Sano di Pietro (Italian, Sienese, 1405–1481). <em>Madonna and Child with Saints James Major and John the Evangelist, altarpiece</em>, early 1460s. Tempera and gold on panel, Central panel: 56 1/2 x 25 3/4 in. (143.5 x 65.4 cm). Brooklyn Museum, Gift of A. Augustus Healy, 06.80 (Photo: Brooklyn Museum, 06.80_SL3.jpg)

Sano di Pietro (Italian, Sienese, 1405–1481). Madonna and Child with Saints James Major and John the Evangelist, altarpiece, early 1460s. Tempera and gold on panel, Central panel: 56 1/2 x 25 3/4 in. (143.5 x 65.4 cm). Brooklyn Museum, Gift of A. Augustus Healy, 06.80 (Photo: Brooklyn Museum, 06.80_SL3.jpg)

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What does the bird represent in this painting by Sano Di Pietro?

In Renaissance religious painting, the small bird often shown in baby Jesus' hand is the European Goldfinch. It can symbolize the soul, resurrection, sacrifice and death. However, the goldfinch took on a deeper meaning following the plagues of the fourteenth century as a symbol of healing and redemption.

Why is baby Jesus holding a bird?

And this baby Jesus is holding a bird as well!

In Renaissance religious painting, the small bird often shown in baby Jesus' hand is the European goldfinch. At that time, it was a popular pet for children because of its beautiful plumage, which included red feathers around its beak. According to James Hall in Dictionary of Subjects and Symbols in Art, “The reason for its association with the Christ Child was the legend that it acquired its red spot at the moment when it flew down over the head of Christ on the road to Calvary and, as it drew a thorn from his brow, was splashed with a drop of the Savior’s blood.” The goldfinch can symbolize the soul, resurrection, sacrifice and death... Following the plagues of the 14th century, it also took on a another meaning as a symbol of healing and redemption.

Apparently, an ornithologist named Herbert Friedmann (1946) made a scholarly study of this phenomenon in which he traced no fewer than 486 devotional pictures containing the goldfinch!

Do you see the circles behind their heads? What do they mean?

The golden circles represent halos and are used to show the divinity of the Madonna and the infant Christ.

Thanks!

Any egg tempera paintings?

Oh, let me look into that! Are you an artist? I have found that artists are often interested in materials.

Sort of! I just came from the library and saw some really amazing egg tempera paintings.

Many of the religious paintings in the Beaux-Arts Court, where you are, were painted with tempera. In the Renaissance-era, tempera was mixed with egg and that material practice has been used actually since ancient Egypt through the Renaissance until it was eventually replaced with oil paints.

Oh! Awesome! Why was it replaced?

Mainly because the effects that can be achieved with oil paints are much greater than with tempera. Artists could achieve more color, depth and contrasts with oil. Oil takes much longer to dry allowing the artist to continually make changes and add layers of color. The surface is often brighter.

Is there any known significance to Jesus having a bird in his hand? Or is it just stylistic?

There is a reason why he's holding a bird. The bird is a European goldfinch. In this period, the goldfinch represented the soul and resurrection, which makes it a pretty good symbol for Jesus to carry! Later in Europe, it started to represent healing and redemption in reaction to the fourteenth century European plagues.

Wow, very subtle on their part. Thank you!

Very much so. I find symbols so fascinating for just that reason! And you're welcome!

Are there any other such symbols in the picture? The staff for example?

Yes! Each of the saints is holding a symbolic object. Saint James Major, who holds the staff, is the patron saint of pilgrims. Meanwhile, Saint John the Evangelist is holding a book, which refers to his authorship of the Book of Revelation.

I've seen this pattern before what does it mean?

I believe it is a simply stylized floral pattern, likely based on the Oriental carpets that were imported into Europe from Anatolia and the Middle East through major ports such as Venice. It was a sign of great wealth and power to have such a carpet -- and I've seen other oriental rugs on similar altarpieces.

What is the significance of the color pink in the religious paintings done in Italy during for 1400s? It is so bright, I am shocked by it.

It is quite striking! I believe that that symbolism is more linked to the color red, but that the pink you see is the way that Italian painters chose to represent red at the time.

