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The altarpiece was likely originally constructed for the Dominican church of Ascoli Piceno, given the inclusion of Dominican saints on the lower levels of the altarpiece. The church held another 1476 Crivelli work, the Saint Peter Martyr Altarpiece. Both works were dismantled from their altars c. 1776 due to renovations in the church. They were then sold to an antiquarian, Grossi, who further separated the panels and regrouped them. (The predellas that went with the altarpieces are lost.)
Art historians Federico Zeri and Rodolfo Pallucchini reintegrated the formerly separated altarpieces, referring first to the Pietà in the Metropolitan Museum and second to the Madonna in the Museum of Fine Arts of Budapest. In 1961, the National Gallery again disjoined its panels and reconstructed them into two separate polyptychs.
Description and style
The altarpiece's Pietà panel
The altarpiece has a traditional setting, with a Madonna Enthroned with Child at the center, the saints depicted to the sides, and on the upper level a Pietà and half-figure saints.
The structure of the altarpiece perplexed critics for a long time. Art historians eventually adopted the theory that the altarpiece was actually an assemblage of panels from different sources.
Panels
Lower register:
Madonna and Child, 148x63 cm, signed OPVS KAROLI CRIVELLI VENETI 1476
Saint John the Baptist, 138x40 cm
Saint Peter, 138x40 cm
Saint Catherine of Alexandria, 138x40 cm
Saint Dominic, 138x40 cm
Upper register:
Saint Francis, 61x40 cm
Saint Andrew, 61x40 cm
Pietà, 69x63,5 cm
Saint Stephen, 61x40 cm
Saint Thomas, 61x40 cm
Possible reconstruction
Bibliography
Zampetti, Pietro (1986). Carlo Crivelli (in Italian). Florence: Nardini Editore.
