Visual Analysis

Filippo Lippi Madonna and Child with angels, Saints Frediano and Augustine (so-called Pala Barbadori) 1437.

    Filippo Lippi’s Madonna and Child with angels, Saints Frediano and Augustine is a large-scale tempera painting on wood panels. It hangs in Florence and measures 2.08 x 2.44 meters. The primary subjects are the Virgin and Child surrounded by Angels with Saints Frediano and Augustine set in a luxurious private space with beautiful architectural elements.

    With fourteen figures in the frame, the Virgin is standing in the middle holding Christ with a sling on one side, they are both wearing crystal-like halo to represent a glowing light of divinity. The angels and two saints are staying around. The composition is balanced and symmetrical; the Virgin and Christ are looking down at Saints Fredianus and Augustine while the angels are all facing the center. The symmetry accentuates the central thrust of this panel. The two most visible angels positioned on either side of the Virgin display different postures and moods and face the central figure as well; they are in youth and both carrying lilies. This composition is hierarchical with different statuses shown visually. Saints Fredianus and Augustine and the Virgin forms a strong triangular composition, the aspect is the diagonal holds attention, drawing viewers even more directly to the focal point. The crutches of the two saints are also perpendicular to the perspective that frames the Virgin and Christ and draws viewers’ eyes directly to them. All figures are gathering around the Virgin and Christ, which provide a scene of a festival occasion.

The architectural elements are beautifully proportioned, with conventional polyptych designs that are reflected by three round arches in the foreground of the image. The arrangements of two identical columns are located in background, creating a sense of perspective. The architecture separates the figures vertically into three parts: the Virgin holding Christ in the middle, the two saints in the same angles as the columns, the two most visible angels stand on both sides, and other figures are arranged in a horizontal line in the back. The angels are the extension of viewers, a way for the viewers to imagine themselves within the space. The background uses perspective to create a sense of space and depth, giving us the illusion of recession into space. The only asymmetrical component is an open window on the upper left corner. The sky through the window can represent a connection of the angels coming down from the heaven. There is a large space behind the central figures that is very opulent.

The image combines strong, deep colors with muted, hazy tones. The colors that appear most intensely are on the central figures, which bring the figures forward to the viewers. Chromatic design of this image and the sonorous color of the garment of Virgin, saints and two angels on both sides, really draws viewers attention and distinguishes them from other figures in this panel. The gold Ornamental trimming of Virgin’s blue garments emphasizes her important status and her noble pose and reflects her as a holy figure. All of the lines of the Virgin’s garment are pointing to Christ, connecting the two figures visually.

         The connections between figures and the compositional aspects increase the sense of naturalism and 


realism. First, the Virgin’s realistic posture reflects an action of normal people. All figures are graceful and 


lifelike which imparts a sense of realism. Finally, the use of perspective makes the painting look three-


dimensional and gives naturalism to the subjects in a more down-to-earth manner.