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The Madonna della Vittoria
1496 · tempera sur toile (tempera on canvas) · Musée du Louvre, Paris
Sizes
image 14.1×24 in on a 18×24 in sheet
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Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order
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All editionsAbout this painting
A branch of red coral hangs on a cord from the bower above the Christ Child, and the Mantova Museo Urbano Diffuso reads it as a sign of the Passion. Our Lady stretches her hand over Francesco Gonzaga, who kneels in armour to thank her for Fornovo, a victory the Louvre calls doubtful. Andrea Mantegna roofs them with lemon and orange trees full of birds, and Heather Dalton identifies one as a sulphur-crested cockatoo. On the throne's base, painted to imitate relief, Rodolfo Signorini reads Genesis: the Fall and the Expulsion, the sin the Child standing in His Mother's lap came to answer. Gonzaga did not pay for his thanks. Susan May names the payer: Daniele da Norsa, a Jewish banker whose house was taken for the chapel, made to pay the considerable expenses. The coral still hangs above the Child.
Sources: Musee du Louvre, collections database, INV 369 ; MR 337, La Vierge de la Victoire. · Musee du Louvre, Mantegna exhibition mini-site, Madonna della Vittoria. · Rodolfo Signorini, 'The Creation of Adam: A Detail in Mantegna's Madonna della Vittoria', JWCI 59 (1996), 303-304. · Heather Dalton, 'A Sulphur-crested Cockatoo in fifteenth-century Mantua', Renaissance Studies 28.5 (2014). · Mantova Museo Urbano Diffuso, 'Madonna della Vittoria', Google Arts & Culture. · Susan May, 'Pruning and propagating civic behaviour: three feste in and around Santa Maria della Vittoria in Mantua, 1495-97', in Architecture, Festival and the City (Routledge, 2018), 17-34.