Ancona

ANCONA. - The word perhaps derives from the Greek
εἰκών = image, and denotes the painting or relief
placed on the altar; it is a synonym of pala (v.) and in common
usage the differences between the two are rather
uncertain; nevertheless the term a. is used predominantly
to distinguish works that present a
certain architectural framing. The use of a. is rather
late, since until the whole of the 12th century images
did not have a stable place on the altar. At first the a.
had a very simple form, sometimes pointed, then
with Gothic art they were divided into three or more compartments
(v. POLITICO). In the Renaissance painted a. were
often framed by small pilasters and surmounted by a
lunette. In northern Italy there are many
examples of marble or wooden a., carved with figures,
within complex architectural arrangements. Of notable interest for their form are the Spanish a. of the 15th century
(retablos), painted or carved with stories around a
central image and with rich decoration. By the diminutive anconetta are designated small paintings
or reliefs likewise framed and intended more than
for churches for private use. The a. of later periods usually go under the name of pale. - See Plates XCVI-
XCVII.

Claudia Refice