This altarpiece is made up of a retable, which was set up behind the altar table in a Catholic church, and a frontal, which decorated the front of the table itself. The work is a testament to the piety of Pedro L\u00f3pez de Ayala, who had the altarpiece made for his family\u2019s funerary chapel in their palace in northern Spain. A major \ufb01gure in the political and cultural life of late-medieval Spain, Ayala was a courtier, diplomat, and soldier in the service of the kings of Castile, eventually serving as chancellor.<\/p>\n
The massive altarpiece must have been constructed and painted inside the small chapel. To accomplish this, Ayala called upon local artists, who created a series of scenes that tell the stories of the life of Jesus and his mother, Mary. The composition centers on images of the Cruci\ufb01xion and of an empty throne that probably once framed a statue of the Virgin and Child. These scenes are not projections of convincing pictorial space. Rather, with their plain backgrounds and framing arcades, they hearken back to earlier architectural decoration and manuscript illumination. The altarpiece was intended to impress through its monumental scale, its narrative clarity, and its costly materials, which include gold and silver leaf and glazes of rare and expensive ultramarine blue.<\/p>\n
Ayala expected his altarpiece to be a perpetual plea for his eternal salvation and that of his family, and it remained in the family chapel for more than \ufb01ve centuries. Ayala declared his donation of the altarpiece in honor of Christ and the Virgin Mary through the inscription that runs across the bottom margin; the images of Ayala and his wife, Leonora de Guzman, kneeling in prayer with their son and daughter-in-law at either end of the lower register; and their coats of arms\u2014two wolves and two cauldrons\u2014alternating around the frames.<\/p>\n","short_description":"This ensemble comprises a retable, which was set up behind the altar table, and a frontal, which decorated the table's front. The work is a testament to the piety of Pedro L\u00f3pez de Ayala, a major figure in the political and cultural life of late medieval Spain. For more than 500 years, it decorated his family's funerary chapel in their fortified palace in northern Spain.","dimensions":"Retable: 257 \u00d7 669.9 cm (99 3\/4 \u00d7 263 3\/4 in.); Frontal: 116.3 \u00d7 290.9 cm (45 3\/4 \u00d7 114 1\/2 in.)","dimensions_detail":[{"depth":null,"width":669,"height":257,"diameter":null,"clarification":"Retable"},{"depth":null,"width":290,"height":116,"diameter":null,"clarification":"Frontal"}],"medium_display":"Tempera and gold on panel","inscriptions":"Inscribed: :COMO:FUE:FALLADO:IXU:XPO:ENL:TENPLO:Q:ENSENA[U?]ALA:LEY:.COMO:IHU:XPO:TORNA:EL:AGUA:BINO:.COMO:IHS:XPO:RE\u00c7US\u00c7ITO:.AL:TERCER:DIA:.EL:CRU\u00c7IFI:XO:.COMO:IHS:XPO:.SUBIO:ALOS:\u00c7IELOS:.COMO:UINO[:]EL[:]ESP[I]RITU:SANTO:EN:SANTA:MARIA:E:EN:LOS:APOSTOLES:. COMO:SANTA:MARIA:FUE:SOBIDA:ALOS:\u00c7IELOS:. (along top below frame); PEDRO:FIIO:.DE:.FERNAN:PEREZ:DAIALA:.;MARI:.ROMIREZ:.FIIA:DE:\nFERNAN:PEREZ:DAIALA:. (on banderoles in the Crucifixion), I:.N:.R:.I (attached to the cross), :.SANT:BLAS:BENDIZE:AESTOS:CAUALEROS:. LA:SALUTA\u00c7ION:COMO:SE:ABRA\u00c7ARON:SANTA:MARIA:E:SANTA:HELIZABETH:.COMO:NA\u00c7IO:.IHU:XPO:LOS:PASTORES:.SANTA