Here the mandorla forms a morse, or brooch, to clasp the Virgin’s cloak.Ī Venetian ‘Scuola’, or confraternity, commissioned this sculpture to sit over the entrance to their meeting house. It was usually used to depict moments that transcend time and space, such as Christ enthroned in Heaven in majesty. The mandorla (from the Italian word for ‘almond’) was a type of halo that enclosed the entire body. In 1612 the Scuola Vecchia della Misericordia was handed over to the Tessitori di Seta, and the relief was transferred, with other sculptures, to the Fabbrica Nuova della Misericordia, where it remained until the early 19th century. Bartolommeo inherited the workshop on the death of his father, Giovanni, in about 1443. The Buon were the most important Venetian sculptors during the first half of the fifteenth century. Some areas are made up in plaster, including the top of the arch above the Virgin's head. The motif of the Christ Child in a mandorla on the Virgin's chest is of Byzantine origin and occurs on other works produced in Venice around this date. The sculpture was originally painted and slight traces of blue paint remain in the background. It is described in this position by Sansovino. The relief was carved by Bartolommeo Buon in about 1374-1467 for the tympanum (the space between the lintel and arch) over the principal doorway of the Scuola Vecchia di Santa Maria della Misericordia in Venice.
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