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Predella
Predella
Predella
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Altarpiece by Carlo Crivelli, 1468. The predella has four scenes from the Passion of Christ. The predella runs along the base, framed below
Altarpiece with carved and painted predella at Marienkirche Stralsund, Germany.

In art a predella (plural predelle) is the lowest part of an altarpiece, sometimes forming a platform or step, and the painting or sculpture along it, at the bottom of an altarpiece, sometimes with a single much larger main scene above, but often (especially in earlier examples), a polyptych or multipanel altarpiece.[1] In late medieval and Renaissance altarpieces, where the main panel consisted of a scene with large figures, it was normal to include a predella below with a number of small-scale narrative paintings depicting events from the life of the dedicatee, whether the Life of Christ, the Life of the Virgin or a saint. Typically there would be three to five small scenes, in a horizontal format. Sometimes a single space shows different scenes in continuous representation.[2]

Flemish altarpiece of the 1550s, still with three predella scenes

They are significant in art history, as the artist had more freedom from iconographic conventions than in the main panel as they could only be seen from close up. As the main panels themselves became larger and more dramatic, predellas fell from use around 1510-20 in the High Renaissance, although older or more conservative painters continued to use them, for example Luca Signorelli, by then in his 70s, in about 1521. In this case he is thought to have only done the underdrawing for the main scene, leaving the painting to his workshop assistants. But he is thought to have painted the predella scenes himself.[3]

They had fallen out of fashion in Italy by the mid 16th century, but continued for a while further north. As altarpieces reached the art market from the 18th century onwards, the predella scenes (and other smaller sections) were often detached and sold separately, in effect as cabinet paintings, and they are now often spread across several museum collections, with their origin often uncertain. Reuniting, at least conceptually, predella panels with the rest of their original settings gave 20th-century art historians a large task, which continues into the 21st century.

More generally, and not usually in the English language, a predella is an altar-step, a shelf above and behind an altar, or a piece of furniture with a lower part to kneel on, for prayer, and often a higher part to support the arms.[4] In English the French term prie-dieu is normally used for this. Predel or pretel, was Langobardic for "a low wooden platform that serves as a basis in a piece of furniture". In English this step is referred to as a gradin, which may include a predella in it. A predella is also the lower part of a stained-glass window.

Similar small reliefs are sometimes placed under a larger piece of sculpture. Donatello placed a narrow scene of Saint George Freeing the Princess on the base of his Saint George for Orsanmichele.

Examples

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Examples of predellas include:

Notes

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References

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Predella

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from Grokipedia
A predella is the lowest part of an , typically forming a platform or step that supports the main structure, and often featuring a series of small painted panels or sculpted reliefs depicting scenes related to the central above. These panels, arranged horizontally, commonly illustrate episodes from the lives of Christ, the Virgin Mary, or saints portrayed in the primary tiers of the , serving to expand the devotional or storytelling elements of the work. The term derives from the Italian predella, meaning "footrest" or " step," rooted in Langobardic origins and first recorded in English usage around 1853. Predellas emerged prominently in Italian art during the later Middle Ages, particularly from the 14th century onward, as part of the polyptych format of altarpieces painted in tempera on wooden panels with gold grounds. Influenced by Byzantine traditions and evolving Gothic styles, they provided artists with greater creative freedom compared to the more rigidly iconic upper sections, allowing for inventive narratives, emotional depth, and naturalistic details. By the Renaissance, predellas became a standard feature in works by masters such as Duccio di Buoninsegna and Giotto di Bondone, enhancing the altarpiece's role in church liturgy by drawing worshippers' attention to supplementary sacred stories at eye level. Though most associated with Italian Renaissance and late Gothic art, the form occasionally appeared in other European traditions, underscoring its function in elevating both the physical and symbolic prominence of the altar.

