According to L. H. Heydenreich, this "in memoriam" painting dates from Jacopo's middle period when the influence of Botticelli was not yet strongly apparent, thus putting the work at the first half of the 1480s. The composition shows the city of Florence straddling the Arno River in the background, with the Holy Trinity of God, the Holy Spirit and Christ seen at the top of the composition. At the base of the Cross, the corpses of two women, thought to be mother and daughter, are laid out. On either side, the donor of the work and his son are shown accompanied by the Virgin and St John. The plague was rampant in Florence in 1479-84, and many scores of people died. These two women were probably victims of the plague. This altarpiece was commissioned by the widower in memory of his wife and daughter and was donated to a church in Florence in prayer for their souls. The depiction of the four bridges spanning the Arno in the background image of Florence (the third bridge is the Ponte Vecchio) is a realistic depiction of the city at the time, as seen in a comparison with the woodcut of a town view of Florence dating to 1480. The tall tower of the Palazzo Vecchio and the dome of the Cathedral appear on the left side of the river. However, the town's distant view was the painter's imaginative image, and this area reflects the influence of the early da Vinci work Baptism of Christ and the Annunciation in the Uffizi Gallery. The slopes of the mountains on left and right that contain the town include eight narrative scenes ranging from the top of the hills to the riverbanks. Jacopo was particularly fond of including numerous examples of such small vignettes in his background images. From the left craggy mountain to the craggy mountain on the right, the scenes are the Sacrifice of Isaac, the Good Samaritan, the Meeting of Christ and John the Baptist, the Vision of St. Augustine (children trying to empty the sea by scooping water with a shell), Tobias and the Angel, St. Francis Receiving the Stigmata, St. Jerome, and Moses Receiving the Ten Commandments. These small scenes are all painted in the miniaturist form found in Botticelli's small panel paintings. This painting is a frank expression of the style of the Florentine school of the latter half of the 15th century, a style that constituted the main stream of early Renaissance art. (Source: Masterpieces of the National Museum of Western Art, Tokyo, 2009, cat. no. 12)


  • Title: Votive Altarpiece: the Trinity, the Virgin, St. John and Donors
  • Date Created: c. 1480-85
  • Location Created: Italy
  • Provenance: Von Miller, München; Otto Wertheimer, Paris.
  • Physical Dimensions: w750 x h1270 mm
  • Painter: Jacopo del Sellaio
  • Object title (Japanese): 奉納祭壇画:聖三位一体、聖母マリア、聖ヨハネと寄進者
  • Object notes (Japanese): このイン・メモリアム(死者追悼)の図は、L.H.ハイデンライヒの研究によれば、ボッティチェッリの影響が未だ強く現われぬヤコポの中期の作品で、1480年代前半の制作と考えられる。画面はアルノ河をはさむフィレンツェの町を背景として、上部に神、聖霊、キリストの「三位一体」が配され、そして下の十字架の足もとには母と娘と思われる二人の婦人の白衣の屍体が横たわる。その両側に、絵の奉納者とその息子が聖母マリア及び聖ヨハネと共に描かれている。フィレンツェでは1479-84年にかけてペストが流行して多数の人が死んでいるので、この母娘はおそらくこのいずれかの年のペストの犠牲者であろう。亡くなった妻と娘の冥福を祈るために、その夫からフィレンツェの寺院に奉納された祭壇画である。背景が当時のフィレンツェ市の実景であることは、アルノ河にかかる四つの橋(三つ目の橋はポンテ・ヴェッキオ)の描写を1480年の都市図と比較すれば明らかである。河の向かって左手にはパラッツォ・ヴェッキオの高塔や大聖堂のドームが見える。しかし、町の背後の遠景は画家の想像図で、ここにはレオナルドの初期の作品(《キリストの洗礼》やウフィッツィ美術館の《聖告》)の影響が見られる。町をはさんで左右に山の傾斜が描かれ、山上から河岸にかけて八つの物語場面が配されているが、こうした小情景を数多く背景に描き込むのはセライオが特に好むところであった。左の岩山から、右の岩山にかけて、「イサクの犠牲」、「善きサマリア人」、「キリストと洗礼者ヨハネの出会い」、「聖アウグスティヌスの幻想」(貝殻で水をすくって海を空(から)にしようとする子供)、「トビアスと天使」、「聖痕を受ける聖フランチェスコ」、「聖ヒエロニムス」、「十戒を受けるモーゼ」が、ボッティチェッリの小板絵に見られるような手法でそれぞれ小さく描かれている。初期ルネッサンス美術の主流であったフィレンツェ派の15世紀後半の様式を端的に示す作例である。(出典: 国立西洋美術館名作選. 東京, 国立西洋美術館, 2006. cat. no. 12)
  • Artist Name (Japanese): セライオ、ヤコポ・デル
  • Type: Paintings
  • Rights: http://www.nmwa.go.jp/en/information/privacy.html
  • External Link: The National Museum of Western Art, Tokyo
  • Medium: Tempera on panel

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