Conversion of saint paul renaissance art
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The Conversion of Saint Paul
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Title:The Conversion of Saint Paul
Artist:Benozzo Gozzoli (Benozzo di Lese di Sandro) (Italian, Florence ca. 1420–1497 Pistoia)
Medium:Tempera on wood
Dimensions:15 5/8 x 18 in. (39.7 x 45.7 cm)
Classification:Paintings
Credit Line:Rogers Fund, 1915
Object Number:15.106.2
Benozzo Gozzoli was a principal assistant of Fra Angelico, contributing to the frescoes in San Marco, Florence, the Chapel of Nicholas V in Rome, and the vault frescoes of the chapel of San Brizio in the cathedral of Orvieto. In 1444 he signed a contract to work for three years with Lorenzo Ghiberti on the third set of bronze doors—the Gates of Paradise—for the Baptistry of Florence. His work was probably in the nature of chasing, but Ghiberti’s richly detailed narrative style left an enduring mark on Gozzoli’s work, readily visible in The Met’s four panels.
Offner (1956) first established that these panels formed a predella seen by Vasari (1568) in the Alessandri family chapel of the church of San Pier Maggiore, Florence: "Ed in San Pier Maggiore, nella cappella degli Alessandri, fece quattro storiette di figure piccolo di San Piero, di San Paolo, di San Zanobi quando resusc
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CHERUBINO ALBERTI KNOWN AS BORGHEGGIANO, attribuited to
Borgo Sansepolcro, 1553 – Roma, 1615
The Conversion of Saint Paul
olio on panel, cm 108×82
Numbered in ink on the back with no. 164SO and with a handwritten inscription “Tadeo Zucaro. Stampa da Carlum Lusi Roma”
The painting is derived from the impressive Conversion of Saint Paul painted by Taddeo Zuccari in around 1564, as an altarpiece for the Frangipani Chapel in San Marcello al Corso, Rome. The painting is more glazed and sharper than the large prototype, and the fact that it reproduces the composition as a mirror image can be attributed to the use of an engraving.
Indeed, in 1592 Cherubino Alberti, an artist from Sansepolcro and part of a very prominent family of painters, engravers and sculptors in Rome and the Upper Tiber Valley, made a print from Zuccari’s altarpiece using the press of Giovan Battista Rossi. This is why our panel bears this traditional attribution, which was already assigned to it as it moved from one collection to the next. There is a reason for this indication if we compare the painting with Cherubino’s work from the end of the century.
The Zuccari altarpiece, painted in oil on slate slabs, also has another copy on copper, which is much smaller than ours and is ho