\paperw4260 \margr0\margl0 \plain \fs20 \f1 This large altarpiece was executed by Francesco Marmitta, a painter and illuminator from Parma, for the high altar of the church annex
ed to the Benedictine monastery of San Quintino in Parma. The composition has the symmetrical, well-balanced layout still typical of fifteenth-century altarpieces. The figures are set out in measured and rhythmic poses. At the center, the Madonna is seat
ed with the Child in her arms on a simple cubic throne, raised two steps above the ground. The Child is turned to the right, in order to bless the figure of St. Quentin. On the left stands St. Benedict and on the right St. Quentin, to whom the church for
which the picture was painted is dedicated. At the foot of the throne two young angels are playing music. The Madonna, St. Quentin (on the right), and the angel playing the lute have mild and gentle expressions. The picture is bathed in light, which ent
ers through a loggia with columns located behind the Virgin. Beyond it, a broad swathe of countryside and a patch of pale and open sky are visible. The artist has taken a great deal of trouble over some of the compositionÆs refined details, making it a w
ork of great richness and stylistic originality: at the base of the throne we see a painted relief depicting the \i Flight into Egypt\i0 , surrounded by a swarm of angels; a tondo showing the serpent tempting Adam and Eve is set like a cameo in the pedes
tal; a precious \i Annunciation\i0 appears on the clasp of St. BenedictÆs cope, painted with great rapidity of touch as if it were a grisaille; the glints and reflections of light on St. QuentinÆs armor are carefully studied; finally, the painter imitat
es the material effect of St. BenedictÆs silk cope, in the manner of Flemish artists.\par
