Master of the Baroncelli Portraits (active in Bruges c. 1480–1490), Saint Catherine of Bologna with Three Donors, c.1470–1480, Oil on panel, 94.9 x 67.9 cm, Victoria & Albert Museum, London, on loan from The Courtauld, London (Samuel Courtauld Trust)
This small devotional panel, attributed to an unidentified Bruges master active in the 1480s, offers valuable insight into the city’s cultural climate during a turbulent period. The panel features Giacomo Lolani, an Italian merchant, kneeling in prayer with his two wives—his current wife, Elisabetta, and his deceased first wife, Marie. They are shown kneeling before St. Catherine of Bologna, a saint whose incorrupt body after her death in 1463 made her a symbol of piety, especially among Italian patrons like Lolani.
The depiction of the donors in rich, contemporary Flemish clothing is a striking feature of the panel. The luxurious textiles and detailed craftsmanship in their attire illustrate the lasting Burgundian legacy, which was known for its extravagant fashion and the use of clothing to signify wealth and political status. This was a key aspect of Bruges’ elite during the city’s Golden Age, although by the 1480s, Bruges was already in decline. Following the death of Charles the Bold in 1477 and the Treaty of Arras in 1482, Bruges lost much of its economic power, and many merchants, including the wealthiest families, moved their operations to Antwerp, which was rising as the new financial centre of Northern Europe. Despite this, Bruges retained a significant international influence, as demonstrated by Lolani’s decision to commission local artists for such an elaborate devotional piece. The presence of St. Catherine of Bologna, a figure revered in Italy, also highlights the continued connection between Bruges and foreign merchants.
