Saints Nicholas of Tolentino, Roch, Sebastian, and Bernardino of Siena, with Kneeling Donors - Benozzo Gozzoli
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A devotional panel by Benozzo Gozzoli featuring four saints and two kneeling donors, set against a detailed Tuscan landscape.
This tempera on wood panel by Benozzo Gozzoli depicts four saints arranged in a horizontal line, standing upon a tiled terrace. From left to right, the figures are Nicholas of Tolentino, Roch, Sebastian, and Bernardino of Siena. Each saint is identified by a halo and specific attributes, such as the staff held by Saint Roch and the palm of martyrdom carried by Saint Sebastian. Two small, kneeling donor figures occupy the foreground, positioned at the lower corners of the composition to suggest their humble status before the holy figures.
The background features a distant, light-filled view of a fortified town nestled against rolling hills, a characteristic element of Gozzoli's approach to spatial construction. Above the saints, several small angels hover in the sky, their forms rendered with delicate precision. The painting serves as a votive image, as indicated by the inscription on the stone parapet, which references the protection of the town from plague. The figures are rendered with a clarity typical of the Florentine tradition, prioritising distinct outlines and a balanced distribution of weight. The colour palette remains restrained, relying on the natural tones of the saints' habits and the soft, atmospheric light of the landscape to create a sense of harmony. Gozzoli, a pupil of Fra Angelico, demonstrates his skill in combining narrative detail with the formal requirements of a devotional altarpiece. The work reflects the artistic priorities of the mid-fifteenth century, where the integration of human figures with a recognisable, if idealised, environment became a primary concern for painters working in Tuscany.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Saints Nicholas of Tolentino, Roch, Sebastian, and Bernardino of Siena, with Kneeling Donors - Benozzo Gozzoli
Artist Biography
Benozzo Gozzoli
Gozzoli trained first as a goldsmith's apprentice under Lorenzo Ghiberti, whose Gates of Paradise doors for the Baptistery shaped his love of dense narrative and decorative precision. He then worked as an assistant to Fra Angelico, absorbing Renaissance spatial conventions without Fra Angelico's devotional gravity. Scholars have been blunt about his limitations: Ernst Gombrich called him a 'minor master' who applied new perspective methods 'gaily without worrying overmuch about their difficulty.' The Procession's rocky landscape still rises flat from bottom to top, indebted more to Ghiberti's bas-relief language than to Masaccio's pictorial space.
None of that troubled his patrons. The subject of the Magi was popular among wealthy Florentines precisely because it licensed the painting of costly brocades, gleaming gold, and thoroughbred horses in quantities that declared the patron's status. The Medici chapel, small enough that access felt like a privilege, was used for family mass and for receiving visiting ambassadors. The procession of kings served as a perfect backdrop for those audiences.
Gozzoli went on to paint extensive fresco cycles at Montefalco (1452, the life of St Francis) and at the Campo Santo in Pisa (from 1469, Old Testament narratives covering thousands of square feet). Neither matches the Medici chapel for concentrated ambition, but both confirm his command of large-scale narrative pageantry. He died at Pistoia in 1497, working almost to the end.
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
You May Also Like