MARIA:.COMOUIN[IE]RON:ADORAR:LOS:TRES:REYS:MAGOS:.COMO:FUE:IHU:XPO:PRESENTADO:ENEL:TEN:PLO:.COMO:JOSEPH:FUYO:CON:\nSANTA:MARIA:E:IHU:XPO:AEGITO:. (between the two registers of narratives), :.FERNAN.PEREZ.DAIALA:.SU:.FIIO; DON:.PEROLOPEZ:.DAIALA; SANT:.BLASBENDIZE (on banderoles in scene at lower left), AVE:MARIA:GRACIA (on banderole held by Gabriel in the Annunciation), :GLORIA:INE\u00c7EL:SIS (on banderole presented to the shepherds), :SANTO:.TOMAS:.DAQUINO:.; DONA:.LEONOR:.DE.GUZMAN; DONA:.MARIA:.SU:.NUERA:. (on banderoles in scene at lower right), :ESTA:CAPIELLA:ESTOS:[F]RONTALES:MANDARON:FACER:DON[:]PERO:LOPES:DE:AIALA:EDONA:LEONOR:DE:GUZMAN:SU:MUGER:AL:SERUI\u00c7IO:DE:DIOS:EDE:SANTA:MARIA:ENEL:ANO:DEL:NA\u00c7IMIENTO:DE:NUESTRO:\nSENOR:IHU:XPO:DE:MILL:E:TRESIENTOS:E:NOVEINTA:SEIS:ANOS:UENDIZELAS:SANTOMAS:DAQUINO:+ (along bottom above frame), [C]OMO:PARE\u00c7IO:EL:A[N]GEL:ALOS:PASTORES:COMO:CSTA:EN\u00c7AE\u00c7IDA:SANTA:MARIA:.GASPAR:.MELCHIOR:.BALTASAR:.REIES:. (on the frontal), GLORIA:INE\u00c7ELSIS:DEO (on banderole held by angel), Arms of Ayala (two wolves) and Guzm\u00e1n (two cauldrons) (alternating on frames)","credit_line":"Gift of Charles Deering","catalogue_display":null,"publication_history":"Don Florencio Jan\u00e9r, \u201cRelicario de Nuestra Se\u00f1ora del Cabello,\u201d Museo Espa\u00f1ol de Antiqu\u00ebdades, vol. 8, pt. 1, Madrid, 1877, p. 190. \n\nRicardo Becerro de Bengoa, \u201cPante\u00f3n del Canciller Don Pero L\u00f3pez de Ayala,\u201d Bolet\u00edn de la Sociedad espa\u00f1ola de excursions 24 (1916), pp. 161\u201364, 166. \n\n\u201cEl Retablo de Quejana del Canciller Ayala,\u201d Bolet\u00edn de la Sociedad espa\u00f1ola de excursiones 24 (1916), p. 246. \n\nEl\u00edas Tormo, \u201cUna Nota Bibliogr\u00e1fica . . . y algo m\u00e1s,\u201d Bolet\u00edn de la Sociedad espa\u00f1ola de excursiones 24 (1916), pp. 154\u201360 (ill.). \n\n\u201cEl retaule de Quejana,\u201d Vell i nou 3 (1917), pp. 472\u201376 (ill.).\n\nRicardo Becerro de Bengoa, \u201cDescripciones de \u00c1lava: Libro in\u00e9dito escrito en 1880,\u201d Ateneo (1918), pp. 4, 6. \n\nValerian von Loga, Die Malerei in Spanien vom XIV. bis XVIII. Jahrhundert, Berlin, 1923, p. 13, fig. 10. \n\nR.M.F., \u201cA Fourteenth Century Spanish Retable and Altar Frontal,\u201d Bulletin of the Art Institute of Chicago 20 (1926), pp. 95\u201399 (ill.; cover ill.). \n\nJ. Allende-Salazar, Obras de arte espa\u00f1ol en los Museos de Norteam\u00e9rica,\" Archivo Espa\u00f1ol de Arte y Arqueolog\u00eda 3 (1927), pp. 105-106.\nW.A.P., \u201cTwo Panels Illustrating the Legend of Saint Christopher,\u201d Bulletin of the Art Institute of Chicago 21 (1927), p. 7. \n\nWalter Dill Scott and Robert B. Harshe, Charles Deering, 1852\u20131927: An Appreciation, Boston, 1929, p. 50. \n\nFrank E. W[ashburn] Freund, \u201cAusstellungen und Neuerwerbungen der amerikanischen Museen,\u201d Der Cicerone 22 (1930), pp. 65\u201367 (ill.). \n\nChandler Rathfon Post, A History of Spanish Painting, vol. 2, Cambridge, Mass., 1930, pp. 98, 126\u201333, 136, 192, fig. 126. \n\nElizabeth du Gu\u00e9 Trapier, Catalogue of Paintings (14th and 15th Centuries) in the Collection of the Hispanic Society of America, New York, 1930, p. xxviii. \n\nAIC 1932, p. 172. \n\nJuan de Contreras, Marqu\u00e9s de Lozoya, Historia del arte hisp\u00e1nico, vol.