ANCONA. — The term may derive from the Greek ἐκχών = image, and denotes the painting or relief placed on the altar; it is a synonym of *pala* (q.v.), and in common usage the distinctions between the two are rather uncertain; however, the term *ancona* is predominantly employed to distinguish works that feature a certain architectural framing. The use of *ancone* is relatively late, since until the end of the 12th century images did not have a fixed place on the altar. Initially, *ancone* took a very simple form, sometimes sculpted, but with Gothic art they were divided into three or more panels (cf. POLITTICO). During the Renaissance, painted *ancone* were often framed by small pilasters and surmounted by a lunette. In northern Italy, many examples of marble or wooden *ancone* are found, carved with figures within complex architectural compositions. Of particular interest for their form are the Spanish *ancone* of the 15th century (*retablos*), painted or carved with narrative scenes around a central image and richly decorated. With the diminutive *anconetta*, small framed paintings or reliefs are designated, intended more for private use than for churches. Later *ancone* are usually referred to as *pale*.
— See Plates XCVII.
Claudia Reffe.