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The four panels entered the
National Gallery with a central panel. The four panels were topped by four semi-circles and a Neo-Gothic cusp above Mary. Above this register was a final one of four more full-length saints. In time the work was recognised as an arbitrary assembly of panels from different
201:. It is therefore theorised that the altarpieces were both dismantled during rebuilding of the church in 1776, then sold to the antiquarian Grossi who sold all the panels separately and grouped some of them into the altarpiece that Cardinal Zelada bought from him.
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in the Museum of Fine Arts in
Budapest, already in the Esterhazy collection. The altarpieces also had to have a predella each, now all lost. In 1961 the National Gallery dismantled the panels by reconstructing them into two separate altarpieces.
197:. Lazzari (1724) and Ricci (1834, on Bartoli's earliest testimony) also mention a second altarpiece by the artist in the same church, also dating to 1476, now known as the
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Federico Zeri and
Rodolfo Pallucchini then joined the altarpieces together, initially referring to the first (the high altarpiece), the
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in 1789 before being moved to
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1476. Its central panel of the
Madonna and Child, signed "OPVS CAROLI CRIVELLI VENETI", is now in the
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This article is about the altarpiece by Carlo
Crivelli. For the altarpiece by Fra Angelico, see
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Orsini and
Lazzari mention an altarpiece produced in 1476 for the church of San Domenico in
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is a altarpiece in tempera and gold on panel by the
Italian
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158:in Budapest. The altarpiece's other panels (
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130:(c. 1476) central panel, by Carlo Crivelli
439:Paintings in the National Gallery, London
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43:Relevant discussion may be found on the
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416:Saint Francis with the Blood of Christ
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392:The Annunciation, with Saint Emidius
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64:"Saint Peter Martyr Altarpiece"
199:Saint Peter Martyr Altarpiece'
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351:Saint Peter Martyr Altarpiece
140:Minor San Domenico Altarpiece
128:Saint Peter Martyr Altarpiece
484:Paintings of Peter of Verona
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479:Paintings of Jerome
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311:Madonna with Child
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