PALA ALBERGOTTI_GIORGIO VASARI
ASSUMPTION AND CROWNING OF THE VIRGIN
The work, originally executed by Giorgio Vasari in 1567 for Filippo Salviati and intended for the convent of San Vincenzo’s nuns of Prato, was bought by Nerozzo Albergotti of Arezzo who placed it in his family chapel in the Pieve of Santa Maria of Arezzo in 1570. Later on, when the Pieve was restored in a romantic style in 1865 after the destruction of Albergotti chapel, the panel painting was transferred to the Badia delle Sante Flora e Lucilla.
The Pala was realized with oil on table technique and, including the monumental frame, it extends for 500x400 cm. The altarpiece is made of a great central painting which represents the assumption and the crowning of the Virgin, two small lateral paintings representing San Donato and San Francesco and on top there is a framework with eight small polygonal tablets representing several saints: Caterina da Siena, Apollonia, Agata Orsola, Caterina d’Alessandria, Lucia, Margherita and Maddalena. All the parts are joined by a majestic frame, painted and decorated in gold.
The central painting is divided in two parts: the upper part is characterized by the presence of the Virgin Mary and Jesus Christ, each one surrounded and held up by a group of nine angels, masterfully placed all round two characters, while at the center there is a white dove that is the expression of the Holy Spirit. A Divine golden light underlines the gesture with which Christ places the Crown on his mother’s head.
The caracters stand upon a layer of white clouds, which defines the lower painting, representing the Twelve Apostles, who are painted around the sarcophagus, full of flowers, where the body of Mary, before the assumption, was placed. Some of the Apostles raise their hands and look at the sky in order to glorify and admire the crowning of the Virgin, others look down at the empty sarcophagus.
The last man on the right is looking out of the painting as if he wants to make eye contact withe the viewers; it is a self-portait of Giorgio Vasari. The representation on the wooden table on the left hand side of the bishop Donato may hint to the finding of the remains of the Saint. This occured in the Pieve of Santa Maria during the work for the realisation of the high-altar for the Albergotti family designer by Vasari.