The way we think of standardized colors now has changed a lot over the centuries.

The red color is associated with Holy Spirit in Catholic imagery making it an important (thus prolific) color in religious painting. What we now call pink would have been understood as a shade of red.

What is the significance of Christ's hand position? He's holding a bird and his left thumb in his right hand.

In Renaissance religious painting, the bird often shown in the Christ child's hands is a European Goldfinch. It can symbolize soul, resurrection, sacrifice, and death. The goldfinch took on an even deeper meaning after the Plagues of the 14th century as a symbol of healing and redemption.

It was often a popular pet for children at the time, because of its beautiful plumage which included red feathers around its beak. Another reason for it's association with Christ Child was the legend that it acquired its red spot as it flew down over the head of Christ on the road to Calvary.

As it drew a thorn from his brow, it was splashed with a drop of the Savior's blood. So many associations to explore!

Awesome. Thank you!

can you tell me more about this altarpiece?

This altarpiece is so richly ornamented! I love the painted textile that forms the backdrop for the Virgin.

Lavish textiles were used in the Middle Ages and Renaissance as "cloths of honor" that would be hung for feasts and special occasions behind the most prominent person (usually the king). This practice became so common that it was appropriated by artists for religious paintings.

It's interesting to compare this altarpiece with Luini's Madonna with Angels hanging nearby. The Luini was painted almost a century later and you can see a major difference in the way that the figures and space have been described.

Tell me more.

Sano di Pietro was based in Sienna, one of the leading cultural centers of the early Italian Renaissance. Sienese artists, like Pietro, were known for the three-dimensionality of their figures, harmonious colors, and realistic perspective.

Directly behind the Virgin, draped over her throne, is a richly decorated textile. While it may seem like a casual decorative item, it is actually a subtle visual pointer known as a "cloth of honor". During lavish banquets held in medieval European courts, the most prominent person in the room (the king) would be easily identifiable in a group setting by the tall, high-back canopy of his throne, made out of tapestries and textiles.

Who is John the Evangelist?

John the Evangelist is the author of the Fourth Gospel and the Book of Revelation. He carries a book as his attribute in reference to his writing of these two texts.

He is thought to be the person referred to in the Gospel of Saint John as 'the beloved disciple' to whom Jesus entrusted the care of the Virgin Mary at his death.

Madonna and Child with Saints James Major and John the Evangelist, altarpiece

Sano di Pietro

European Art

On View:

Here, the Virgin and infant Christ are seated on a throne with a cloth of honor draped behind them. The saints flanking the Virgin hold symbolic objects—James Major a pilgrim’s staff and John the Evangelist his book, referring to his authorship of the Fourth Gospel and the Book of Revelation. The goldfinch Jesus holds anticipates his future sacrifice. According to one legend, the birds acquired their distinctive red spots after one plucked a thorn from Christ’s crown and was splashed with blood.

ARTIST Sano di Pietro, Italian, Sienese, 1405–1481

MEDIUM Tempera and gold on panel

Place Made: Italy

DATES early 1460s

DIMENSIONS Central panel: 56 1/2 x 25 3/4 in. (143.5 x 65.4 cm) Left panel: 52 1/2 x 15 1/2 in. (133.4 x 39.4 cm) Right panel: 52 1/2 x 15 1/2 in. (133.4 x 39.4 cm) Frame: 64 3/8 x 63 1/2 in. (163.5 x 161.3 cm) (show scale)

COLLECTIONS European Art

ACCESSION NUMBER 06.80

CREDIT LINE Gift of A. Augustus Healy

EXHIBITIONS

MUSEUM LOCATION This item is not on view

CAPTION Sano di Pietro (Italian, Sienese, 1405–1481). Madonna and Child with Saints James Major and John the Evangelist, altarpiece, early 1460s. Tempera and gold on panel, Central panel: 56 1/2 x 25 3/4 in. (143.5 x 65.4 cm). Brooklyn Museum, Gift of A. Augustus Healy, 06.80 (Photo: Brooklyn Museum, 06.80_SL3.jpg)

IMAGE framed, 06.80_SL3.jpg. Brooklyn Museum photograph

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