Barbadori Altarpiece and Predella

The panel follows the traditional polyptych format only in the upper part, where the arches divide the composition into different sections, like how different panels would be used in a traditional polyptych. Differently from previous works, Lippi painted the Virgin as standing, and made her the central point of the composition. The Virgin is seen in a contrapposto pose with a belt attaching her baby, Jesus, to her side. The size and placement of the figures is to show hierarchical importance. To achieve this, he experimented with depth of field by inserting items or people in the foreground and background. • Illustration — Faint textile The kneeling saints are St. Augustine on the right and St. Fridianus on the left. On the far left is a self-portrait of Lippi, identified as the young monk behind the balustrade. He appears detached from the scene by keeping his eyes directly on the viewer. It is painted as a reminder to continue the focus on the sacred scene. It is said to also be reflection of Lippi fighting his own temptations or how he left the Carmelite in an untraditional fashion. Filippo Lippi made some alterations to the altarpiece as the process continued, as seen by the faint fabric seen to the right of the work. He tested the boundaries of frame by creating architectural pieces that appear unstructured. Balusters were added after he had completed some of the architectural elements to enhance the relationship between the figure and the viewer. There is a stylized fabric constructed in a drooping fashion that is seen being held between two children. The lines lead the viewer back to the center of the image where the Virgin and her son stand. The visibility of the material is faint as it was later replaced by columns on the left and right to increase depth of field. The lack of gesso incisions suggests that he wanted to wait to see the full potential of the work as a whole. The body of work strays away from the illusion of a window entering a three-dimensional world. To achieve this, Lippi places the columns out of alignment to the arch of the frame. The detachment draws the viewer back to the figures by covering the bottom of the posts with the two kneeling saints. This also allowed for the frame to be taken away from the artwork and it not affect the meaning of the work. Located at the bottom of the painting, there appears to be a rectangular shadow. The hollow space is said to be a tomb shaped pit. It is possible Lippi was paying homage to the patron, Gherardo di Bartolomeo Barbadori. • Illustration — Barbadori tomb cavity

• Illustration — Angel holding garment To the left of the painting, an angel is seen holding up the bottom of his attire. This figure is inspired by Quattro Santi Coronati by Nanni di Banco. It is a triple figure sculpture piece in a shell-shaped niched of the Orsanmichele. Fra Angelico introduced the idea of an architectural space that did not include gold. Instead it was given an opening to that resembled 15th century Flemish contemporary works and mimics Tribunale of the Mercanzie by Donatello. The landscape opening allows for it to be less spiritual and more slightly more humanizing. The room has a singular window, creating an uneven objective weight. This style derived from contemporary Flemish paintings which relate to followers of Christ. Depictions of the figures contain features similar to that of a late Gothic approach in the 1430s. However, there are more distinguishable characteristics on the individuals than that of Gothic style. Masaccio was one of the artists to guide Lippi's work towards a more statuesque style.