Definition and Terminology

Core Definition

A predella is the lowest register of an , consisting of a horizontal series of small painted or sculpted panels that form an integral part of the overall composition. These panels typically depict narrative scenes connected to the central theme of the main altarpiece above, serving as a visual extension of its . Physically, the predella often functions as a step-like platform or base that elevates the primary for better visibility in liturgical settings, while the decorative elements along this base reinforce the religious narrative. The term derives from its role as a foundational support, literally meaning "platform" or "step" in Italian. In distinction from the upper tiers of the , predella panels are subordinate in and scale, usually measuring 20 to 50 cm in height to emphasize their auxiliary role rather than standing as independent artworks. They extend the thematic content without dominating the viewer's focus on the central imagery. Beyond , the term predella occasionally refers to the base or lower section of stained-glass windows or the platform of altar steps in ecclesiastical architecture, where it lacks narrative painting or . The term "predella" originates from the Italian word of the same spelling, denoting a footrest or step, which itself derives from the Lombardic *predel- or *pretel-, referring to a , board, or low platform akin to a stool. This etymological root reflects the object's initial function as a raised base or platform in settings, evolving by the in Tuscan artistic usage to specifically describe the decorated lower register of an . In art historical terminology, "predella" typically encompasses the entire horizontal platform or step beneath the main panels of a , often featuring narrative reliefs or paintings, whereas "predella panel" refers to the individual scenes or sections composing that base. It differs from a "socle," which denotes a plain, undecorated pedestal or base supporting a or structure without narrative elements. Similarly, a "predella step" emphasizes the purely architectural aspect—a simple raised ledge—lacking the figurative decoration characteristic of artistic predelle. The predella as an artistic form first emerged around in descriptions of early polyptychs, with the terminology becoming standardized in 14th- and 15th-century treatises on and . English-language adopted the term in the , with the earliest recorded use dating to 1757, primarily through early art historical descriptions and analyses of altarpieces, retaining its Italian form to preserve specificity. Regionally, history employs "Predella" when discussing Italian examples but uses "Fußbank" (meaning footrest or bench) for comparable northern European altar bases, highlighting adaptations in non-Italian traditions.

Historical Context

Origins and Early Development

The predella emerged in 13th-century Italian churches primarily as a functional platform to elevate altars above the church floor, facilitating liturgical access while symbolically distinguishing the . This early form was influenced by Byzantine iconostases, which employed screens to separate the altar area from the congregation, and by Romanesque altar bases that provided sturdy, decorative foundations often carved with simple motifs. These structural elements addressed practical needs in medieval , where altars required height for visibility during and to accommodate relics or Eucharistic vessels. A pivotal precursor to the predella's artistic evolution is evident in Nicola Pisano's marble for the , completed between 1259 and 1260. This structure incorporated low-relief narrative panels at its base depicting scenes such as the Nativity and the Presentation in the Temple, blending classical influences with Christian storytelling in a horizontal format accessible to viewers below eye level. Pisano's innovative use of sculpted bases for illustrative purposes laid groundwork for the predella's later role in altarpieces, transitioning from mere support to a medium for devotional narrative. By the late 13th century, particularly in Sienese workshops, predelle began integrating rudimentary artistic elements, such as painted or relief donor portraits and symbolic motifs like lilies or Eucharistic symbols, to personalize altarpieces for patrons while reinforcing theological themes. These additions reflected the growing emphasis on lay devotion in Tuscan religious life. By the early , narrative predelle appeared in , with the earliest recorded example in Cimabue's lost 1301 altarpiece for S. Chiara in Pisa, followed by Duccio's Maestà (1311) as the first surviving comprehensive narrative predella featuring sequential scenes from saints' lives or biblical events to enhance for illiterate worshippers; this development was shaped by Cistercian and Franciscan ideals of , , and vivid to convey spiritual lessons directly to the congregation.

