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	Polyptych - Wikipedia, the free encyclopedia
		Polyptychs were most common with Renaissance painters, the majority of polyptychs were designed to be altarpieces in churches and cathedrals.
		Polyptych of the Misericordia (1445-1462) by Piero della Francesca
		In comic books and comic strips a polyptych is a strip, or even an entire comic page, in which the background forms a continuous image even though it may be divided into separate panels; a good example is The Perishers which often uses polyptychs divided into 3 panels.
	en.wikipedia.org /wiki/Polyptych (168 words)

	Polyptych of Santa Caterina (Pisa Polyptych) by SIMONE MARTINI
		In 1319 a polyptych was commissoned for the convent of Santa Caterina in Pisa.
		This polyptych, now in the Museum of San Matteo, is without doubt the most important and grand of Simone's signed paintings: forty-three busts of apostles, martyrs, bishops and prophets are placed in the cusps and under the trefoiled arches of the panels.
		Over the centuries the polyptych has been reconstructed according to many different theories, but presently it is arranged as follows: in the cusps, next to the Blessing Redeemer, we find David playing the harp, Moses with the Tables of the Law and the prophets Jeremiah, Isaiah, Daniel and Ezechiel.
	www.wga.hu /html/s/simone/4altars/3pisa/1pisa.html (665 words)

	Polyptych: Facts and details from Encyclopedia Topic (Site not responding. Last check: 2007-10-21)
		Polyptychs were most common with Renaissance Renaissance quick summary:
		The renaissance was an influential cultural movement which brought about a period of scientific revolution and artistic transformation, at the dawn of modern...
		An altarpiece is a picture or relief representing a religious subject and suspended in a frame behind the altar of a church....
	www.absoluteastronomy.com /encyclopedia/p/po/polyptych.htm (928 words)

	Orvieto Polyptych by SIMONE MARTINI (Site not responding. Last check: 2007-10-21)
		In the case of the Orvieto Polyptych the presence of collaborators is unmistakable.
		Even though we cannot be entirely certain of the year in which it was painted (despite the suggestion that there is a missing letter in the inscription "MCCCXX"), the style of the work is very much under the influence of the art of Giotto and the overall mood is one of great solemnity.
		The frontal composition and the use of certain stylistic elements (such as a fairly rigid volumetric construction) that the Pisa Polyptych appeared to have surpassed, suggest that only the figure of the Madonna is actually by Simone.
	www.wga.hu /html/s/simone/4altars/4orvieto/10orviet.html (188 words)

	JAIC 1991, Volume 30, Number 2, Article 1 (pp. 115 to 124)
		The now-dark mantle of the Virgin in the Madonna and Child (Galleria Nazionale, Perugia)—formerly part of a polyptych most probably designed for the high altar of San Domenico in Perugia sometime after 1304 (Teuffel 1979)—is azurite, flened by a layer of discolored varnish caught in the matrix of azurite particles.
		The colors used in Polyptych No. 28 (Siena, Pinacoteca), which is usually dated just before the Maestà of 1308–11, are particularly difficult to interpret with the naked eye because of the distorting effects of a thick layer of yellow varnish (Torriti 1980, 51, color plate).
		Stubblebine (1979, 1:65) tentatively associates the work with a polyptych that was on the high altar of the abbey church of San Donato in Siena, whereas White cautiously suggests a location in a Dominican institution because of the inclusion of Sts.
	aic.stanford.edu /jaic/articles/jaic30-02-001_3.html (1821 words)

	Big areas: The Occitan valleys (Site not responding. Last check: 2007-10-21)
		However the true treasures of this church are the four polyptych that adorn the naves.
		The most ancient of which is the so-called Polyptych of the Epiphany by Hans Clemer with Saints John the Baptist, Peter, Paul, the Holy Family, the Three Kings and the protector of the Marquisate Costanzo and Chiaffredo.
		While the panels making up the Polyptych of the Madonna of cherries, so called due to the still-life at the feet of the Virgin, are the work of various artists in various periods.
	www.viaoccitanacatalana.org /zone/zone_dettaglio_valli_ing.asp?offset=33&IDrecord=34 (322 words)

