SPECIAL ADVISORY: The Yale University Art Gallery is open to the public with expanded hours on Fridays, Saturdays, and Sundays and offers access to Yale ID holders on weekdays. Learn More

European Art
Artist, circle of: Bonaventura Berlinghieri, Italian, Lucca, active 1228–1274

The Deposition

ca. 1230

Tempera on panel

37.2 × 36 cm (14 5/8 × 14 3/16 in.)
University Purchase from James Jackson Jarves
On view
Italian, Lucca
13th century

Franciscan house, San Miniato; 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), 42.

Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 18.

W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 11, (as unknown painter, Italian 11th century).

Osvald Sirén, The Earliest Pictures in the Jarves Collection at Yale University (New York: F. F. Sherman, 1915), 273–77, (Bonaventura Berlinghieri), fig. 2.

Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 3–6, (Bonaventura Berlinghieri).

Osvald Sirén, Toskanischer Maler im XIII Jahrhundert (Berlin: P. Cassirer, 1922), 84–86, 89.

Raimond van Marle, Development of the Italian Schools of Painting, 1, 3, 9, 17 (The Hague: M. Nijhoff, 1923), 322–24, 327, Vol. 1, 322–24, 327 (as school of Berlinghieri).

Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 2, 9–11, (as Tuscan Master, ca. 1250).

Evelyn Sandberg-Vavalà, La Croce dipinta italiana e l’iconographia della passione (Verona, Italy: Casa editrice Apollo, 1929), 558–59, 714.

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

Edward B. Garrison, Italian Romanesque Panel Painting (Florence: Leo S. Olschki, 1949), 239, no. 79, (as Lucchese, provincial follower of Berlinghieri, influenced by Bonaventura di Berlinghiero, Guido da Siena and the Florentines, ca. 1270–75), fig. 79.

Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 293.

Yale University Art Gallery, Rediscovered Italian Paintings: an exhibition, March 25 through May 18, 1952, of fourteen recently cleaned paintings from the Jarves Collection, exh. cat. (New Haven, Conn.: Yale University, 1952), 12–13.

Luisa Marucci, Gallerie Nazionali di Firenze: I dipinti toscani del secolo XIII: Scuole bizantine e russe dal secolo XII al secolo XVIII (Rome: Poligrafico e Zecca dello Stato-Archivi di Stato, 1958), 19–21.

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).

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

Eloise Angiola, “Nouvi documenti su Bonaventura e Marco di Berlinghieri,” Prospettiva 21 (1980): 82–84, 82–84.

Luiz C. Marques, Peinture du Duecento en Italie centrale (Paris: Picard, 1987).

Angelo Tartuferi, La pittura a Firenze nel Duecento (Florence: A. Bruschi, 1990), 78–80, fig. 48.

Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 131.

Miklos Boskovits, Angelo Tartuferi, and Ada Labriola, A Critical and Historical Corpus of Florentine Painting, 1 (Florence: Giunti Editore, 1993), 74–76, 74–76, note 14 (circle of Bonaventura Berlinghieri, dated mid-1220s on stylistic grounds, but later date for iconography).

Anne Derbes, Picturing the Passion in Late Medieval Italy: Narrative Painting, Franciscan Ideologies, and the Levant (New York: Cambridge University Press, 1996), 195–99.

R. W. Corrie, The Glory of Byzantium: Art and Culture of the Middle Byzantine Era A.D. 843-1261, eds. Helen C. Evans and William D. Wixom (New York: The Metropolitan Museum of Art, 1997), 488–89.

Anne Derbes and Amy Neff, Byzantium: Faith and Power (1261–1557), ed. Helen C. Evans (New York; New Haven, Conn.: The Metropolitan Museum of Art, 2004), 460, 605, 460, 605, notes 90, 93.

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.