About This Artwork

Workshop of Apollonio di Giovanni and Marco del Buono Giamberti
Italian, 1415/17–1465, 1403–1489

The Continence of Scipio, c. 1455

Tempera on panel
41.8 x 137.7 cm (16 1/2 x 54 1/8 in.)

Mr. and Mrs. Martin A. Ryerson Collection, 1933.1036

Exhibition, Publication and Ownership Histories

Publication History

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 160, no. 2069.

Rose Mary Fischkin, Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago, unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago, pp. 18-19.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 183, no. 2884.24.

Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 3246.

Bernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 283.

Bernard Berenson, Italian Pictures of the Renaissance: Florentine School, vol. 1, London, 1963, p 18.

William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, unpub. MS [1932], Archives, The Art Institute of Chicago, n. pag.

Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 225.

Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 516.

Barbara Bernhard Anderson, “A Cassone Puzzle Reconstructed,” Art Institute of Chicago Museum Studies 5 (1970), pp. 23 – 30, figs. 1, 1a. 1b.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 12, 571.

Ellen Callmann, Apollonio di Giovanni (Oxford, 1974), pp. 42, 73, no. 50, pls. 201, 203.

Ellen Callmann, “The Growing Threat to Marital Bliss as Seen in Fifteenth-Century Florentine Paintings,” Studies in Iconography 5 (1979), pp. 84, 90 n. 22.

Ellen Callmann, “Roman Virtue and Renaissance Marriage,” The Register of the Spencer Museum of Art, The University of Kansas 6, 8/9 (1991/1992), pp. 34, 36 n. 22, fig. 19.

Jennifer Klein Morrison, “Apollonio di Giovanni’s Aeneid Cassoni and the Virgil Commentators,” Yale University Art Gallery Bulletin (1992), p. 31, fig. 6.

Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago. A Catalogue of the Collection (Chicago, 1993), pp. 10-12, ill.

Jennifer Nevile, “The Performance of Fifteenth-Century Italian Balli: Evidence from the Pythagorean Ratios,” Performance Practice Review 6 (1993), p. 120, ill.

Ellen Callmann, "William Blundell Spence and the Transformation of Renaissance Cassoni," Burlington Magazine 141 (1999), p. 347.

Cristelle L. Baskins, “(In)famous Men: The Continence of Scipio and Formations of Masculinity in Fifteenth-Century Tuscan Domestic Painting,” Studies in Iconography 23 (2002), pp. 114, 133–34, fig. 4.

Ownership History

Probably Emile Gavet, Paris [according to Registrar’s records]; Martin A. Ryerson (d. 1932), Chicago, by 1912 [according to a letter from Frank Jewett Mather, Jr., to Martin A. Ryerson of November 22,1912, Ryerson papers, Archives, The Art Institute of Chicago]; on loan to the Art Institute from 1924; bequeathed to the Art Institute, 1933.

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