An Early Quattrocento Trinity

Abstract

A small volume on the Cappella Minutolo in Naples cathedral, published in 1778, contains a detailed description of an antichissima cona di legno, a painting that is still in that chapel today (Figs. 4-7).1 The passage reads: But to return to the Minutolo Chapel, there is also on the left side an altar of the Holy Trinity where one can see a very old altarpiece of wood, gilded and painted with the best of taste and delicacy attainable by art. It was a little portable altarpiece that folded up, the inseparable companion of Cardinal Enrico Minutolo, who used to celebrate the holy sacrifice of the Mass in front of it wherever he carried it. After his death, he wished it replaced in this chapel. It represents the Holy Trinity with the Eternal Father holding to his bosom his only son, crucified, under whom is the great Virgin Mother, grieving, with St. John the Evangelist and Mary Magdalen. On the two little doors, one observes four very beautiful images of other saints and on the back part, that which faces the wall of the altar, one sees the coat of arms of the cardi-