\n2, Barcelona, 1934, pp. 268\u201370, figs. 286\u201389. \n\nThe Art Institute of Chicago, A Brief Illustrated Guide to the Collections, 1935, p. 24. \n\nThe Art Institute of Chicago, A Brief Illustrated Guide to the Collections, 1941, p. 30. \n\nJos\u00e9 Gudiol, Spanish Painting, exh. cat., Toledo Museum of Art, 1941, p. 14, fig. 11. \n\nChandler Rathfon Post, A History of Spanish Painting, vol. 8, Cambridge, Mass., 1941, pp. 539\u201340. \n\nOskar Hagen, Patterns and Principles of Spanish Art, rev. ed., Madison,\nWis., 1943, p. 57. \n\nJuan de Contreras, Marqu\u00e9s de Lozoya, El Canciller L\u00f3pez de Ayala, rev. ed., Bilbao, 1943, p. 91. \n\nThe Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, 1945, pp. 31\u201332. \n\nMar\u00eda Elena G\u00f3mez-Moreno, Mil joyas del arte espa\u00f1ol: Piezas selectas monumentos magistrales, vol. 1, Barcelona, 1947, pp. 206\u201307, no. 329. \n\nThe Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, 1948, p. 29. \n\nHelen Parker, The Christmas Story: Illustrated from the Collections of the Art Institute of Chicago, Chicago, 1949, n.pag. (ill.). \n\nWalter W. S. Cook and Jos\u00e9 Gudiol Ricart, Pintura e imaginer\u00eda rom\u00e1nicas, Ars hispaniae 6, Madrid, 1950, p. 261. \n\nJuan de Contreras, Marqu\u00e9s de Lozoya, Introducci\u00f3n a la biograf\u00eda del Canciller Ayala, Bilbao, 1950, pp. 39\u201343. \n\nJos\u00e9 Gudiol Ricart, Pintura g\u00f3tica, Ars hispaniae 9, Madrid, 1955, pp. 42, 185, figs. 27\u201328. \n\nFernando Jim\u00e9nez-Placer y S\u00faarez de Lezo, Historia del arte espa\u00f1ol, vol. 1, Barcelona, 1955, p. 305. \n\nThe Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, 1956, p. 29. \n\nJuan Antonio Gaya Nu\u00f1o, La pintura espa\u00f1ola fuera de Espa\u00f1a, Madrid, 1958, p. 272, nos. 2227\u201328, pls. 12\u201313. \n\nThe Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 92\u201393 (ill.), 422, 438. \n\nJos\u00e9 Gudiol, The Arts of Spain, Garden City, N.Y., 1964, p. 50, pl. 81. \n\nJos\u00e9 Cam\u00f3n Aznar, Pintura medieval espa\u00f1ola, Summa artis 22, Madrid, 1966, pp. 171\u201372, fig. 158.\n\n\nFrederick A. Sweet, \u201cGreat Chicago Collectors,\u201d Apollo 84 (1966), pp. 204, 207, fig. 40. \n\nJohn Maxon, The Art Institute of Chicago, London, 1970, pp. 24\u201325 (ill.).\n\nP. Faustino Mart\u00ednez V\u00e1zquez, O.P., \u201cRese\u00f1a historica y catalogo monumental del Monasterio de Quejana\u20141374\u20131974, VI Centenario,\u201dBolet\u00edn de la Instituci\u00f3n \u201cSancho el Sabio\u201d 19 (1975), pp. 35, 64 n. 13, 67 n. 34. \n\nThe Art Institute of Chicago, 100 Masterpieces, 1978, pp. 38\u201339, no. 2 (ill.). \n\nM[icaela] J. Portilla, Torres y casas fuertes en \u00c1lava, vol. 2, Vitoria, 1978,\npp. 862\u201364. \n\nJoaqu\u00edn Yarza [Luaces], La edad media, Madrid,1980, pp. 295, 332. \n\nSoledad de Silva y Ver\u00e1stegui, \u201cLas Empresas art\u00edsticas del Canciller Pedro L\u00f3pez de Ayala,\u201d in Vitoria en la edad media: Actas del I Congreso de Estudios Hist\u00f3ricos, Vitoria-Gasteiz, 1981, pp. 763\u201375 (ill.). \n\nWendy J. Feeney, \u201cThe Ayala Altarpiece: An Iconographic Analysis,\u201d M.A. thesis, Northwestern University, Evanston, Ill., 1983. \n\nMicaela J. Portilla, Quejana: Solar de los Ayala, Vitoria, 1983, pp. 3, 24, 30\u201344, 36\u201337 (ill.). \n\nChristopher Norton, David Park, and Paul Binski, Dominican Painting in East Anglia: The Thornton Parva Retable and the Mus\u00e9e de Cluny Frontal, Woodbridge, Suffolk, and Wolfeboro, N.H., 1987, p. 55.