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COLLECTION STORY

Italian Altarpieces in the Royal Collection: 1300-1500

Prince Albert's taste in early Italian art marked him out amongst collectors

Detail from Jacopo di Cione's Triptych ©

The early Italian panel paintings in this trail, dating from the fourteenth and fifteenth centuries, were brought into the Royal Collection by Prince Albert, or otherwise by Queen Victoria as gifts for her husband. The Prince's taste was pioneering. While previous monarchs had tended to favour the later Italian schools, even among the art collectors of his day Prince Albert was one of a select few who began to collect very early Italian paintings.

The paintings in this trail once adorned the walls of Prince Albert's Writing and Dressing Room at Osborne House, on the Isle of Wight. This jewel-like, intimate space was hung in the spring of 1847 with nearly two dozen Italian pictures. Osborne in particular was an appropriate setting for these works as Albert had designed the house in the style of an Italian Renaissance palace.

Over seven-hundred years old, Duccio di Bunoninsegna's Triptych is one of the oldest paintings ever to have entered the Royal Collection. Purchased in 1845, it was the first undoubted work by Duccio to enter an English collection©
Saints Mamas and James (A fragment)©

By Prince Albert's day, the panel paintings in this trail looked very different to how they would have originally been used and displayed in a religious context. Some were once part of much larger and elaborate altarpieces. In the Christian tradition, an altarpiece is the decorated structure often placed on or behind an altar in a church, oratory or other religious setting.

It is not uncommon for Italian altarpieces to have been destroyed, or cut up and their fragments dispersed. This might be because of the changing function or demolition of a church, combined with fashions in collecting.  The suppression of religious institutions in Italy – not least under Napoleon and the French in the first two decades of the nineteenth century - meant that there were increased opportunities for collectors to acquire these kinds of works.

This painting on panel, which has been attributed to the workshop of Fra Angelico, was evidently the pinnacle of an altarpiece. 

It has been suggested that it was above the central panel of Fra Angelico's polyptych painted for the church of San Domenic
Function

As well as beautiful works, these paintings were a focus for religious devotion

The unusual subject of this panel is not Biblical, but is probably drawn from an account in The Golden Legend. Simon the sorcerer had ingratiated himself with the Emperor Nero and, determined to prove his superiority to Peter, launched himself from a towe
Patrons

The panels were made for both private individuals and religious organisations

Detail from Duccio's triptych showing Mary's head
Making a Panel Painting

A complex process of craftsmanship needed to be undertaken before a panel could be painted

A watercolour view of the corner of Prince Albert's Dressing Room, showing the furnishings, and early Italian paintings bought between 1845-7. Signed, dated and inscribed. Inscribed on label on backboard.
Between 1845 and 1847 Ludwig Gruner acquired twent
Collecting and Display

Albert's collecting of early works was very original


The income from your ticket contributes directly to The Royal Collection Trust, a registered charity. The aims of The Royal Collection Trust are the care and conservation of the Royal Collection, and the promotion of access and enjoyment through exhibitions, publications, loans and educational activities.