	Emil Hilje - Gothic Painting In Zadar
		In the Zadar region, the following works are ascribed to Ivan Petrov: a fragment of the polyptych in the small village Luka on the isle of Dugi otok, the Mother of Christ breast-feeding the Child, treasured in St. Mary's Monastery and the polyptych from St. Jerome's Monastery on the isle of Ugljan ("Ugljan Polyptych").
		Portrayals of the Mother of Christ with Child and of the Dead Christ (parts of the former polyptych) in the parish church of Sali are both minor artistic achievements, yet they reveal certain closeness with the painting fashion of the Crivelli brothers.
		Paintings on wooden surface dating from the 15th century ("Betrothal of St. Catherine" from Smoković, a fragment of the polyptych representing the Mother of Christ with Child and the Dead Christ, from Ceranje, and the lost polyptych originating from the church of St. John near Zadar) are all rather modest artistic achievements.
	personal.unizd.hr /~ehilje/gsz-txt.htm (3373 words)

	Artonline
		The Polyptych of Fermo probably dates from the same year, only a fragment of this painting portraying the Virgin and Child (Pinacoteca Civica, Macerata) remains.
		Between 1473 and 1482 he painted several polyptychs for the main churches in Ascoli Piceno where in 1478 he purchased a house in the San Biagio district near the cathedral.
		On 10 May 1488 he received a commission for a Polyptych for the cathedral of Camerino (part of the this painting, the Madonna della Candeletta is now in Brera).
	www.artonline.it /eng/biografia.asp?IDArtista=20 (411 words)

	Polyptych with Madonna and Child - Save Venice
		This fourteenth-century polyptych belonged to the wine merchants’ guild, which was based at the Church of San Silvestro on the Rialto.
		The polyptych may have graced the guild’s altar in the Church (since rebuilt) before it was replaced by a more up-to-date painting around 1570.
		The physical characteristics of the polyptych are unusual.
	www.savevenice.org /site/pp.asp?c=9eIHKWMHF&b=861773 (267 words)

	Polyptych with Saint James Major, Madonna and Child, and Saints (Getty Museum)
		Polyptych with Saint James Major, Madonna and Child, and Saints (Getty Museum)
		This polyptych, made for a parish church dedicated to Saint James the Greater in northern Italy, depicts Saint James in the center, holding a pilgrim's staff with the symbolic scallop shell and a book.
		On the Virgin's left, Saint Apollonia holds a book and a pincer with a tooth, referring to the instruments of her martyrdom, and Saint Lucy holds an oil lamp that alludes to the significance of her name, saint of light.
	www.getty.edu /art/gettyguide/artObjectDetails?artobj=645 (247 words)

	Polyptych with Coronation of the Virgin and Saints (Getty Museum)
		Polyptych with Coronation of the Virgin and Saints (Getty Museum)
		Polyptych with Coronation of the Virgin and Saints
		In the central panel of this opulent polyptych, Christ crowns his mother, the Virgin Mary, as gathered angels and saints look on.
	www.getty.edu /art/gettyguide/artObjectDetails?artobj=646 (249 words)

	Polyptych with Saint James Major, Madonna and Child, and Saints photo - dvc photography photos at pbase.com
		Polyptych with Saint James Major, Madonna and Child, and Saints photo - dvc photography photos at pbase.com
		Polyptych with Saint James Major, Madonna and Child, and Saints
		Bartolomeo Vivarini's paintings were noted for their use of bright, dissonant colors and figures that resemble sculptures or wood carvings.
	www.pbase.com /image/23278176 (283 words)

	Messiah College: The Bridge
		"The Messiah Polyptych," a 26-panel painting that blends modern and ancient religious images, was designed and painted by professor Daniel Finch and several of his students.
		Featuring many fields of reds, blues, and greens—the three primary colors of light—the painting draws on an ancient idea that light is a metaphor for God.
		Though modern in its form, “The Messiah Polyptych” also includes many historic religious symbols and images, such as a representation of a baroque painting of Mary Magdalene, hands of clay, and a dove.
	www.messiah.edu /offices/publications/the_bridge/summer05/polyptych (209 words)

	heritage
		This 12-panel polyptych, dated 1468, was Crivelli's first work on his arrival in the Marche from Dalmatia and stands in the small parish church, 30 km west of Fermo, for which it was commissioned.
		On either side of the central panel of the Madonna and Child Enthroned are four panels of Saints John the Baptist, Lawrence, Silvester and Francis of Assisi.
		The polyptych is topped by three pointed panels (there were originally five) depicting the Dead Christ at the centre, flanked by the Annunciation and Archangel Gabriel.
	www.marcheworldwide.org /html/.\fermana.asp?lingua=en (110 words)

