The Basilica of St Bernardino all'Osservanza
Works from Other Locations
Some of the works in the Basilica had other locations.
Among these, as well as the abovementioned altarpiece by the Master of the Observance, are the four side sections of a polyptych by Andrea di Bartolo, the central part of which has gone missing but which almost certainly depicted the image of the Virgin and Child. Dating back to 1413, the panels represent Saint John the Baptist, Saint Francis of Assisi, Saint Peter and Saint John the Evangelist, while the cusps contain images of Saint James the Greater, Saint Clare of Assisi, a Deacon Saint and Saint Paul. This master work, clearly belonging to the Franciscan circle, was brought to the Osservanza in 1822 from the Capuchin Monastery of Saint Petronilla, as compensation for the spoliations that took place during the 1810 suppression.
Another painting comes from the destroyed Chapel of the Madonnina Rossa, once at the beginning of the path that led to the Osservanza: it is the fresco with the Crucifixion and Saints now in the first chapel on the right, created either by Girolamo Magagni known as Giomo del Soma or by Bartolomeo Neroni known as Riccio, while the third chapel on the right holds a Crucifixion by the same Riccio, this time on board, once located in a chapel of the sixteenth century cloister, dedicated to the Holy Cross.
Among these, as well as the abovementioned altarpiece by the Master of the Observance, are the four side sections of a polyptych by Andrea di Bartolo, the central part of which has gone missing but which almost certainly depicted the image of the Virgin and Child. Dating back to 1413, the panels represent Saint John the Baptist, Saint Francis of Assisi, Saint Peter and Saint John the Evangelist, while the cusps contain images of Saint James the Greater, Saint Clare of Assisi, a Deacon Saint and Saint Paul. This master work, clearly belonging to the Franciscan circle, was brought to the Osservanza in 1822 from the Capuchin Monastery of Saint Petronilla, as compensation for the spoliations that took place during the 1810 suppression.
Another painting comes from the destroyed Chapel of the Madonnina Rossa, once at the beginning of the path that led to the Osservanza: it is the fresco with the Crucifixion and Saints now in the first chapel on the right, created either by Girolamo Magagni known as Giomo del Soma or by Bartolomeo Neroni known as Riccio, while the third chapel on the right holds a Crucifixion by the same Riccio, this time on board, once located in a chapel of the sixteenth century cloister, dedicated to the Holy Cross.