Peak in Renaissance Art

During the 14th and 15th centuries, the predella reached its zenith in Italian Renaissance art, evolving from an occasional feature to a standard element of polyptych altarpieces, particularly in central Italian cities like Florence, Siena, and Venice. This boom reflected the growing complexity of altarpiece design, where the predella served as a narrative base, often depicting sequential scenes from the lives of Christ, the Virgin Mary, or patron saints to complement the main panels above. Pioneering artists such as Duccio di Buoninsegna and Giotto di Bondone played pivotal roles in this development; Duccio's Maestà altarpiece (1308–1311), commissioned for Siena Cathedral, introduced the predella as a dedicated row of panels with detailed cycles illustrating Christ's ministry and Passion, marking the earliest known comprehensive example. Similarly, Giotto incorporated predelle in works like the Ognissanti Polyptych (c. 1310) in Florence, featuring infancy scenes of Christ that emphasized emotional depth and spatial coherence, influencing subsequent generations of painters. Patronage significantly drove this proliferation, with , confraternities, and nobility commissioning predelle-rich altarpieces for and chapels to assert civic piety and prestige. In , the Opera del Duomo—a overseeing construction—funded Duccio's Maestà, where the predella narrated saintly and biblical lives to engage worshippers during , exemplifying how such works reinforced communal devotion. Florentine , such as the Arte dei Medici e Speziali, similarly sponsored Giotto's altarpieces, while Venetian patrician families and the contributed to polyptychs that integrated predelle into grand civic spaces, blending religious narrative with displays of wealth and . These commissions peaked in the , underscoring the predella's role in storytelling that humanized sacred figures for diverse audiences. Technically, predelle advanced through the consistent use of on wood panels, allowing for intricate, gold-ground scenes that heightened devotional intensity, while the integration of linear perspective and humanistic motifs—pioneered around 1420 by figures like —elevated their sophistication until about 1500. This period saw predelle shift toward more naturalistic compositions, with figures exhibiting lifelike gestures and environments that reflected interest in antiquity and observation, as seen in the detailed architectural backdrops and emotional expressions in works by artists like . The format's dominance remained centered in , where Tuscan and Sienese workshops produced the majority, but trade routes facilitated early exports of complete altarpieces or detached predella panels to and , introducing Italian narrative styles to northern European collections by the late .)

Decline and Legacy

By the early 16th century in Italy, the predella's prominence waned as artists and patrons favored unified canvas altarpieces that integrated narrative elements directly into larger, more dramatic central compositions, aligning with the emerging Mannerist emphasis on emotional intensity and complex spatial dynamics. This shift, evident around 1510–1520, saw polyptychs with separate predella registers largely supplanted by single-panel palas, as exemplified by Titian's Assumption of the Virgin (1518) and Martyrdom of St. Peter Martyr (1530), which prioritized innovative oil techniques and holistic visual impact over fragmented storytelling. In Spain, however, predelle persisted longer into the 17th century, supported by Counter-Reformation demands for didactic imagery in monastic settings, as seen in Francisco de Ribalta's The Dream of Saint Joseph (ca. 1608–1611), a predella panel reinforcing Eucharistic themes in Valencian altarpieces. The 18th and 19th centuries brought widespread dispersal of predella panels amid church reforms and efforts, particularly during the Napoleonic era's suppression of monasteries across , which led to the and fragmentation of art collections. In and , panels were detached from altarpieces and sold separately to fund reforms or private collectors, resulting in scattered holdings; for instance, the in acquired multiple predella fragments, such as those from Duccio's Maestà (ca. 1308–1311) in the 1880s and Giovanni di Paolo's Baptist cycle (ca. 1453) in 1856, originally from Sienese churches now dispersed globally. This fragmentation often severed narrative continuity, turning predelle into standalone works valued for their miniature artistry rather than liturgical context. In the , predelle experienced a revival through systematic restorations that emphasized their historical integrity, with conservators employing techniques like panel thinning and varnish removal to reveal original pigments, as applied to early Italian "primitives" in museum collections. This renewed focus facilitated scholarly efforts to reunite dispersed panels using X-radiography to uncover underdrawings and clues, enabling virtual reconstructions of original configurations, such as Raphael's Colonna Altarpiece predella (1504–1505). The predella's legacy endures in 21st-century digital initiatives, including post-2020 projects that employ and to reconstruct lost altarpieces, allowing public access to complete ensembles like Catalonia's altarpiece fragments from the era. Its sequential narrative format has also informed modern visual storytelling, influencing the panel-based structures in and storyboards by providing a model for concise, episodic depictions of complex tales. Recent auctions underscore its market significance; for example, sold a predella panel by Bernardo Daddi depicting Saints Lucy and (ca. 1340s) in June 2022 for within its $300,000–$500,000 estimate, highlighting ongoing collector interest in these artifacts.