	JAIC 1991, Volume 30, Number 2, Article 1 (pp. 115 to 124)
		The red lake wrap of the Christ Child appears as yellow, and the Virgin's dress appears orange, suggesting that it consists of a mixture of red lake (yellow) and ultramarine (red) (figs.
		Color infrared film has important applications for the study of early Italian painting, as it enables the researcher to distinguish clearly when azurite or ultramarine were being used, an important distinction given the widely different values of the pigments on the contemporary market.
		Simone Martini, the Dominicans and the early Sienese polyptych.
	aic.stanford.edu /jaic/articles/jaic30-02-001.html (4684 words)

	Annual Bulletin 5, Ugolino di Nerio: Saint Anne and the Virgin by Laurence B. Kanter (Site not responding. Last check: 2007-10-21)
		The relative frontality of the Poznan Baptist recalls the figures in Polyptych 39 at Siena, and the smoother, more planar rendering of his facial features is more like that of Saint Francis from Polyptych 39 than it is like the exaggerated detail of any figure in the Santa Croce or Brolio altarpieces.
		Similar also to Polyptych 39 are the round arch of the Poznan panel, though in its present state it has been slightly truncated, and the punched floral motifs against a stippled ground in the halo.
		The pattern on Eustochium's (?) robe is a variant of that on the dress of the young Virgin at Ottawa or on the mantle of the Christ Child in the Tadini Madonna (fig.
	collections.ic.gc.ca /bulletin/num5a/kanter3.html (1249 words)

	St George (fragment of a panel from the Roverella Polyptych) by TURA, Cosme
		The Roverella Polyptych is considered as one of Tura's most important work.
		Originally it was located in the church of San Giorgio fuori le Mura in Ferrara where it was partially destroyed by a bomb in 1709.
		This fragment was attributed to Francesco del Cossa for a long time, it was identified as the only remaining part of the left panel of the Roverella Polyptych only in 1940.
	www.kfki.hu /~/arthp/html/t/tura/rovere/rovere_2.html (193 words)

	Giovanni di Paolo - Biography (Site not responding. Last check: 2007-10-21)
		But again, he interpreted the early Renaissance style of these prototypes with an almost expressionistic exasperation of rhythms, and combined their motifs in his own rather unconventional arrangements, giving strongly individual harsh expressions to the faces and actions.
		Examples of this phase are the Virgin of Mercy of 1431 (Santa Maria dei Servi, Siena); the Osservanza Crucifixion of 1440 (Pinacoteca Nazionale, Siena, no. 200); the triptych in Sant'Andrea in Siena dated 1445; the polyptych in the Galleria degli Uffizi also dated 1445; and the Pizzicaioli altarpiece of c.
		It is only in the last years of his activity, for example in the polyptych from Staggia now in the Pinacoteca in Siena, dated 1475 (nos.
	www.bonus.com /contour/national_gallery/http@@/www.nga.gov/cgi-bin/pbio?12500 (602 words)

	WORKS OF ART IN SAN MARINO 3
		The 4 Euro card reproduces a detail of the 16th century polyptych painted by an artist from Forlì, Francesco Menzocchi, (1502-1574) and found among the ruins of the Ancient parish church of San Marino.
		It was a very large polyptych, consisting of nine paintings: at the center the Holy Family and a cherub, with San Marino and St. Mary Magdalene at the sides.
		The polyptych is presented in the frame ordered in 1866 from the painter Luigi Cocchetti, who had also restored the painting.
	www.aasfn.sm /2000/inglese00/schede00/opere_darte3_en.htm (341 words)