\n\nSoledad de Silva y Ver\u00e1stegui, Iconograf\u00eda g\u00f3tica en \u00c1lava: Temas iconogr\u00e1ficos de la escultura monumental, Vitoria-Gasteiz, 1987, pp. 122\u201323, 125\u201326 (ill.), 155\u201360. \n\nMicaela J. Portilla, \u201cQuejana,\u201d in Cat\u00e1logo monumental, Di\u00f3cesis de Vitoria, vol. 6, Vitoria, 1988, pp. 767, 787\u201392, 813, fig. 539. \n\nJudith Berg Sobr\u00e9, Behind the Altar Table: The Development of the Painted Retable in Spain, 1350\u20131500, Columbia, Mo., 1989, pp. 134\u201335, 159, fig. 83.\n\nAngela Franco Mata, \u201cGotische Skulptur in Kastilien und Le\u00f3n (13.\u201314. Jahrhundert),\u201d in Spanische Kunstgeschichte: Eine Einfu_hrung, ed. Sylvaine H\u00e4nsel and Henrik Karge, vol. 1, Berlin, 1992, pp. 148\u201349. \n\nJoaqu\u00edn Yarza Luaces, Baja edad media: Los siglos del g\u00f3tico, [Madrid], 1992, pp. 42\u201343, 176. \n\nM. Luc\u00eda Lahoz, \u201cLa capilla funeraria del canciller Ayala: Sus relaciones con Italia,\u201d Bolet\u00edn del Inst. Museo Cam\u00f3n Aznar 53 (1993), pp. 71\u2013112. \n\nRaquel S\u00e1enz Pascual, \u201cPasi\u00f3n y Resurrecci\u00f3n en la pintura alavesa: Siglos\nXIV\u2013XVI,\u201d Cuadernos de Secci\u00f3n: Artes pl\u00e1sticas y monumentales 12 (1994), pp. 95, 110\u201311. \n\nJoaqu\u00edn Yarza Luaces, \u201cLa pittura spagnola del Medioevo: Il mondo gotico,\u201d in La pittura spagnola, ed. Alfonso E. P\u00e9rez S\u00e1nchez, Milan, 1995, p. 77. \n\nM. Luc\u00eda Lahoz, Escultura funeraria g\u00f3tica en \u00c1lava, Vitoria-Gasteiz, 1996,\npp. 141, 145\u201353 (ill.). \n\nM. Luc\u00eda Lahoz, \u201cPromoci\u00f3n y mecenzgo nobiliar en el g\u00f3tico de \u00c1lava,\u201d Sancho el Sabio: Revista de cultura e investigaci\u00f3n del Pa\u00eds Vasco 7 (1997), pp. 293\u2013311. \n\nRaquel S\u00e1enz Pascual, La pintura g\u00f3tica en \u00c1lava: Una contribuci\u00f3n a su\nestudio, Vitoria-Gasteiz, 1997, pp. 87\u2013136, 171\u201379, 608, 610, fig. 13. \n\nMarisa Melero-Moneo, \u201cRetablo y frontal del convento de San Juan de Quejena en \u00c1lava (1396),\u201d Locus Amoenus 5 (2000\u201301), pp. 34\u201351, figs. 1, 3\u20135. \n\nJoaqu\u00edn Yarza Luaces, La nobleza ante el Rey: Los grandes linajes castellanos y el arte en el siglo XV, [Madrid], 2003, pp. 313\u201314, figs. 228\u201329. \n\nM[artha] W[olff], in Art Institute of Chicago Museum Studies 30, 2 (2004), pp. 58\u201359, no. 36 (ill.).\n\nFernando Guti\u00e9rrez Ba\u00f1os, \u201cLa pintura g\u00f3tica en la Corona de Castilla en la primera mitad del siglo XV: La recepci\u00f3n de las corrientes internacionales\u201d in La Pintura g\u00f3tico durante el siglo XV en tierreas de Arag\u00f3n y en otros territorios peninsulares, ed. Mar\u00eda del Carmen Lucarra Ducay, Instituci\u00f3n \u2018Fernando el Cat\u00f3lico\u2019, Zaragoza, 2007, pp. 88, 109.\n\nMartha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 100-107, ill.\n\nVictor M. Schmidt, \"Ensembles of Painted Altarpieces and Frontals\" in The Altar and its Environment 1150 - 1400, ed. Justin E.A. Kroesen and Victor M. Schmidt, Turnhout, 2009, p. 212, fig. 11, pl. 69.\n\nJustin E.A. Kroesen, Staging the Liturgy: The Medieval Altarpiece in the Iberian Peninsula, Leuven, Paris and Walpole, Massachusetts, 2009, p. 52, fig. 28.