Function and Iconography

Liturgical and Symbolic Role

The predella, forming the lowest register of a multi-panelled or , was strategically positioned at eye level for worshippers kneeling in before the , thereby enhancing their immersion in the liturgical experience during . This placement not only brought the narrative scenes into direct view but also elevated the main altar panel above, improving visibility of the central imagery from the church and integrating the seamlessly into the worship space. By situating the predella close to the communicants and the Eucharistic action on the , it reinforced the 's role as an extension of the itself. Symbolically, the predella embodied the foundational aspects of Christian faith, often featuring subordinate scenes or figures—such as apostles—that underscored the hierarchical structure of the , with the base supporting and amplifying the elevated main narrative above. This arrangement mirrored biblical motifs of stability and support, evoking the apostles as the "foundation" of the church (Ephesians 2:20), and emphasized the predella's role in grounding devotion in doctrinal essentials. The lower position further symbolized and the earthly realm, contrasting with the divine elevation of the upper panels to guide worshippers toward spiritual ascent. In its interactive capacity, the predella facilitated sequential "reading" of its narrative panels, typically progressing from left to right, which enabled largely illiterate congregations to follow biblical stories visually and engage in personal devotion and moral reflection during services. This didactic function promoted meditative prayer, allowing viewers to contemplate key events in Christ's life or saints' stories at a personal scale, fostering emotional and ethical instruction without reliance on textual . Predellas occasionally bore inscriptions that explicitly linked the imagery to sacraments like the , thereby deepening the altarpiece's connection to the church's sacramental life. These elements transformed the predella into a tactile and interpretive bridge between the altar's ritual and the faithful's participation.

Common Narrative Themes

Predella panels predominantly feature scenes from the Life of Christ, including infancy episodes such as the Nativity and , as well as Passion cycle moments like the and , which underscore themes of , suffering, and redemption. These motifs often parallel the central altarpiece's devotional focus, providing a supplementary narrative that reinforces the main image's theological message. Similarly, cycles from the Life of the Virgin Mary are common, encompassing events like the , Birth of the Virgin, and in the Temple, which emphasize her purity and intercessory role. Scenes depicting patron saints, particularly their martyrdoms, miracles, or key vitae episodes, further dominate, serving to honor the altarpiece's dedicatee or the church's patron while illustrating virtues like faith and endurance. Structurally, predella narratives typically comprise 3 to 7 panels arranged in a linear sequence, forming a cohesive arc that progresses from origins or —such as birth or calling—to culmination in triumph, death, or exaltation, thereby creating a miniature biography or episodic chronicle below the main register. This format allows for a condensed storytelling that complements the altarpiece's liturgical function without overwhelming the primary . Regional variations in Italian predelle emphasize hagiographic content, with a strong focus on saints' lives and martyrdoms tailored to local devotions. Miracles and personifications of virtues, such as charity or , are frequently included to echo the central panel's , fostering thematic harmony across the . Predella iconography permits greater artistic freedom compared to the rigidly central images, enabling the inclusion of experimental scenes, such as everyday domestic activities or vignettes, and occasional donor portraits that blend with personal commemoration. This flexibility allowed artists to explore innovative compositions and secular motifs, less constrained by doctrinal prescriptions, while still advancing the overall devotional .

