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Bibliographical Abbreviations BIBLIOGRAPHICAL ABBREVIATIONS A.B. College Art Association, BlIlIetill, 1913-18. The Art N.G., Prelim. Cat., I, 1941; N.G., Prelim. Cat., II, 1942. BlIlIeti" 1919-. National Gallery of Art, Smithsonian Institution, Pre­ Art Treasllres, 1961. Art Treasllres for America. All AII­ limillary Cataloglle of Pailltillgs alld Sclllptllre, Descriptive thology of Pailltillgs alld SCI/lptllre ill tlte Samllel H. Kress List with Notes. Washington, D.C. 1st edition 1941; 2nd Collectioll. Preface by John Walker and Guy Emerson. edition 1942. Commentary by Charles Seymour jr. London, 1961. N.C. Ill., 1941. National Gallery of Art, Book of IIlustra­ Bode, Denkmiiler. W. v. Bode, Dellkmiiler der Renaissallce­ tiolls. Washington, D.C., 1941. Sklliptllr Tosca/las. Munich, I vol. text and plates, 1892- N.G. Cat., 1965. National Gallery of Art, Summary Cata­ 1905· loglle of Ellropeall Pailltillgs alld Sculptllre. Washington, Dllveell Sclllptllre, 1944. Dllveell Sclllptllre ill Pllblic Collec­ D.C., 1965. tiolls of America. A Cataloglle Rais01l1//! with Illustratiolls of N.G. Cat., Ill., 1968. National Gallery of Art, Ellropeall Italiall Renaissallce SCI/lptllres by the Great Masters which Paintillgs alld Sclllptllre. Illllstratiolls. Washington, D.C., have passed throllglt tlte HOllse ofDllveen. New York, 1944. 1968. G. d. B-A. Gazette des Beallx-Arts, 1859-. Paatz. W. and E. Paatz, Die Kirclten vall Florellz. Frankfurt J.P-H., I, II, III. John Pope-Hennessy, All Introdllction to am Main, 6 vols, 1940-54. Italian Sculptllre. I Italian Gotltic SCI/lptlire. London, 1955. Planiscig, 1921. L. Planiscig, Vellezialliscl,e Bildlraller der II Italiall Renaissance SClllptlire. London, 1958. III Italiall Rellaissallce. Vienna, 1921. High Renaissallce alld Baroqlle Sculptllre. London, 1963. Schottmiiller. Berlin, Staatliche Museen zu Berlin. Bild­ J.P-H., V.A.M., Cat. John Pope-He1111essy, Cataloglle of werke des Kaiser Friedrich Museums, Die Italieniscllell Italiall Swlpture ill the Victoria alld Albert Mllsellm, 3 vols. t/lld Spalliscllell Bildwerke der Rellaissallce t/lld des Barock. London, 1964. Erster Balld: Die Bildtverke ill Steill, Holz, TOil t/lld Wachs. j.P.K. jahrbllcll der KO/liglicll Prellssischen KUllstsamml,ltlgell Second edition, compiled by F. Schottmiiller, Berlin and 1880-1918. Afterwards jalrrbtlclt der Prellssiscl,ell KIIIISt­ Leipzig, 1933 (for a few pieces the first edition of 1913 salllmitmgen 1919-43, and jalrrbllch der Berliller Mllseell, has been quoted). 1959-· Seymour, 1966. Charles Seymour jr., Sclllptllre ill Italy j. W.K. Jahrbllch der Ktlllsthistoriscllen Sammill/lgell des 1400-1500. The Pelican History of Art, Harmonds­ Allerhocllsten Kaiserhallses, Vienna, 1883-1918. Later worth, 1966. Jalrrbllcll der Kllllstiristoriscllen Sammilltlgen ill Wiell. Seymour, Masterpieces, 1949. Charles Seymour jr., Master­ Vie1111a, 1920-. pieces of SCI/lptlire from tlte Natiollal Gallery ofArt. National K.I.F. Kunsthistorisches Institut in Florenz. 9allery of Art, Smithsonian Institution, Washington, Kress Coli. Cat., 1945 (1949). Paintillgs alld SClllptllre from D.C. and New York, 1949. the Kress Collectloll. National Gallery of Art, Smith­ Swarzenski, 1943. Georg Swarzenski, 'Some Aspects of sonian Institution, Washington, D.C., 1945, 1949. Italian Quattrocento Sculpture in the National Gallery' Kress Call. Cat., 1951. Pailltillgs alld SCI/lptllre from tire Kress in Gazette des Beaux-Arts, 6th series, XXIV, New York, Collectioll. Acqllired by tlte Samllel H. Kress FoII IIdatioll, 1943, pp. 149-56; 284-304. 1945-51. National Gallery of Art, Smithsonian Institu­ Th.B. Ulrich Thieme and Felix Becker (ed.), Aligemeilles tion, Washington, D.C., 1951. Lexikoll der Bildelldell Kiillstler, 37 vols. Leipzig, 1907- Kress Coli. Cat., 1956. Pailltillgs alld Sclllptllre from tlte Kress 50. Collectioll. Acqllired by tlte Samllel H. Kress FOlllldatioll Valentiner, 1938. W. R. Valentiner, A cataloglle of Italiall 1951-6. National Gallery of Art, Smithsonian Institu­ Gothic alld Early Renaissallce Sculptllres, Eigllteellth Loall tion, Washington, D.C., 1956. Catalogue by W. E. Exhibitioll of Old Masters, Jallllary 7th to Febmary 20th, Suida and F. R. Shapley. 1938. The Detroit Institute of Arts. Kress Call. Cat., 1959. Pailltillgs alld Sclllptllre frOIll tIle Vasari. Giorgio Vasari, Le vite de' pH, eccellellti pittori, sCIII­ Samllel H. Kress Collectioll. National Gallery of Art, tori ed arcl,itettori. COli II110ve allllotaziolli di Gaetallo Smithsonian Institution, Washington, D.C., 1959. Milallesi, 9 vols. Florence, 1878-85 (reprint 1906). Maclagan and Longhurst. Victoria and Albert Museum. Venturi. Adolfo Venturi, Storia dell'Arte Italialla. Milano, Department of Architecture and Sculpture, Cataloglle of 1901-40. Vol. IV, La SCllltllra del Trecellto, 1905. Vol. VI, Italiall Sculptllre by Eric Maclagan and Margaret H. La Scllltura del Qllattrocellto, 1908. Vol. X, La SCllltllra del Longhurst. London, 1932. Cillqllecento, tltree parts, 1935-7. TUSCAN SCHOOL: XIV CENTURY TINO DA CAMAINO accepted with some reservations. 