We are grateful to Mauro Lucco for identifying this Sacra conversazione as a work by the Girolamo Denti, an Italian artist who was Titian's most prominent assistant (written communication, 6 September 2016). Lucco compares the painting to Denti's altarpiece at Sant'Elpidio a Mare and his Two Saints in the Museo Vetrario di Murano, indicating that the present work dates to the middle of the 1560s. At this time, Denti had two distinct working styles. The first was employed for projects that he was managing in Titian's workshop, while the second was reserved for independent commissions such as the present work. According to Schaffran (loc. cit.), this altarpiece was displayed in a cloister in Bergamo until around 1914, when it was acquired by a private collector in Vienna.
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The canvas is supported on the reverse with a glue lining. The herringbone weave of the canvas is visible in places. The varnish is slightly cloudy and yellowed. The paint layer is stable on the support. Under natural light, a very fine craquelure is visible in the darker areas of the Virgin’s blue skirt. Pinhead-sized losses and associated inpainting can be seen here and there. Scuffing due to frame contact is visible in some places along the extreme edges. Strengthening is visible in the Virgin’s blue skirt, in places in the robes of the saints, in parts of the sky and clouds and in the cloth of honor. Under ultraviolet light, the varnish fluoresces unevenly. Strengthening is visible in places in the sky and in the ground. Finer touches of strengthening are visible in some places in the faces of the figures and in their garments. The picture could be displayed in its current state.