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European Art
Artist, attributed to: Giuliano Amedei, Italian, ca. 1446–1496

Scenes from the Lives of the Hermits of the Thebaid

ca. 1460

Tempera on panel

33.7 × 44.6 cm (13 1/4 × 17 9/16 in.)
University Purchase from James Jackson Jarves
Made in Florence, Italy
Not on view
Italian, Florence
15th century

James Jackson Jarves Collection, Florence, to 1871; Yale University Art Gallery, New Haven, Conn.


James Jackson Jarves, Descriptive Catalogue of “Old Masters,” Collected by James J. Jarves, to Illustrate the History of Painting from A.D. 1200 to the Best Periods of Italian Art (Cambridge, Mass.: H. O. Houghton and Co., 1860), 48, no. 48.

Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 55.

Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 93–96, Master of the Carrand Triptych (Giovanni di Francesco).

Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 34, not Alesso Baldovinetti or the Master of the Carrand Triptych.

Bernard Berenson, Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works, with an Index of Places (Oxford: Clarendon Press, 1932), 102, as “Carrand Master” and Neri di Bicci.

“Picture Book Number One,” Bulletin of the Associates in Fine Arts at Yale University 15, nos.1–3 (October 1946): fig. 21.

Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 298.

Ellen Callmann, “A Quattrocento Jigsaw Puzzle,” The Burlington Magazine 99 (1959): 149–55, as Florentine.

James Byam Shaw, Paintings by Old Masters at Christ Church, Oxford (London: Phaidon Press, 1967), 40, as Master of the Crawford Thebaid.

Charles Seymour Jr., Early Italian Paintings in the Yale University Art Gallery: A Catalogue by Charles Seymour, Jr. (New Haven, Conn.: Yale University Press, 1970), 160, no. 115.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 221; 599.

Ellen Callmann, “Thebaid Studies,” Antichita Viva 14 (1975): 16, Master of the Misericordia, who may not be G. Amidei.

Hugh Brigstocke, “Panels showing the ‘Death of St. Ephraim’,” The Burlington Magazine 118 (1976): 584–86, 589, Giuliano Amedei.

Hugh Brigstocke, Italian and Spanish Paintings in the National Gallery of Scotland (Edinburgh: National Gallery of Scotland, 1978), 589.

Gaudenz Freuler, Manifestatori delle cose miracolose: Art italiana del ‘300 e ‘400 da collezioni in Svizzera e nel Liechtenstein (Lugano-Castagnola, Switzerland: Foundation Thyssen-Bornemisza, 1991), 250–52.

Luciano Berti and Giovanna Damiani, Nel raggio di Piero: La pittura nell’Italia centrale nell’eta di Piero della Francesca (Venice: Marsilio, 1992), 84–86, Giuliano Amidei.

Carlo Bertelli, Piero della Francesca (New Haven, Conn.: Yale University Press, 1992), 174, Giuliano Amedei.

Bagliori dorati: Il Gotico Internazionale a Firenze 1375–1440, exh. cat. (Florence: Guinti Editore S.p.A., 2012), 90–91, fig. 8.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.