10 We know that, like her husband and other members of her family, Sancia had been Sienese, Pisan and Neapolitan School. Sculptor and archi­ a devoted adherent and most generous benefactress of the tect, born in Siena c. 1285, died in Naples 1337. Son of the Franciscan order and that of St Clare. Tradition had it that architect and sculptor Camaino di Crescentino (d. 1338). she often exchanged her regal garments for those of a nun. Active in Pisa (1311-15), Siena (till 1320), Florence (1321-2) After the death of her husband in 1343 she took the veil and Naples (from 1323 till his death). At times he was and retired into the convent ofS. Chiara, where she died in working with his father and since we do not know any of 1345. 11 Thus it could be imagined that in an intimate the latter's work, we cannot tell how much Tino might object like this relief she should be represented in the veils have owed him. Decisive for him must have been the en­ of a nun, being recommended to the Virgin, in the presence counter with Giovanni Pisano, who was the architect of of St Francis, by a Saint who would logically be St Clare. the cathedral of Siena from 1284 till 1299, and whom he The attribution of the relief to Tino has been more gener­ may have followed to Pisa. Tino's later style, however, ally accepted. 12 It ranges stylistically with works from reverts to certain Sienese habits. In Naples he must have Tino's last years, so that a proposed dating around 1335 headed a large workshop. might be defended. 13 Its closest associates would be the relief of Cava dei Tirreni,14 the tomb of Charles of Cala­ bria (133213),15 and the dispersed tomb of Giovanni of Follower ofTINO DA CAMAINO Durazzo (d. 1335).16 The small size of the relief makes a comparison with these monumental works difficult. This KI386 : Figure I and the fact that Tino at that time must have employed many helpers makes Ragghianti's doubts, whether the MADONNA AND CHILD WITH ST CLARE, ST FRANCIS, relief might not be a school work,12 understandable. The QUEEN SANCIA OF NAPLES AND FOUR ANGELS. Wash­ representation of the Queen alone, without the King and ington, D.C., National Gallery of Art (AI56), since 1945.1 in nun's garb, particularly with the crown carried on her White marble2 relief, 20!XI4!X3i in. (51'4X37'8x8'5 arm, would be much more logical after 1343 when she had em.). The back has bevelled edges. Broken in two pieces retired as a dowager into the convent. Such a late date diagonally from the wrist of St Clare to the upper right would exclude Tino himself as the author. There is nothing corner, and put together with minor losses and replace­ to suggest that the relief originally was the centre of a ments along the break: a patch above the right hand of St triptych17 unless it was housed, as is possible, in a wooden Clare, the right thumb of the Virgin, a piece of the curtain case with folding doors. The resemblance to the small held by the upper right angel. The marble has a warm domestic painted altars of the period is evident. yellowish patina and some brownish stains. Traces of the bolus preparation for the gilding on the angels' wings. Referellces: (I) A. M. Frankfurter, Supplemellt to the Kress Removed from an alabaster frame, repaired and cleaned Collectioll ill the Natiollal Callery, New York, 1948, p. 19; 1955 by J. Ternbach. N.C. Cat., 1965, p. 172; Ill., 1968, p. 152 (as Tino da Camaino). (2) According to recent tests the material is Provellallce: A. Sambon, Paris.3 Contini-Bonacossi, Rome.4 marble and not, as is usually said, alabaster, so that all Henry Goldman, New York.5 Duveen's, New York.6 speculations with regard to such a special material are super­ Kress acquisition 1944.7 Exhibited: Detroit Institute of fluous. (3) ColI. A. Sambon, Sale, Paris, G. Petit, 25-28 Art, Detroit, Mich., 1938.4 May 1914, n. 400. (4) Valentiner, 1938, n. 12; E. P. Richardson, Pamassus, x, n. 2 Feb. 1938, pp. 8 f. (5) W. R. When the relief appeared in the market, it was described Valentiner, Art ill America, XI, 1923, pp. 304 f. (6) Informa­ simply as of the fourteenth century.3 The attribution to tion supplied by the office of the Samuel H. Kress Founda­ Tino da Camaino and the identification of Sancia of tion. (7) Kress Call. Cat., 1945 (1949), p. 173; Kress Call. Majorca, the Queen of King Robert the Wise of Naples, Cat., 1959, p. 386 (as Tino da Camaino). (8) Valentiner, ll. were proposed by Valentiner.8 The identification is prob­ ce.; the same, Bulletill ofthe Detroit Illstitllte ofArts, VII, Dec. able, but difficult to prove, because the known portraits of 1925, p. 27; the same, Tina da Camaillo, Paris, 1935, pp. the Queen9 never show her in the veils of a nun, and the 115 f£ (9) F.
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