Who painted Saint Lawrence Arraigned Before the Prefect Valerianus?

Saint Lawrence Arraigned Before the Prefect Valerianus was painted by Lorenzo di Niccolò in 1412.

Where can I see Saint Lawrence Arraigned Before the Prefect Valerianus?

Saint Lawrence Arraigned Before the Prefect Valerianus is held by Brooklyn Museum.

What movement is Saint Lawrence Arraigned Before the Prefect Valerianus?

Saint Lawrence Arraigned Before the Prefect Valerianus is associated with Early Renaissance.

Artwork

Saint Lawrence Arraigned Before the Prefect Valerianus

Lorenzo di Niccolò , 1412

Saint Lawrence Arraigned Before the Prefect Valerianus is an unspecified painting by the Early Renaissance artist Lorenzo di Niccolò. It dates from 1412 and is held in the collection of the Brooklyn Museum.

About this work

Overview

Created in 1412 by Lorenzo di Niccolò, a Florentine painter active at the turn of the 15th century, this tempera panel presents a narrative scene set against a gold background. The composition shows the early Christian martyr Saint Lawrence standing before a Roman magistrate, surrounded by attendants in vivid garments. The work is part of the Brooklyn Museum’s collection.

Subject & Meaning

The painting illustrates the moment when Saint Lawrence, known for his charitable deeds, is brought before the prefect Valerianus for judgment. By portraying the saint in a formal courtroom setting, the image emphasizes his steadfast faith and the conflict between Christian virtue and imperial authority, a theme common in devotional art of the period.

Technique & Style

Executed in tempera on panel, the work combines the linear clarity of Gothic tradition with nascent Renaissance attention to spatial arrangement. Bold, saturated colors—reds, yellows, pinks—define the figures, while the gold ground unifies the scene. The architectural elements, such as arched doorways and a stone floor, provide a simple yet orderly backdrop that reinforces compositional balance.

History & Provenance

Lorenzo di Niccolò produced this piece during his later Florentine phase, when he was integrating classical motifs into his previously Gothic repertoire. After changing hands among private collectors, the panel entered the Brooklyn Museum’s holdings, where it remains on display as an example of early 15th‑century religious painting bridging medieval and Renaissance aesthetics.