Madonna and Child with Saints Stephen and John the Baptist; Francesco Datini and his clients

This artwork, more commonly known as “Madonna del Ceppo” is a painting, tempera on panel by Filippo Lippi, dating from 1452-1453. The structure is rounded, that is, with a semicircular top, and measures 1.87 metres high by 1.20 metres long.
The artwork testifies, with rich solemnity, to the key role of the “Ceppo Nuovo”. Founded by the famous Prato merchant Francesco di Marco Datini, this charity institution has been supporting Filippo Lippi in Prato for many years and he, in turn, requested the installation of this magnificent celebration tabernacle in the headquarters (Palazzo Datini) courtyard.
By creating this altarpiece, the artist aims to remember the majesties of the 14th century in a precise hierarchical order. In the centre of the picture, an imposing Madonna is enthroned with a melancholy crown on her head and a blue coat, holding the Child in her arms. Saint Stephen, patron saint of Prato, is depicted on the left, and Saint John the Baptist, patron saint of Florence, is depicted on the right. In addition to wearing a Dalmatian black and gold tunic with wide sleeves, Saint Stephen also carries two stones symbolising his martyrdom on his head in artificial balance. Saint John the Baptist wears a furry dress and holds a very long and slender cross of reeds.
Francesco Datini, wearing the usual red dress of the time, the “lucco”, kneels at the bottom of these three figures. His size is smaller than those of the sacred characters, but not as much as those next to him. These are the four representatives of the institution, whom Lippi depicts kneeling and hoping to be introduced to the Virgin Mary by the illustrious merchant and benefactor.
Until the first half of the nineteenth century, the painting remained above a well in a sheltered position, but nonetheless outside, which caused irreparable compromises to its conservative state, particularly the colouring. After careful restoration, it has been possible to recover pieces of extreme stylistic importance, such as the widespread splendour of the gold background and the importance accorded to the fabric of the clothes. There are also valuable portraits “from the real” of the four little prayers, who as patrons wanted to leave testament of themselves, with a certain false modesty - an exquisite Renaissance dowry.