Although attributed by Richard Offner to Niccolò Buonaccorso, a Sienese painter of the second half of the fourteenth century, and offered as such by Edward Hutton to Percy S. Straus in 1929, the identity of the painter of this tripartite predella has remained unclear.¹ Little is known about Niccolò Buonaccorso, but the National Gallery, London, holds a signed panel that constituted a triptych with two other panels today at the Metropolitan Museum of Art, New York, and the Uffizi, Florence, respectively.² The Straus predella shares some of their stylistic characteristics, but is even closer to two other works given to this artist, a diptych in the Abruzzo and a triptych at the National Gallery in Prague (figs. 7.1, 7.2). The figure of Christ in the crucifixion of the Straus panel is virtually identical with that of the Abruzzo diptych. The Prague triptych depicts a large figure of Saint Anthony Abbot on its left lateral panel. Although not identical, it is very similar to the small figure of the saint on the Straus panel. The landscape elements of the triptych also recall those of the Straus predella.

On the left panel of the predella, Saint Anthony Abbot, who lived from 251 to 356, is depicted as an elderly monk, grasping his T-shaped walking stick with his left hand and blessing a group of kneeling monks who have gathered in front of a church. Saint Anthony is characterized by a very high forehead, a wrinkled brow, and a long gray beard. His black and brown habit falls heavily around his body, as do those of the kneeling monks, who, with the exception of one reading under a portico, form a solid group. The scene seems to illustrate Saint Anthony’s departure into the wilderness and is echoed on the right panel by his encounter with a centaur. This creature from ancient mythology apparently signifies the exotic wilderness into which the saint had withdrawn. Usually depicted as fierce and frightening, the centaur here is welcoming, holding a palm frond in his right hand and pointing the way to the abode of Saint Paul the Hermit. The scenes are consistent with Saint Anthony’s legend as told by Saint Athanasius, Bishop of Alexandria, which was particularly popular between the 1350s and the 1450s.³

The size and scale of the panels and their horizontal arrangement clearly indicate the work’s purpose as a predella, but the altarpiece for which it was intended is unknown. In his letter to Straus of August 19, 1929, Hutton praised its fine condition, complete state, and convenient size.⁴ However, Carolyn C. Wilson, pointing to damages at the exterior corners, suggests that the panel may have been cut down on both sides. Indeed, Hutton’s reference to reframing the work can be seen as support of this theory.⁵ Wilson further speculates that the two scenes from the life of Saint Anthony call out for at least two other episodes for better context.⁶ At the extreme right, an early scene of Saint Anthony’s life would be appropriate, while on the extreme left his encounter with Saint Paul the Hermit would complete the story. Since each scene is painted on a separate panel, this extension is not inconceivable. It would furthermore indicate that the predella was made for a substantial altarpiece.⁷ Without further proof, this must remain speculation.

—Helga Kessler Aurisch