ORIOLI, Pietro di Francesco degli

The allegorical depictions of Faith and Charity formed part of a series of the Three Theological Virtues with a third painting depicting Hope (in a private collection). These types of panels, often comprising allegories or depictions of figures from antiquity, were very popular in Siena in the late 15th century and into the 16th century. They were usually incorporated into the decorative scheme of a room or set into pieces of furniture.

The panel is inscribed at top: CARITAS CONSVMMATA (Charity Realized).

The panel is inscribed at top: CARITAS CONSVMMATA (Charity Realized).

The allegorical depictions of Faith and Charity formed part of a series of the Three Theological Virtues with a third painting depicting Hope (in a private collection). These types of panels, often comprising allegories or depictions of figures from antiquity, were very popular in Siena in the late 15th century and into the 16th century. They were usually incorporated into the decorative scheme of a room or set into pieces of furniture.

The panel is inscribed at top: FIDES RECTA (True Faith).

The panel is inscribed at top: FIDES RECTA (True Faith).

Orioli was known to be particularly devout and was an active member of the Confraternity of Saints Jerome, Francis and Bernardino in Siena.

This painting bears the influence of Orioli’s master, Matteo di Giovanni. Given the inclusion of its eponymous saint, it was likely painted for the Confraternity of St Jerome to which Orioli belonged.

Sulpicia was chosen in the 3rd century BCE from among a hundred women in Rome as the most worthy to dedicate a statue to the goddess Venus Verticordia, protector of women. Before an imaginary view of the city of Rome, Sulpicia holds a model of the temple of the goddess. The painting is one of eight surviving related panels depicting Roman men and women who exemplified virtuous behaviour. The series was probably made to celebrate the marriage in 1493 of Silvio di Bartolomeo Piccolomini (a relative of Pope Pius II) and was intended to provide moral examples for the newly married couple. The artist’s fascination with antiquity is visible not only in the subject matter but also in the classicising linear gracefulness of the human form and the ornament of the base.