Desiderio da Settignano (alternatively: Desiderio di Bartolommeo di Francesco dello Ferro)
Found in 26 Collections and/or Records:
A Hero, Portrait of a young androgynous man in side profile, He wears a chest piece likely armor, his hair is also adorned with a leaf laurel that is tied upon his head, the remaining strings extend beyond his head.
Vanderbilt photo identifier: SC.MSS.088.SCUL.0329; Public Notes:
A Little Boy, Image depicts a side portrait of a young child. Settignano produced many sculptures of small children that are without attribution but may have had religious significance., 1455/1460
Vanderbilt photo identifier: SC.MSS.088.SCUL.0330; Public Notes:
Giovane Gentildonna; Young Gentlewoman, Marble statue of a young female aristocrat, while we do not know who the subject is, the stylistic elements and soft features of the woman suggest a woman of the aristocracy. The photograph shows the sculpture in 100% profile.
Vanderbilt photo identifier: SC.MSS.088.SCUL.0336; Public Notes:
Giovane Signora, Bust statue of a young woman wearing a dress and looking straight ahead.
Vanderbilt photo identifier: SC.MSS.088.SCUL.0350; Public Notes:
Head of a Child, Image depicts a sculpture of a child looking up and away from the viewer.
Vanderbilt photo identifier: SC.MSS.088.SCUL.0331; Public Notes:
Madonna and Child, Marble relief of an intimate Madonna and Child embracing with halos., 3rd quarter 15th century (sculptor) ca. 1890 (cast), Photographed in 1932
Vanderbilt photo identifier: SC.MSS.088.SCUL.0351; Public Notes: Image is an image of the cast relief made after the marble original in the Galleria Sabauda, Turin in 1890.
Magdalene, Statue depicts the penitent Mary Magdalene from her hagiography in which after the death of Christ, Mary Magdalene went to a cave where she dedicated her life to penance. As time went on, her clothes disintegrated but her hair grew to clothe her. Here, Mary Magdalene appears much older, emaciated, and covered only by her hair. In her hand she holds an alabaster jar in which holds the oil she used to anoint Jesus. The image is very similar to a sculpture by Donatello in the Opera del Duomo in Florence. Both images vary from the standard iconography at the time in which Mary Magdalene remained young and in good health during her time in penitence. Settignano was one of Donatello's most talented students, this sculpture may be in remembrance of his teacher. Unfortunately, Settignano died before finishing this work and the completion fell to Benedetto da Maiano., 1464
Vanderbilt photo identifier: SC.MSS.088.SCUL.0323; Public Notes:
Magdalene, Statue depicts the penitent Mary Magdalene from her hagiography in which after the death of Christ, Mary Magdalene went to a cave where she dedicated her life to penance. As time went on, her clothes disintegrated but her hair grew to clothe her. Here, Mary Magdalene appears much older, emaciated, and covered only by her hair. In her hand she holds an alabaster jar in which holds the oil she used to anoint Jesus. The image is very similar to a sculpture by Donatello in the Opera del Duomo in Florence. Both images vary from the standard iconography at the time in which Mary Magdalene remained young and in good health during her time in penitence. Settignano was one of Donatello's most talented students, this sculpture may be in remembrance of his teacher. Unfortunately, Settignano died before finishing this work and the completion fell to Benedetto da Maiano. This image showcases the full statue within a niche in an alcove with columns and two decorative putti figures on either side of her and another above her. Below her rests an inscription., 1464
Vanderbilt photo identifier: SC.MSS.088.SCUL.0324; Public Notes:
Pala del Sacramento, Image shows a doorway with two large marble pillars on each side. Above the door a platform with decorative figures and a pediment with a cherubim with a wide wing span.
Vanderbilt photo identifier: SC.MSS.088.SCUL.0349; Public Notes:
Panciatichi Madonna; Madonna and Child, Low relief sculpture depicts the Madonna and Child. Here, the image depicts an intimate encounter of a mother with her smiling child on her lap. The Virgin Mary's expression radiates contentment. Neither figure looks to the viewer.
Vanderbilt photo identifier: SC.MSS.088.SCUL.0325; Public Notes: A cast of this relief is at the Victoria and Albert Museum in England.
Panciatichi Madonna; Madonna and Child, Low relief sculpture depicts the Madonna and Child. Here, the image depicts an intimate encounter of a mother with her smiling child on her lap. The Virgin Mary's expression radiates contentment. Neither figure looks to the viewer.
Vanderbilt photo identifier: SC.MSS.088.SCUL.0326; Public Notes: A cast of this relief is at the Victoria and Albert Museum in England.
