Virgin and Child, with God the Father and Angels, marble relief asribed to Giovanni Buora, Italy (Venice), ca. 1495-1500

This marble tabernacle depicts the Virgin and Child, with God the Father and two Angels. The central relief rests on a base supported by two consoles. It is framed by pilasters and is composed at the top of an architrave, cornice and frieze which is surmounted by a lunette.

The main relief shows a half length view of the Virgin standing. Her right arm curves around the figure of the Christ Child who is seated on an embroidered cushion beside her, her left arm gently touches his left hand. The background of the central panel is carved in low relief depicting cherub heads on each side of the Virgin's head. The relief is further decorated with a wave / cloud like pattern blending in to wings surrounding the angel's heads.

The pilasters to either side of the main relief are decorated with foliage growing up from vases.

The lunette depicts a half length relief of Christ with his arms outstretched. As on the relief of the central panel, the background of the lunette is carved in low relief. Four cherub heads surround the relief of Christ and their heads are surrounded by a collar of wings / cloud like forms.

The base is supported by two scroll brackets with a relief between which is carved between with a cherub head and two cornucopias.

Two kneeling angels holding candlesticks were placed to the right and left of the relief on the console. These were removed from the display in the late 1900s but will be reunited with the altarpiece for the new Medieval and Renaissance displays in 2009.

Although the relief was initially acquired as a work of Pietro Lombardo, it is now attributed to Giovanni di Antonio Buora da Osteno (c.1450-1513), commonly known as Giovanni Buora.

The discovery of a plaster cast of this relief in the later 16th century chapel of Agnesina Badoer-Giustiniani's villa at Roncade, make it virtually certain that it was commissioned by her or by a member of her family. It is certain that the relief did not come from the Church of Ognissanti at Roncade which the Giustiniani patronized but it may have come from San Francesco della Vigna. The size, format and iconography the relief belongs to the small genre of pensile altars, probably unconsecrated, found in Venice in churches, chapels, private houses, beneath portici and on exteriors. This relief does not give the impression of having stood outside, it is possible that it was immured in the sacristy of San Franceso della Vigna or in a corridor leading to its convent. (Markham-Schulz)

One of the angels was at one time stolen although it was later recovered and returned to museum in December 1988.

Historical significance: Described as possibly Buora's finest achievement in sculpture (Munman) we are presented with an interesting juxtaposition of Northern and Southern European styles, particularly with reference to the foliage design on the pilasters. This design, typical of the work of Buora, is Lombardesque and follows the classical tradition, popular at this time. This style of foliate relief was closely copied, not only by members of the Lombard family and workshop but also by independant followers. (Munman). Venetian sculpture more Northern European in style generally but note here that the Virgin is in the traditional Italian pose.

Altarpieces were a popular adornment for most altars of this period giving something for the congregation to focus on when the priest's back was turned. This particular relief remains faithful to the trend of using an architectural device to separate the image of God the Father and placing Him in the upper most section of the altarpiece, reminding the viewer of His heavenly, unworldly realm. Also typical of the time is the execution of the Christ child.

In the past, most work that is now attributed to Buora, has been published under the name of other artists. Although some of Buora's architectural commissions have come to light, his sculptural activity has gone almost totally unrecognised. (Munman) This particular altarpiece and indeed much of Buora's work is stylistically extremely similar to the work of Pietro Lombardo with whom he was in partnership during the 1490's. Whilst some argue that Buora's work is bland in comparison with the work of Pietro Lombardo and Antonio Rizzo (also prolific at the time), it is also argued that Buora's work reveals a certain amount of sensitivity and taste. Indeed, this particular example displays a powerful treatment of the figures which betrays the classicising influence of Pietro Lombardo.

In his article "The 'Missing' Sculpture", Arte Veneta xxx, 1976, pp.41-61 Robert Munman convincingly argues why this altarpiece should be attributed to Buora. Citing various examples of Buora's work, Munman draws close parallels in style to the V&A altarpiece.

Giovanni Buora was an architect and sculptor whose style was influenced by that of Pietro Lombardo, with whom he was in partnership during the 1490s. Stylistically close to a relief of St Jerome in the Bardini Museum in Florence, it was probably executed by the same hand. Similar reliefs form part of an altarpiece dedicated to St Jerome in the Capella Giustiani in S Francesco della Vigna, Venice.

316:1 to 13-1894