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Processional Cross with Saint Mary Magdalene and a Blessed Hermit
Inscriptions
Inscribed: ICXC [Jesus Christ] (atop the cross); [MISE] RERE MEI D[EUS] [Have mercy upon me, O God] (on the scroll held by the figure at the foot of the cross)
Exhibition history
Muskegon, Michigan, Hackley Art Gallery, Italian Paintings in the Loan Collection from Mr. Martin A. Ryerson, M. Knoedler and Company, E. and A. Silberman, 1932, no. 1, as Gherardo Starnina. The Art Institute of Chicago, A Century of Progress, 1933, no. 97, as Gherardo Starnina. The Art Institute of Chicago, The Art of the Edge: European Frames, 1300–1900, 1986, no. 2. New York, Metropolitan Museum of Art, Painting and Illumination in Early Renaissance Florence, 1300–1450, November 17, 1994-February 26, 1995, cat. 28. Art Institute of Chicago, Devotion and Splendor: Medieval Art at the Art Institute of Chicago, 2004. Florence, Galleria dell'Accademia, Lorenzo Monaco: A Bridge from Giotto's Heritage to the Renaissance, May 9- September 24, 2006, cat. 11.
Publications
American Art Sales 3, 1 (December, 1927), p. 40. D. C. Rich, “A Crucifixion by Bernardo Daddi,” Art Institute of Chicago Bulletin 22 (1928), pp. 74–75, ill. Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago, 1922), p. 183. Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 165. William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, unpub. MS [1932], Archives, The Art Institute of Chicago, n. pag. Bernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 142. The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 224–25. Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 516. Bernard Berenson, Italian Pictures of the Renaissance: Florentine School, vol. 1 (London, 1963), p. 53. John Maxon, The Art Institute of Chicago (London, 1970), p. 24, ill. Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass., 1972), pp. 11, 292, 571. Miklós Boskovits, Pittura fiorentina alla vigilia del Rinascimento, 1370–1400 (Florence, 1975), p. 340, fig. 457. The Art Institute of Chicago: 100 Masterpieces (Chicago, 1978), p. 37, no. 1, ill. Marvin Eisenberg, Lorenzo Monaco (Princeton, 1989), p. 182. Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 86–89, ills. Carl Brandon Stehlke, review of “Italian Paintings before 1600 in The Art Institute of Chicago. A Catalogue of the Collection,” in Burlington Magazine 136 (1994), pp. 625–626, fig. 37. Francis Russell, “An Early Crucifixion by Fra Angelico,” Burlington Magazine 138 (1996), p. 316, fig. 15. Larry J. Feinberg in “Devotion and Splendor: Medieval Art in the Art Institute of Chicago,” ed. Christina M. Nielsen, Art Institute of Chicago Museum Studies 30, 2 (2004), pp. 54–55, no. 32. George R. Bent, Monastic Art in Lorenzo Monaco’s Florence. Painting and Patronage in Santa Maria degli Angeli, 1300–1415 (Lewiston, Queenston and Lamperter, 2006), pp. 211–12, 220, 223–5, fig. 70. Angelo Tartuferi, “Ancora su Lorenzo Monaco, dopo la mostra e il convegno,” in Intorno a Lorenzo Monaco: nuovi studi sulla pittura tardogotica (Atti del Convegno. Intorno a Gentile da Fabriano e a Lorenzo Monaco. Nuovi studi sulla pittura tardogotica Fabriano, Foligno and Firenze, 2006), ed. Daniela Parenti and Angelo Tartuferi (Livorno, 2007), p. 41. Miklós Boskovits, Italian Paintings of the Thirteenth and Fourteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue (Washington, D.C., 2016), p. 233.
Quick Overview
- Artist
- Lorenzo Monaco (Italian, 1370/75–1425)
- Date
- 1392–95
- Medium
- Tempera on panel
- Dimensions
- Framed: 57.3 × 28 cm (22 9/16 × 11 1/16 in.)
- Type
- Painting
- Classification
- tempera
- Style
- 14th century
- Place
- Italy
- Department
- Painting and Sculpture of Europe
- Credit line
- Mr. and Mrs. Martin A. Ryerson Collection
- Accession no.
- 1933.1032
Provenance
Achillito Chiesa, Milan; sold American Art Association, New York, pt. 4, November 22–23, 1927, no. 110, as Pietro Lorenzetti, for $1800 [see American Art Sales 1927]. Sold by Kleinberger, New York, to Martin A. Ryerson (d. 1932), Chicago, 1927 [according to Registrar’s records]; on loan to the Art Institute from 1927; bequeathed to the Art Institute, 1933.
Data retrieved from the Art Institute of Chicago on October 8, 2026. The museum may have updated its record since.
Open-access museum record · AT-00000706
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