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Was it commissioned or ready-made?
In 14th century Italy there was a trade in small portable paintings. We can see this in the correspondence of the so-called Merchant of Prato, Francesco Datini, who in 1373 instructed his agents in Florence to find a 'panel of Our Lady on a background of fine gold with two doors, and a pedestal.' Although there may have been a trade in such paintings in 1338 when the triptych was painted, there are factors suggesting that it was commissioned by a patron, rather than bought ready-made from a painter's workshop or the market.
Firstly, it was unusual in that it was painted on the reverse of the shutters with the scene of the Adoration of the Magi. Why would an artist go to the bother and expense of this extra work unless it was specifically asked for?
Secondly, its size (height 87.5 cm) was bigger than many other tabernacles by Daddi or his workshop such as the Altenburg no.15 triptych (58 cm), the Prague triptych (50 cm), the Uffizi central panel (56 cm), and the Kress central panel (54 cm). Why would an artist incur the additional expense of costly pigments and gold leaf of a larger painting?
Thirdly, the quality of workmanship in the Courtauld triptych indicates that Daddi must have played a significant role in its design and execution, rather than his workshop assistants. The extent of his involvement further suggests that it was a commissioned work.
What was its function?
Bernardo Daddi (active c.1320-1348)
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