Saint Sebastian — Montegiorgio
Vittore Crivelli created a beautiful work for a small confraternity, unfortunately unknown to us, which featured Saint Sebastian on the front and is now preserved in the church of the Saints John the Baptist and Benedict in Montegiorgio.
In the center of the panel is the saint, shot with arrows, positioned in front of a purple drape, with two groups of kneeling faithful on either side. The scene takes place on arid ground that ends in a landscape full of vegetation and roads. On the horizon, there is a castle with numerous pointed spires, painted with soft pigments that give the impression of a building in the distance.
The sky is blue and fades upwards with darker clouds, on which are placed four cherubs wearing very simple golden halos. Saint Sebastian also has a halo like that of the little angels next to him.
The work has numerous gaps that were repaired using the rigatino technique during a recent restoration.
Giovanni Battista Cavalcaselle and Giovanni Morelli mention Vittore's Saint Sebastian in their catalog of works of art in the Marche and Umbria regions with the following words: “In the collegiate church, there is a panel depicting Saint Sebastian with many devotees on either side in adoration. At the top are four cherubs. Country background. Work belonging to the Crivelli school. Value 500 lire, that is five hundred, as the painting is somewhat damaged. Mr. Giusdicente was tasked with affixing the royal seal to both panels.”
Francesca Coltrinari recently pointed out the similarity between Montegiorgio's work and the Madonna del Monte of Massa Fermana, “which shares the same motif of the sacred figure protecting the faithful kneeling at her feet.”
The panel is supported by additional spring-loaded parquetry, and when viewed from the side, it can be seen that the wood has been reduced to a minimal, uneven thickness. This suggests that the painting was originally the front of a processional banner. Therefore, the back must have depicted another scene, identified as Christ in Pity supported by the Madonna, St. John, and St. Mary Magdalene.
Unfortunately, we do not know where this second work is now kept, as it has been on the market several times: Florence, Brentano collection (1920); London, Priestley collection; London, Christie’s, November 26, 1976; London, Christie’s, July 5, 1991. Today it must be sought in the maze of the art market and private collections.
Vittore Crivelli
San Sebastiano e devoti di Montegiorgio
Stendardo processionale (originariamente accoppiato a Pietà, ubicazione ignota)
Tempera su tela, 153×128 cm
Chiesa dei Santi Giovanni Battista e Benedetto
via Andrea Passari,28 - Montegiorgio
Saint Sebastian — Montegiorgio
Vittore Crivelli created a beautiful work for a small confraternity, unfortunately unknown to us, which featured Saint Sebastian on the front and is now preserved in the church of the Saints John the Baptist and Benedict in Montegiorgio.
In the center of the panel is the saint, shot with arrows, positioned in front of a purple drape, with two groups of kneeling faithful on either side. The scene takes place on arid ground that ends in a landscape full of vegetation and roads. On the horizon, there is a castle with numerous pointed spires, painted with soft pigments that give the impression of a building in the distance.
The sky is blue and fades upwards with darker clouds, on which are placed four cherubs wearing very simple golden halos. Saint Sebastian also has a halo like that of the little angels next to him.
The work has numerous gaps that were repaired using the rigatino technique during a recent restoration.
Giovanni Battista Cavalcaselle and Giovanni Morelli mention Vittore's Saint Sebastian in their catalog of works of art in the Marche and Umbria regions with the following words: “In the collegiate church, there is a panel depicting Saint Sebastian with many devotees on either side in adoration. At the top are four cherubs. Country background. Work belonging to the Crivelli school. Value 500 lire, that is five hundred, as the painting is somewhat damaged. Mr. Giusdicente was tasked with affixing the royal seal to both panels.”
Francesca Coltrinari recently pointed out the similarity between Montegiorgio's work and the Madonna del Monte of Massa Fermana, “which shares the same motif of the sacred figure protecting the faithful kneeling at her feet.”
The panel is supported by additional spring-loaded parquetry, and when viewed from the side, it can be seen that the wood has been reduced to a minimal, uneven thickness. This suggests that the painting was originally the front of a processional banner. Therefore, the back must have depicted another scene, identified as Christ in Pity supported by the Madonna, St. John, and St. Mary Magdalene.
Unfortunately, we do not know where this second work is now kept, as it has been on the market several times: Florence, Brentano collection (1920); London, Priestley collection; London, Christie’s, November 26, 1976; London, Christie’s, July 5, 1991. Today it must be sought in the maze of the art market and private collections.