Artistic Characteristics

Composition and Scale

Predella panels are characteristically modest in scale compared to the central , typically measuring 30-60 cm in width and 20-40 cm in height, which facilitated intimate observation during liturgical rituals. This reduced size prioritized fine, expressive details—such as subtle gestures and emotional expressions—over monumental grandeur, as viewers approached closely. In terms of compositional layout, predella panels often adopt a horizontal format, arranging multiple scenes with balanced spacing to create a cohesive base beneath the main . Unity across panels is frequently achieved through continuous or architectural backdrops that span the sequence, linking disparate episodes visually while maintaining episodic separation. Perspective in predella compositions evolved from the flat, decorative designs of the to more naturalistic one-point systems by the 1400s, enhancing spatial depth within the constrained format. Framing typically employed arched or rectangular borders that echoed the style of the overarching , integrating the predella structurally and aesthetically into the whole ensemble. The narrative flow in predella panels generally proceeds from left to right, mimicking Western reading conventions, with episodic breaks delineated by prominent figures, props, or architectural elements to guide the viewer's progression. This arrangement fosters emotional intimacy, as the proximity of viewing encouraged contemplation of individual scenes' human-scale drama.

Techniques and Materials

Predelle, as painted panels, were typically executed on wood supports such as poplar or , chosen for their stability and availability in during the . These panels were prepared with a ground, consisting of layers of () mixed with , applied in a coarse base layer (gesso grosso) followed by a finer finishing layer (gesso sottile) to create a smooth, absorbent surface ideal for detailed work. , an of egg yolk and water-soluble pigments, remained the dominant medium for predelle until the early , particularly in , where it allowed for precise, matte finishes suited to the small scale; oil paints, offering greater flexibility and depth, were adopted more readily in by the 1500s for richer tonal effects. Artistic techniques for painted predelle began with underdrawings executed in or black chalk on the ground, providing a flexible guide for composition that could be adjusted during . Paint was applied in thin, successive layers, with built up opaquely for flesh tones and backgrounds, while later techniques incorporated translucent glazes—often of lake or pigments—to achieve volumetric depth and on the smaller format. was a key feature, especially for backgrounds, where was laid over a bole ground (red clay mixed with glue) and burnished to reflect light in dimly lit settings, enhancing the narrative scenes' divine aura. Sculptural predelle, more common in earlier medieval and proto- examples, employed low-relief carving in or terracotta to depict cycles, allowing for economical production through molding or chiseling. reliefs, such as those by , featured shallow depths (stiacciato technique) for subtle modeling, while terracotta variants permitted easier replication and surface detailing. Polychromy— and over the —was prevalent in early works to mimic lifelike skin and fabrics but gradually faded during the in favor of unpainted stone to emphasize naturalism and material purity. Conservation of predelle presents challenges due to their wood construction, which is prone to warping from fluctuations and environmental stress, often leading to cracks in the and paint layers. Overpainting, applied during past restorations to conceal damage or adapt to changing tastes, has obscured original surfaces in many examples. Since the post-1950s, modern diagnostic methods like infrared reflectography have revolutionized analysis, revealing underdrawings and alterations non-invasively by capturing infrared wavelengths that penetrate upper paint layers.

