Abstract
The altarpiece by the Florentine Jacopo Coppi kept at the church of San Salvatore in Bologna represents the Miracle of the Crucifix of Beirut, a rare iconography that the Florentine painter inserts in a complicated architectura picta. This studio reconsiders the iconographic and stylistic aspects through the data of the most updated artistic literature pieces in order to read them in a new and different historiographic perspective, which also shows an unexpected policy of tolerance towards Jews in the Palaeottian context.
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