Panciatichi Madonna; Madonna and Child, Low relief sculpture depicts the Madonna and Child. Here, the image depicts an intimate encounter of a mother with her smiling child on her lap. The Virgin Mary's expression radiates contentment. Neither figure looks to the viewer.
Panciatichi Madonna; Madonna and Child, Relief sculpture depicts the Madonna and Child. The Christ Child stands on the Madonnas lap and places his hand on her chest. The Madonna holds the child with both hands depicting an intimate encounter between a mother and her child. The decorative filigree around the the duo appear to be trees.
Vanderbilt photo identifier: SC.MSS.088.SCUL.0327; Public Notes:
Tabernacle of the Sacrament, Detail of Settignano's Tabernacle of the Sacrament's decorative figures and filigree., c. 1461
Vanderbilt photo identifier: SC.MSS.088.SCUL.0341; Public Notes:
Tabernacle of the Sacrament, Settignano's Tabernacle of the Sacrament showcases candle-bearing angels on either side along with two images of Christ at the top and bottom. At the highest point of the tabernacle stands the Christ child, nude, with his hand raised in a gesture of blessing. Below, two women stand on either side of Christ, the iconography suggests the relief is either from the Deposition from the Cross or depicts the Man of Sorrows. Within the ciborio or canopy, Settignano has crafted an incredible of an open hallway including two niches and a domed ceiling. Another relief within the ceiling showcases another divine figure, either Christ risen or God the father. The entire altarpiece is adorned by angels, decorative figures, and filigree. Image shows a detail of the ciborio., c. 1461
Vanderbilt photo identifier: SC.MSS.088.SCUL.0338; Public Notes:
Tabernacle of the Sacrament, Settignano's Tabernacle of the Sacrament showcases candle-bearing angels on either side along with two images of Christ at the top and bottom. At the highest point of the tabernacle stands the Christ child, nude, with his hand raised in a gesture of blessing. Below, two women stand on either side of Christ, the iconography suggests the relief is either from the Deposition from the Cross or depicts the Man of Sorrows. Within the ciborio or canopy, Settignano has crafted an incredible open hallway including two niches and a domed ceiling. Another relief within the ceiling showcases another divine figure, either Christ risen or God the father. The entire altarpiece is adorned by angels, decorative figures, and filigree., c. 1461
Vanderbilt photo identifier: SC.MSS.088.SCUL.0337; Public Notes:
The Christ Child(?), Marble sculpture depicts a young man thought to be the Christ Child. The young boy has perfect Renaissance features to depict his divinity and his soft features also remind the viewer of his innocence. His clothing is non-descriptive but his gaze encourages a familiarity with the viewer. The photograph shows the sculpture in 3/4 profile., c. 1460
Vanderbilt photo identifier: SC.MSS.088.SCUL.0335; Public Notes: Bust may have been originally created for private devotion at home but at some point it was moved to the oratory of San Francesco of the Vanchettoni in Florence. It is now on display at the National Gallery of Art in Washington D.C.
The Christ Child(?), Marble sculpture depicts a young man thought to be the Christ Child. The young boy has perfect Renaissance features to depict his divinity and his soft features also remind the viewer of his innocence. His clothing is non-descriptive but his gaze encourages a familiarity with the viewer. The photograph shows the sculpture in 100% profile., c. 1460
Vanderbilt photo identifier: SC.MSS.088.SCUL.0334; Public Notes: Bust may have been originally created for private devotion at home but at some point it was moved to the oratory of San Francesco of the Vanchettoni in Florence. It is now on display at the National Gallery of Art in Washington D.C.
Tomb of Carlo Marsuppini, Monument to Carlo Marsuppini (1399–1453), an Italian Renaissance humanist and chancellor of the Florentine Republic. His funerary monument rests opposite the tomb of Leonardo Bruni (1370-1444), his successor as the chancellor of Florence. The two monuments are often read together because of their shared elements. The Tomb of Carlo Marsuppini stands on an elevated pedestal adorned with grand pillars, a draped garland, angels and a Madonna and Child. The base of the tomb showcases a long epitaph., 1453-64
Vanderbilt photo identifier: SC.MSS.088.SCUL.0342; Public Notes:
Tomb of Carlo Marsuppini, Monument to Carlo Marsuppini (1399–1453), an Italian Renaissance humanist and chancellor of the Florentine Republic. His funerary monument rests opposite the tomb of Leonardo Bruni (1370-1444), his successor as the chancellor of Florence. The two monuments are often read together because of their shared elements. The Tomb of Carlo Marsuppini stands on an elevated pedestal adorned with grand pillars, a draped garland, angels and a Madonna and Child. The base of the tomb showcases a long epitaph. Detail of one of the angel statues at the base of the tomb., 1453-64
Vanderbilt photo identifier: SC.MSS.088.SCUL.0346; Public Notes:
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