Notable Examples

Italian Renaissance Predelle

The predella form attained a high point of artistic refinement during the , particularly in , where artists used the lowermost register of altarpieces to unfold supplementary narratives with exceptional detail and emotional depth, enhancing the devotional experience for worshippers. These small-scale panels often employed gold grounds, intricate compositions, and symbolic motifs to complement the central image above, reflecting the era's blend of medieval tradition and emerging humanistic concerns. Duccio di Buoninsegna's Maestà predella (1308–1311), created for , exemplifies early Sienese mastery in this genre through its scenes from the infancy and ministry of Christ, including the Nativity and the Raising of Lazarus, which demonstrate masterful narrative compression by distilling multifaceted biblical episodes into concise, expressive formats while preserving rhythmic continuity and gilded opulence. The panels' intimate scale invited close viewing, allowing viewers to absorb the sequence's theological progression in a manner that heightened the altarpiece's overall liturgical impact. Carlo Crivelli's San Domenico Altarpiece (1476, ) originally featured a predella with Passion scenes (now lost), notable for their dramatic tension, jewel-like colors, and meticulous still-life details such as hanging fruits and architectural elements that add a tactile realism to the sacred narrative. This Marchese work bridges late Gothic elaboration with observation, using the predella to extend the altarpiece's emotional range through hyper-detailed vignettes that reward scrutiny.

Northern European Examples

In Northern European art, the predella form adapted to local traditions, often appearing as compact narrative panels or carved bases in , emphasizing emotional depth and intricate detailing typical of Gothic and early styles. A prominent Flemish example is Rogier van der Weyden's Entombment of Christ (c. 1440s), a small oil-on-panel work possibly originating as the central panel from a larger unidentified , featuring three mourning figures tenderly handling Christ's body in a tightly composed scene that highlights van der Weyden's mastery of oil glazes for luminous skin tones and expressive gestures. This panel, now in the Galleria degli Uffizi, , exemplifies how Flemish artists integrated such elements to extend devotional narratives, focusing on intimate moments of sorrow to engage worshippers at eye level. In , the predella evolved into carved limewood bases depicting saintly legends, aligning with the region's emphasis on polychromed sculpture and moral storytelling. Tilman Riemenschneider's altarpieces from the late 15th century, such as the Holy Blood Altarpiece (1501–1505) in , incorporate a lower register without a traditional step but with arcades supporting narrative reliefs of saints and biblical events, carved in soft limewood to achieve delicate, translucent effects under original gilding and paint. Riemenschneider's workshop also produced predella panels for works like the Mary Coronation Altarpiece, where compact scenes from saint legends served to ground the elevated central figures, blending Late Gothic intricacy with emerging . Spanish examples demonstrate the predella's persistence into the , transitioning into Mannerist expressions amid influences from Italian and Flemish sources. Berruguete's for the of San Benito el Real in (1520s–1530s) includes predella fragments with dynamic carvings, such as the , depicting prefigurations and saintly episodes in expressive, elongated figures that convey intense emotion through twisted poses and dramatic lighting. These base panels, now dispersed in the National Sculpture Museum, , underscore Berruguete's role in adapting the form to Spanish retablo traditions, where depth endured despite shifting artistic currents. Beyond major centers, predella-like features influenced 16th-century Scandinavian and English art, particularly in church screens where lower carved or painted panels blended biblical narratives with local and saints. In , surviving rood screens from churches, such as those in and , feature base friezes with reliefs of apostles and moral legends, serving a liturgical function akin to predellas by visually separating sacred spaces while educating the . Similarly, Scandinavian examples in Danish and Swedish churches incorporated narrative lower tiers into wooden screens, integrating regional like Viking-era motifs with Christian to foster community devotion during the era.

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  63. https://www.museodelprado.es/en/the-collection/art-work/the-lamentation/82337c85-e7c4-4726-a4d7-80334615672e
  64. https://www.wga.hu/html_m/r/riemensc/4rothen.html
  65. https://collections.vam.ac.uk/item/O70318/mary-salome-and-zebedee-sculpture-riemenschneider-tilman/
  66. https://www.alamy.com/altarpiece-of-the-monastery-of-san-benito-el-real-fragment-of-the-predella-in-the-national-sculpture-museum-colegio-de-san-gregorio-de-valladolid-sp-image328142337.html
  67. https://smarthistory.org/alonso-berruguete-abraham-and-isaac/
  68. https://www.sacredarchitecture.org/articles/the_making_of_church_screens
  69. https://academic.oup.com/ehr/article/134/566/181/5223935
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