
This triptych, or three-part altarpiece, is remarkable for being a compendium of narrative motifs more typically seen in larger format. The central panel depicts Christ three times: crucified, resurrected at the tomb, and as part of the Trinity. It is the earliest known panel to show the Trinity as a single figure with three heads. The Archangel Gabriel appears at the top of the left wing, opposite the Virgin receiving the Annunciation at the top right. The remaining compartments in the left wing show the Nativity and the Adoration of the Magi; in the right wing is depicted the Mocking of Christ and the Lamentation.
Duveen; T. S. Hyland, Greenwich, Connecticut; Acquired by the Putnam Foundation, 1967
Baltimore, The Walters Art Gallery, 1962, The International Style, cat. by Philippe Verdier and Dorothy Miner, n.17, pl. IX; Hartford, Wadsworth Atheneum, 1965, An Exhibition of Italian Panels and Manuscripts from the Thirteenth and Fourteenth Centuries in Honor of Richard Offner. 28, no. 32.
Millard Meiss, Painting in Florence and Siena after thr Black Death (Princeton, 1951), pp. 34-45, fig. 50; Wolfgang Braunfels, Die Heilige Dreifaltigkeit (Düsseldorf, 1954), p.xli, fig. 42; Millard Meiss, "Notes on Three Linked Sienese Styles," Art Bulletin 45 (1963): 47-48; Bernard Berenson, Italian Pictures of the Renaissance: Central Italian and North Italian Schools, 3 vols. (London, 1968), 1.:226; H. W. van Os, Marias Denut und Verherrlichung in der sienesischen Malerei, 1300-1450 (The Hague, 1.969), pp. 68 nn. 94, 96, p. 71 n.109; Agnes
Mongan and Elizabeth Mongan, European Paintings in the Timken Art Gallery (San Diego, 1969), pp. 22-2),107, no. J, ill.; Burton Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass., 1972), pp.113, 268,272,284,291,295,297,302,360,632; Sherwood A. Fehm, Jr., The Collaboration of Niccolò Tegliacci and Luca
di Tommeè (Malibu, Calif., 1973), p. 30; Cristina de Benedictis, La pittura senese, 1330-1370 (Florence, 1979), pp. 48, 67, 88, fig. 90; Enzo Carli, La pittura senese del trecento (Milan,1981), p. 225; Martin E. Petersen, "Three Centuries of European Paintings, 1300-16oo," Apollo 115 (June 1982): 441, fig. 3; Timken Art Gallery: European and American Works of Art in the Putnam Foundation Collection (San Diego, 1983), pp. 56-57, 120, no. 19, ill; J. Gellrich, The Idea of the Book in the Middle Ages: Language Theory, Mythology, and Fiction (Ithaca, N.Y., 1985), p. 58, pl. 4i Sherwood A. Fehm, Jr., Luca di Tommb A Sienese Fourteenth-Century Painter (Carbondale, IlL, 1986), pp.11-12, 61-65, ill.; John T. Paoletti, "The Strozzi Altarpiece Reconsidered," Memorie D omenicane, n.s., no. 20 (1.989): 279-300, ill.; Anna Maria d'Achille, "Sull'iconografia trinitaria medievale: LaTrinit.?t del Santuario sui Monte Autore presso Valletpietra," Arte Medievale, ser. 2, 5, no.1 (1991): 57,
fig.14.
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