GHISSI, Francescuccio - b. 0 Fabriano, d. ~1395 ?

Italian painter. He was the leading 14th-century painter from the Marches after Allegretto Nuzi, with whom he collaborated. The overall pattern of his activity is unknown. Most of his surviving panels depict the Madonna of Humility. Frescoes in S Francesco in Sanseverino were recorded but are now lost. Between his earliest known work, the signed Madonna of Humility (1359; Fabriano, S Domenico), and the Madonna of Humility with an Angel (1374; Montegiorgio, S Andrea) his draughtsmanship and facial modelling became more assured and the design of the basic triangular group more elegant. Another example (Fermo, S Domenico) shows the richness of his decorative repertory in the painted cloth and in the elaborately foliated gold ground.

Ghissi was influenced by Nuzi, but his works, with respect to the latter, are much more rigid and characteristically archaic, leading one to think of a more provincial and intensely devotional expression.

The Dead Christ and the Adoration of the Infant Jesus

The Incarnation of Christ and his death are depicted in this panel, which is divided into two sectors, one above the other.

The deceased Christ is portrayed in half length with his arms crossed on his chest. His head is tilted to one side and his eyes are closed, with a cross on his halo and the stigmata clearly visible on his hands and ribs. Two angels at his sides are richly embellished with diadems and halos on their heads and with capes and wings. They also have their arms crossed like Christ, a gesture that expresses resignation for the unavoidable divine sacrifice.

In the lower sector, the infant Jesus is lying on the ground, barely covered by a transparent cloth; his small body emits strong rays of light. Two angels kneel behind him with their hands clasped together. They wear diadems and have halos above their heads. The Madonna, with her arms crossed on her chest, and Saint Joseph, with his hands clasped together in adoration, are kneeling before the child.