03 — ARTWORK
Dossal
- MEDIUM
- Marble
- TYPE
- Religious
PALETTE
HOVER OR TAP A SWATCH FOR NAME, SHARE AND HEX. SAMPLED FROM THE IMAGE — INDICATIVE, NOT A PIGMENT ANALYSIS.
DEVELOPMENT BUILD — NOT FOR PUBLIC USE. CONTRIBUTE ON GITHUB.
03 — ARTWORK
PALETTE
HOVER OR TAP A SWATCH FOR NAME, SHARE AND HEX. SAMPLED FROM THE IMAGE — INDICATIVE, NOT A PIGMENT ANALYSIS.
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
The marbleloosely applied to any hard limestone that can be sawn into thin slabs and will take a good polish so that it is suitable for decorative work; more strictly, it refers to metamorphosed limestones whose structure has been recrystallized by heat or pressure. Marbles are widely disseminated and occur in a great variety of colours and patterns, but certain types have been particularly prized by sculptors. The most famous of Greek white marbles in the ancient world was the close-grained Pentelic, which was quarried at Mount Pentelicon in Attica. The Elgin Marbles are carved in Pentelic. Widely used also were the somewhat coarser-grained translucent white marbles from the Aegean islands of Paros and Naxos. Parian marble was used for the celebrated Mausoleum at Halicarnassus. The pure white Carrara marble, quarried at Massa, Carrara, and Pietra Santa in Tuscany from the 3rd century BC, is the most famous of all sculptors' stones. It was used for the Apollo Belvedere, and was much favoured in the Renaissance, particularly by Michelangelo, who often visited the quarries to select material for his work. Neoclassical sculptors also favoured Carrara marble because of its ability to take a smooth, sleek surface, but it can look rather 'dead' compared with some of the finest Greek marbles. dossalDossals, sometimes called 'retables', are plain panels set above and at the back of the altar table in a church. They were first painted in the second half of the 13th century, and evolved from antependia which were coverings, normally of highly decorated fabric, used to decorate the front of an altar. They generally consist of a long horizontal panel. Higher and more complex structures developed later. in San'Eustorgio is attributed to Giovannino de' Grassi and Matteo Campione. The altar was probably donated by Gian Galeazzo Visconti (1351-1402), the first duke of Milan.
@online{wga-r1a4d2411e903c3,
author = {Krén, Emil and Marx, Daniel},
title = {Dossal by MATTEO DA CAMPIONE},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/matteo-da-campione-r40dfcec67b9c01/dossal-r1a4d2411e903c3},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
The archive catalogues no further works by this artist.
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