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26-639: The Stefaneschi Altarpiece is a triptych by the Italian painter Giotto , from c. 1320. It was commissioned by Cardinal Giacomo Gaetani Stefaneschi to serve as an altarpiece for one of the altars of Old St. Peter's Basilica in Rome . It is now at the Pinacoteca Vaticana , in Rome . It is a rare example in Giotto's work of a documented commission, and includes Giotto's signature, although

52-406: A marginal position. There is also an international set of metric prefixes , which are used in the world's standard measurement system . In the following prefixes, a final vowel is normally dropped before a root that begins with a vowel, with the exceptions of bi-, which is extended to bis- before a vowel; among the other monosyllables , du- , di- , dvi- , and tri- , never vary. Words in

78-618: A multiple of 10 rather than multiplication by it. Several common-use numerical prefixes denote vulgar fractions . Words containing non-technical numerical prefixes are usually not hyphenated. This is not an absolute rule, however, and there are exceptions (for example: quarter-deck occurs in addition to quarterdeck ). There are no exceptions for words comprising technical numerical prefixes, though. Systematic names and words comprising SI prefixes and binary prefixes are not hyphenated, by definition. Nonetheless, for clarity, dictionaries list numerical prefixes in hyphenated form, to distinguish

104-399: A numerical prefix need not be related to the root language of the word that it prefixes. Some words comprising numerical prefixes are hybrid words . In certain classes of systematic names, there are a few other exceptions to the rule of using Greek-derived numerical prefixes. The IUPAC nomenclature of organic chemistry , for example, uses the numerical prefixes derived from Greek, except for

130-520: A plain border between them. The work may consist of separate images that are variants on a theme, or may be one larger image split into three. Tri- Numeral or number prefixes are prefixes derived from numerals or occasionally other numbers . In English and many other languages, they are used to coin numerous series of words. For example: In many European languages there are two principal systems, taken from Latin and Greek , each with several subsystems; in addition, Sanskrit occupies

156-492: A significantly more elaborate frame, which would have made the relatively small altarpiece fit better into the large space that was Old St. Peter's. The characteristic of containing a smaller version of itself provides one of the earliest known Renaissance examples of the so-called " Droste effect ", common in medieval art. Triptych Beyond its association with art, the term is sometimes used more generally to connote anything with three parts, particularly if integrated into

182-592: A single unit. The word triptych was formed in English by compounding the prefix tri- with the word diptych . Diptych is borrowed from the Latin diptycha , which itself is derived from the Late Greek δίπτυχα ( díptycha ) ' pair of writing tablets ' . δίπτυχα is the neuter plural of δίπτυχος ( díptychos ) ' double-folded ' . The triptych form appears in early Christian art, and

208-650: The Gothic period onward, both in Europe and elsewhere, altarpieces in churches and cathedrals were often in triptych form. One such cathedral with an altarpiece triptych is Llandaff Cathedral . The Cathedral of Our Lady in Antwerp , Belgium, contains two examples by Rubens , and Notre Dame de Paris is another example of the use of triptych in architecture. The form is echoed by the structure of many ecclesiastical stained glass windows . The triptych form's transportability

234-651: The cardinal catgegory are cardinal numbers , such as the English one , two , three , which name the count of items in a sequence. The multiple category are adverbial numbers, like the English once , twice , thrice , that specify the number of events or instances of otherwise identical or similar items. Enumeration with the distributive catgegory originally was meant to specify one each , two each or one by one , two by two , etc., giving how many items of each type are desired or had been found, although distinct word forms for that meaning are now mostly lost. The ordinal catgegory are based on ordinal numbers such as

260-442: The English first , second , third , which specify position of items in a sequence. In Latin and Greek, the ordinal forms are also used for fractions for amounts higher than 2; only the fraction ⁠ 1  / 2 ⁠ has special forms. The same suffix may be used with more than one category of number, as for example the orginary numbers second ary and terti ary and the distributive numbers bi nary and ter nary . For

286-478: The altarpiece is painted on both sides so it could be seen by the congregation from the front and the canons of the church from the back. The central front panel represents Saint Peter enthroned, flanked by saints, with Cardinal Stefaneschi himself kneeling at Peter's right offering up this altarpiece in reduced size. Saints James and Paul are in the left panel and John the Evangelist and Andrew are on

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312-409: The apse mosaic for those who could not see it (because they sat with their backs to it), while the side panels introduced narratives. It was normal for double-sided altarpieces in this period to have an iconic image on the front and narrative images on the back. Peter echoes Christ's pose to emphasize the role of the pope (Peter was the first pope) as Christ's representative on earth. Giotto represents

338-535: The best-known examples being works by Max Beckmann and Francis Bacon . When Bacon's 1969 triptych, Three Studies of Lucian Freud , was sold in 2013 for $ 142.4 million, it was the highest price ever paid for an artwork at auction at that time. That record was broken in May 2015 by $ 179.4 million for Pablo Picasso 's 1955 painting Les Femmes d’Alger . A photographic triptych is a common style used in modern commercial artwork. The photographs are usually arranged with

