ANCONA. - The term perhaps derives from the Greek
εἰκών = image, and denotes the painting or relief
placed on the altar; pala (v.) and in common
usage the differences from the latter are rather
uncertain; nevertheless, the term a. is used chiefly
to distinguish works that display a certain
architectural framing. The use of a. is rather late,
since until the end of the 12th century images did not have a
permanent place on the altar. At first a. had a very
simple form, sometimes with a gable, 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 elaborate architectural compositions. Of considerable
interest because of their form are the Spanish a. of the 15th century
(retablos), painted or carved with narratives around a
central image and with rich decoration. The diminutive
anconetta designates small paintings
or reliefs likewise framed and intended more for
private use than for churches. The a. of later periods usually go
under the name of pale. - Vedi Tavv. XCVI-
XCVII.