\n\nF[ernando] G[uti\u00e9rrez] B[a\u00f1os] in Paisaje interior, exh. cat., Fundaci\u00f3n \u2018Las Edades del Hombre\u2019, co-cathedral of Saint Peter, Soria, 2009, p. 359, under no. 69.\n\nSebasti\u00e0 S\u00e1nchez Sauleda, \u201cCol.leccionisme, art i reminiscencies medievals: Charles Deering i el Palau Maricel de Sitges,\u201d Lambard. Estudis d\u2019art medieval 22 (2010\/2011), pp. 101-4, 107, fig. 3.\n\nFernando Guti\u00e9rrez Ba\u00f1os, \u201cLa corona en la encrucijada: Corrientes pict\u00f3ricas en la Corona de Castilla en tiempos de infant don Fernando de Antequera,\u201d Artigrama, no. 26 (2011), pp. 389, 413-16, figs. 13, 14.\n\nImmaculada Socias, \u201cNuevas fuentes documentales para la interpretaci\u00f3n del levantamiento de la colecci\u00f3n Deering de Sitges en 1921\u201d in Nuevas contribuciones en torno al mundo del coleccionismo del arte hisp\u00e1nico en los siglos XIX y XX, ed. Immaculada Socias and Dimitra Gkozgkou, Gij\u00f3n, 2013, pp. 404-6, fig. 4.\n\nFernando Guti\u00e9rrez Ba\u00f1os, \u201cLa larga traves\u00eda del desierto: Pintura y pintores en las fuentes Castellanas de los siglos XIII y XIV\u201d in Ver y crear: Obradores y mercados pict\u00f3ricos en la Espa\u00f1a g\u00f3tica (1350-1500), ed. Matilde Miquel Juan et al., Madrid, 2016, p. 157, esp. n. 76.\n\nOlga P\u00e9rez Monz\u00f3n, \"El Retablo bajomedieval: Visiones complementarias y espacios camale\u00f3nicos,\" in Ver y crear: Obradores y mercados pict\u00f3ricos en la Espa\u00f1a g\u00f3tica (1350-1500), ed. Matilde Miquel Juan et al., Madrid, 2016, p. 382.\n\nJames Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 18 (ill.).","exhibition_history":null,"provenance_text":"Ayala family chapel, Dominican convent of Saint John the Baptist, Quejana, near Amurrio, \u00c1lava; sold by the convent to Lionel Harris, Spanish Art Gallery, London, 1913 [see S\u00e1nchez Sauleda 2010\/2011, pp. 102-3, 109-10, citing a letter of 14 December 1916 from Charles Deering to Miquel Utrillo; see also Portilla 1988, pp. 792, 813]; sold to Charles Deering (died 1927), Chicago, by 1916 [S\u00e1nchez Sauleda 2010\/2011, citing a letter of 19 December 1916 to Miquel Utrillo indicating that he was shipping the altarpiece from New York to Sitges in January 1917; a photograph of about 1918 shows it installed at the Palau Maricel, Sitges]; shipped from Barcelona via New York in the fall of 1921 and deposited at the Art Institute of Chicago; given to Charles Deering\u2019s daughters Mrs. Chauncey McCormick and Mrs. Richard E. Danielson, 1924; on loan to the AIC from 1925 [receipt dated June 12, 20 [sic], 1925, in registrar\u2019s records]; given to the Art Institute, 1928.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1929,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":42.3173,"color":{"h":3,"l":61,"s":54,"percentage":0.013207616392119457,"population":54},"latitude":null,"longitude":null,"latlon":null,"is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 236","gallery_id":2147480055,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":119735,"artist_title":"Spanish","alt_artist_ids":[],"artist_ids":[119735],"artist_titles":["Spanish"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["altarpiece","14th century","painting (image making)","tempera","religion","tempera","paint","gold