Dormitio Virginis, Saint Francis of Assisi, Saint Anthony of Padua

This precious polyptych with a gold background arrived from Venice in 1333; painted by Paolo Veneziano, forefather of painting in the lagoon city, it was placed on the high altar of the church of San Lorenzo in Venice.

In the centuries that followed it had a troubled and extraordinary history. Removed from its original position in 1586, it was then placed in the refectory, because its style did not reflect the taste of the time. It was then shifted to the sacristy and, after Napoleon suppressed all religious orders, it passed into the hands of the Porto Godi family, who probably bought the three panels that now remain of the entire work. The painting was not highly considered by its owners who left it in a store room from which it was unexpectedly rescued by the erudite Vicenza scholars Leonardo Trissino and Leopoldo Cicognara. Countess Maddalena Porto Godi gave the work to Francesco Testa, who in turn sold it to Leonardo Trissino; only after his death did his son Alessandro leave it to the Museum in Vicenza (1849).

At some time in its history the work was enclosed in a Neo-Gothic frame and sixteen small panels were added, with half-figures of saints, painted by Battista da Vicenza. Only in 1909 was the false frame removed and the painting could be appreciated for its own value.

Signed and dated 1333, the polyptych is the first documented work by Paolo Veneziano, who here blends two different figurative languages, one inspired by Byzantium, the other assimilating the new features of western figurative culture, as expressed by Giotto. According to the iconographic scheme of Byzantine icons, the central element depicts the episode of the dormitio of the Virgin, that is of her falling asleep and not dying, because she would then be assumed body and soul into Heaven by her Son. The Madonna is lying on a bed, surrounded by the apostles and by angels. In his arms Christ holds the soul of the child Mary which, having left the body, is reborn through death for all eternity. Of the side elements there remain only the panels depicting Saint Francis with the stigmata and an open book and Saint Anthony of Padua.

The artist embellishes the surface of the painting using rare and precious materials including gold, lapis lazuli and enamel.