Madonna in Glory with Saints Peter, Benedict of Norcia, John the Baptist, Paul, Catherine of Alexandria, musician angels and donors Bernardo Lanfranchi (XVIв.)

The composition presents a hierarchical arrangement centered around a figure identified as the Virgin Mary, positioned in a celestial realm. She is surrounded by a multitude of angelic figures, some playing musical instruments – a harp and what appears to be an organ – creating a sense of heavenly celebration. The upper portion of the painting is dominated by this ethereal space, rendered with swirling clouds and golden light that suggests divine presence.
Below Mary, a group of saints are depicted in varying states of devotion. Saint Peter, recognizable by his keys, stands alongside Benedict of Norcia, holding a book – a common attribute signifying scholarship or monastic rule. John the Baptist, identifiable through his traditional garb and staff, is positioned near Paul, who also carries a volume, likely referencing his epistles. Catherine of Alexandria, distinguished by her crown, kneels in reverence. The arrangement suggests a lineage of faith and intellectual pursuit.
At the lower edge of the painting, two figures are presented as donors or patrons. They kneel before the assembled saints, their gestures indicating piety and seeking intercession. One donor holds a shield bearing an emblem, providing a potential clue to their identity or familial affiliation. The inclusion of these individuals underscores the commissioning nature of the work and highlights the personal connection between the artwork and its sponsors.
The landscape backdrop is minimal – a glimpse of water beneath the celestial realm – serving primarily as a visual separation between the earthly and divine spheres. The artist’s use of light is significant; it emanates from Mary, illuminating the saints and donors below, reinforcing her role as an intermediary between God and humanity.
Subtly, the painting conveys themes of salvation, intercession, and patronage. The arrangement of figures emphasizes the importance of established religious authorities (Peter, Paul, Benedict) alongside female sanctity (Mary, Catherine). The inclusion of musical angels suggests a harmonious order within the divine realm, while the donors’ posture underscores their desire for spiritual favor. The overall effect is one of solemnity and reverence, intended to inspire contemplation on faith and devotion.