leaf","organic material","paint","painting","wood (plant material)","painting","painting techniques","panel painting","woodcut (process)","woodworking","altar","angels","biblical","birth","Christian subjects","Christianity","crucifixions","divine","donkeys","figures","kings","men","religious","resurrection scenes","Saint Elizabeth","saints","sheep","shepherds","shields","soldiers","swords","Virgin and child\/Madonna and child","women","panel (wood)","gold","Jesus","Madonna","people","european painting","painting"],"style_id":"TM-15644","style_title":"14th century","alt_style_ids":[],"style_ids":["TM-15644"],"style_titles":["14th century"],"classification_id":"TM-1050","classification_title":"altarpiece","alt_classification_ids":["TM-153","TM-10387","TM-54","TM-9"],"classification_ids":["TM-1050","TM-153","TM-10387","TM-54","TM-9"],"classification_titles":["altarpiece","tempera","paint","european painting","painting"],"subject_id":"TM-11421","alt_subject_ids":["TM-12082","TM-12268","TM-12337","TM-12903","TM-8767","TM-12372","TM-8870","TM-13631","TM-8866","TM-15161","TM-8797","TM-10121","TM-14384","TM-9244","TM-12847","TM-8827","TM-8864","TM-8879","TM-12004","TM-8811","TM-8884","TM-8779","TM-8735","TM-12446","TM-12391","TM-8810"],"subject_ids":["TM-11421","TM-12082","TM-12268","TM-12337","TM-12903","TM-8767","TM-12372","TM-8870","TM-13631","TM-8866","TM-15161","TM-8797","TM-10121","TM-14384","TM-9244","TM-12847","TM-8827","TM-8864","TM-8879","TM-12004","TM-8811","TM-8884","TM-8779","TM-8735","TM-12446","TM-12391","TM-8810"],"subject_titles":["religion","altar","angels","biblical","birth","Christian subjects","Christianity","crucifixions","divine","donkeys","figures","kings","men","religious","resurrection scenes","Saint Elizabeth","saints","sheep","shepherds","shields","soldiers","swords","Virgin and child\/Madonna and child","women","Jesus","Madonna","people"],"material_id":"TM-2405","alt_material_ids":["TM-2425","TM-2601","TM-2577","TM-13502","TM-2431","TM-3644","TM-2452"],"material_ids":["TM-2405","TM-2425","TM-2601","TM-2577","TM-13502","TM-2431","TM-3644","TM-2452"],"material_titles":["tempera","gold leaf","organic material","paint","painting","wood (plant material)","panel (wood)","gold"],"technique_id":"TM-3891","alt_technique_ids":["TM-14210","TM-3971","TM-3975","TM-3862","TM-4248"],"technique_ids":["TM-3891","TM-14210","TM-3971","TM-3975","TM-3862","TM-4248"],"technique_titles":["painting (image making)","painting","painting techniques","panel painting","woodcut (process)","woodworking"],"theme_titles":[],"image_id":"97908967-4d35-cde9-6d90-7e90d3fa1dd6","alt_image_ids":["46a76755-7e9f-0219-64e3-fe9c0b8291f1"],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_boosted":"Retable and Frontal of the Life of Christ and the Virgin","suggest_autocomplete_all":[{"input":["1928.817"],"contexts":{"groupings":["accession"]}},{"input":["Retable and Frontal of the Life of Christ and the Virgin"],"weight":10121,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-07-28T08:36:59-05:00","updated_at":"2026-08-25T23:27:48-05:00","timestamp":"2026-09-06T05:53:03-05:00"},"info":{"license_text":"The `description` field in this response is licensed under a Creative Commons Attribution 4.0 Generic License (CC-By) and the Terms and Conditions of artic.edu. 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