364-406: The center and standing figures of the 12 apostles at the sides. The altarpiece stood before the apse of Old St. Peter's, which in the 14th century contained a mosaic of Christ enthroned between Saints. Peter & Paul. Thus the iconography of the front of the painting paralleled the apse mosaic in form but did not repeat it in iconography. The central panel of the back of the altarpiece duplicated

390-575: The church of San Paolo alle Tre Fontane , the site of the Saint’s beheading South of Rome. These scenes could also be found in the medieval frescoes on the walls of the nave of Old St. Peter's. Although images of donors in church decorations in Rome went back to the Early Christian period, Giotto's altarpiece for St. Peter's is unusual in both the double representation of the donor (front and back) and

416-561: The common inheritance of Greek and Latin roots across the Romance languages , the import of much of that derived vocabulary into non-Romance languages (such as into English via Norman French ), and the borrowing of 19th and 20th century coinages into many languages, the same numerical prefixes occur in many languages. Numerical prefixes are not restricted to denoting integers. Some of the SI prefixes denote negative powers of 10, i.e. division by

442-403: The date, like most dates for Giotto, is disputed, and many scholars feel the artist's workshop was responsible for its execution. It had long been thought to have been made for the main altar of the church; more recent research suggests that it was placed on the "canon's altar", located in the nave , just to the left of the huge arched opening into the transept . The altar was freestanding, and

468-500: The hundreds, there are competing forms: Those in -gent- , from the original Latin, and those in -cent- , derived from centi- , etc. plus the prefixes for 1 through 9 . Many of the items in the following tables are not in general use, but may rather be regarded as coinages by individuals. In scientific contexts, either scientific notation or SI prefixes are used to express very large or very small numbers, and not unwieldy prefixes. ( but hybrid hexadecimal ) Because of

494-595: The martyrdoms of Peter and Paul as taking place in recognizable locales, frequently visited by pilgrims to Rome. Peter's crucifixion is placed between the Meta Romuli (a pyramid near the Vatican, destroyed in the 15th century) and the Terebinthus Neronis (a classical monument, likely a mausoleum, that no longer exists), while Paul's beheading is outside the city, near a round building that represents

520-572: The prefix for 9 (as mentioned) and the prefixes from 1 to 4 (meth-, eth-, prop-, and but-), which are not derived from words for numbers. These prefixes were invented by the IUPAC, deriving them from the pre-existing names for several compounds that it was intended to preserve in the new system: methane (via methyl , which is in turn from the Greek word for wine), ethane (from ethyl coined by Justus von Liebig in 1834), propane (from propionic , which

546-405: The prefixes from words with the same spellings (such as duo- and duo ). Several technical numerical prefixes are not derived from words for numbers. ( mega- is not derived from a number word, for example.) Similarly, some are only derived from words for numbers inasmuch as they are word play . ( Peta- is word play on penta- , for example. See its etymology for details.) The root language of

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572-464: The right. Two of the three predella panels are lost, but they surely all represented half-length figures of saints. The back main (central) panel represents Christ enthroned flanked by angels with a kneeling Cardinal Stefaneschi at his right foot. In the left panel we see the crucifixion of Peter, and on the right is the beheading of St. Paul. The predella depicts the Virgin and Child flanked by angels in

598-511: The specificity of the face and costume of Cardinal Stefaneschi. Stefaneschi is dressed in full ceremonial costume as a cardinal on the front, appropriate for the "public" face of the altarpiece and is introduced to St. Peter by St. George. On the back, he is more modestly dressed as a canon, like the audience for this side of the painting. Vasari cited portraiture as one of the greatest strengths of Giotto's art. The depiction of Stefaneschi holding this very painting suggests that it originally had

624-651: The triptych Hilje-j-Sherif displayed at the National Museum of Oriental Art , Rome, Italy, and a page of the Qur'an at the Museum of Turkish and Islamic Arts in Istanbul, Turkey, exemplify Ottoman religious art adapting the motif. Likewise, Tibetan Buddhists have used it in traditional altars. Although strongly identified as a religious altarpiece form, triptychs outside that context have been created, some of

650-631: Was a popular standard format for altar paintings from the Middle Ages onwards. Its geographical range was from the eastern Byzantine churches to the Celtic churches in the west. During the Byzantine period, triptychs were often used for private devotional use, along with other relics such as icons. Renaissance painters such as Hans Memling and Hieronymus Bosch used the form. Sculptors also used it. Triptych forms also allow ease of transport. From

676-575: Was exploited during World War Two when a private citizens' committee in the United States commissioned painters and sculptors to create portable three-panel hinged altarpieces for use by Christian and Jewish U.S. troops for religious services. By the end of the war, 70 artists had created 460 triptychs. Among the most prolific were Violet Oakley , Nina Barr Wheeler , and Hildreth Meiere . The triptych format has been used in non-Christian faiths, including, Judaism, Islam, and Buddhism. For example:

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