|Type||Tempera on panel|
|Dimensions||142 cm × 337 cm (56 in × 133 in)|
|Location||Uffizi Gallery, Florence|
Contemporary sources such as Lorenzo Ghiberti's Commentarii and Giorgio Vasari's Lives agree in mentioning the presence of a polyptych by Giotto at the high altar in the Badia Fiorentina. However, the work is no more document for centuries, and was considered to be lost. In the 19th century, however, it was found in the archives of the Museum of Santa Croce of Florence, and identified thanks to a cartouche on it saying "Badia di Firenze", which was added in 1810. The dating of the work is disputed, ranging from the early 14th century to a period following Giotto's work in the Cappella degli Scrovegni.
The polyptych was restored in the 1958 and again, after escaping the 1966 Flood of the River Arno, in 2000.
The work is composed by five framed paintings with a triangular cusp, and portrays the busts of the Virgin (center) and, from the left, Sts. Nicholas of Bari, John the Evangelist, Pieter and Benedict, identified by their names below and their traditional attributes.
Giotto made an extensive use of chiaroscuro. Details include the rich garments and the crosier of St. Nicholas, the gesture of the Child grasping at his mother's neckline and St. Peter's stole. Similar details were used by Giotto also in Rimini Crucifix and the Stigmata of St. Francis, and have led to the 1300s dating.
- Fossi, Gloria (2004). Uffizi. Florence: Giunti. p. 110.
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