	St Vincent Ferrer (Griffoni Polyptych) by COSSA, Francesco del
		The Griffoni Polyptych was executed for honouring St Vincent Ferrer whose cult had begun after his canonization in 1458.
		The reconstruction of the polyptych, dismembered in the 18th century, is not unambiguous.
		It seems certain that the central panel was the painting of St Vincent Ferrer while on his sides were St Peter and St John the Baptist.
	gallery.euroweb.hu /html/c/cossa/griffo_1.html (150 words)

	St. Clare, panel from a polyptych removed from the church of St. Francesco in Padua Giclee Print by A. Vivarini at ...
		Clare, panel from a polyptych removed from the church of St. Francesco in Padua by A. Vivarini
		The Giclee printing process delivers a fine stream of ink on archival paper, resulting in vivid, pure color and exceptional detail that is suitable for museum or gallery display.
		Clare, panel from a polyptych removed from the church of St. Francesco in Padua
	www.allposters.com /-sp/St-Clare-panel-from-a-polyptych-removed-from-the-church-of-St-Francesco-in-Padua_i1349727_.htm?aid=974174 (132 words)

	The Metropolitan Museum of Art - Special Exhibitions - From Filippo Lippi to Piero della Francesca: Fra Carnevale and ...
		These four panels are all that survives of Fra Carnevale's most ambitious altarpiece: a double-storied polyptych that probably had a central painting of the Madonna and Child enthroned.
		It is possible that the polyptych was commissioned in the late 1450s by Guido Bonclerici, secretary to Federigo da Montefeltro, for a church in his native town of Cagli.
		The Gothic format of the polyptych was traditional in the Marches, but the architectural niches of the standing figures and the extraordinary landscape behind Christ are a decidedly Renaissance interpretation.
	www.metmuseum.org /special/Carnevale/carnevale_view_1.asp?gallery=3&item=1 (303 words)

	AOF: PALETTES: THE POLYPTYCH OF SAN FRANCESCO AT SANSEPOLCRO
		Commendable examination of the alterpiece's original function; closeups of panel details give a sense of the beauty and meaning of the work.
		Best at letting you follow the chase, beginning with Bernard Berenson, with insight into the art historical detective work behind the conjectural reconstruction of such a polyptych.
		Complex and no-nonsense, yet coherent and easy to follow, on the whole; but narration is dense and too fast--overly rushed, crying out for greater length.
	www.columbia.edu /~dsm/paf/13271.html (413 words)

	aiwaz.net_institute - Encyclopedia (Site not responding. Last check: 2007-10-21)
		Leonardo established his own workshop in Milan and wrote the great part of his Trattato della Pittura and comprehensive notebooks.
		Leonardo was commissioned from the Confraternity of the Immaculate Conception (founded in 1477 by Franciscans) a polyptych for Confraternity’s chapel in the church of San Francisco Grande in Milan.
		The only remained part of a polyptych, made between 1483—1486, The Virgin of the Rocks is the painting meant for the central part.
	www.aiwaz.net /modules.php?name=Encyclopedia&op=content&tid=8 (1403 words)

	MUSEA ANTWERPEN - MAYER VAN DEN BERGH (Site not responding. Last check: 2007-10-21)
		The tetraptych (polyptych consisting of four panels) Antwerp-Baltimore, Meuse-Rhineland, circa 1400.
		Two of the four panels of this small polyptych are preserved at the Walters Art Gallery in Baltimore (US).
		The polyptych's patron must have been a prosperous man, who probably travelled frequently between places or residences.
	museum.antwerpen.be /mayervandenbergh/collectie_5_eng.html (203 words)

	artnet.com: Resource Library: Barbagelata, Giovanni di Nicolò (Site not responding. Last check: 2007-10-21)
		In the structure of the wooden framework, the abundant use of gilding, the use of chiaroscuro to suggest volume and the attention given to architectural perspectives, these polyptychs show close links with the works of those painters whom the patrons had recommended as models, such as Foppa and Mazone.
		To the same period must belong the triptych of St Louis (Moneglia, nr Genoa, S Giorgio), in which the sections are linked by their architectural perspective as in some works by Mazone.
		A section of a polyptych depicting Two Saints (sold New York, Sotheby’s, 13 Oct 1989, lot 56) attests to the influence of Carlo Braccesco during the 1490s.
	www.artnet.com /library/00/0062/T006230.asp (293 words)

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