Barnaba da Modena – Scenes of the Virgin; The Trinity; The Crucifixion Part 1 National Gallery UK

The composition presents a complex arrangement of four distinct scenes, likely intended as panels within a larger altarpiece or devotional work. The overall aesthetic suggests a late medieval Italian origin, characterized by stylized figures and a hierarchical approach to spatial representation.
At the uppermost register, a celestial event unfolds. A multitude of figures, presumably angels, are depicted in dynamic poses, their forms rendered with elongated limbs and flowing drapery. They surround a central figure, whose identity remains ambiguous without further context, but who appears to be radiating light or emanating divine power. The gold background reinforces the otherworldly nature of this scene, creating an impression of transcendence.
Below that, we see a depiction of Christ’s crucifixion. A prominent cross dominates the composition, with Christs body suspended upon it. Figures gather at the base of the cross, some appearing to mourn or lament, while others seem to observe the event from a distance. The scene is imbued with a sense of solemnity and pathos, typical of representations of this pivotal moment in Christian theology. A halo surrounds Christ’s head, signifying his divinity.
The lower left panel portrays a seated figure, presumably a Virgin Mary, holding an infant on her lap. She is enthroned upon a richly decorated seat, suggesting royalty or divine status. The child she holds appears to be gazing outwards, engaging with the viewer or perhaps acknowledging some unseen presence. A group of smaller figures are arranged at the base of the panel, possibly representing attendants or worshippers.
Finally, in the lower right corner, a scene unfolds that seems to depict an event related to Christ’s Passion. Figures on horseback and foot converge upon a central point, their actions suggesting either a procession or a moment of conflict. The composition is crowded and energetic, contrasting with the more static poses of the other panels.
The arrangement of these scenes suggests a narrative progression, potentially charting key moments in the life and death of Christ, alongside depictions of Mary’s role within that story. The use of gold leaf throughout the work emphasizes its sacred nature, while the stylized figures and limited perspective reflect the artistic conventions of the period. Subtly, there is an attempt to create a sense of depth through layering of figures and architectural elements, although this is not fully realized. The overall effect is one of devotional intensity, intended to inspire contemplation and reverence in the viewer.