed on the right, at Sebastian's feet, and shown wearing his monk's habit and holding a crutch-shaped staff, the traditional emblem of the mediaeval monk, a book of religious texts and a bell, symbolising the sound that announced the arrival of the Gesuats from the order of St. Anthony from a distance; the pig that always accompanies him is also closely linked to the order, because it was the animal traditionally raised by the monks of St. Anthony during the Middle Ages. St. Rocchus is placed on the opposite side and recognisable for his pilgrim's staff and knapsack. He shows the sore on the inner part of his thigh, which was the part of the body where the first signs of the plague appeared. The landscape behind the three figures is extremely interesting as it gives a very accurate view of the village of Cerbaia seen from the Parish Church of Sugana, where the painting originally came from. back print
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