Abstract
A seven-panel work entitled The Monopoli Altarpiece is displayed at the Museum of Fine Arts in Boston. It is considered to be a Cretan-Venetian creation from the early fifteenth century. This article discusses the accounts of what has been written on this topic, and endeavors to bring field-changing evidence about its stylistic and iconographic aspects, the date, the artists who created it, the place it originally came from, and the person who had the idea of mounting an altarpiece. To do so, a comparative study on Byzantine and early-Renaissance painting is carried out, along with more attention paid to the history of Santo Stefano castle. The aim is to shed more light on an artwork which stands as a witness from the twilight of the Middle Ages and the dawn of Renaissance; as a messenger from the Catholic and Orthodox pictorial traditions and collaboration; finally as a fosterer of the triple Byzantine, Gothic, Renaissance expression.
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