Who painted Desco da parto?

Desco da parto was painted by Masaccio in 1500.

Where can I see Desco da parto?

Desco da parto is held by Gemäldegalerie Berlin.

What movement is Desco da parto?

Desco da parto is associated with High Renaissance.

Artwork

Desco da parto

Masaccio , 1500

Desco da parto is an unspecified painting by the High Renaissance artist Masaccio. It dates from 1500 and is held in the collection of the Gemäldegalerie Berlin.

About this work

It’s mostly known by its nickname, *The Berlin Tondo*, since it’s kept in Berlin now.

This round wooden panel is a birth tray, called a *desco da parto*. Masaccio painted it around 1423, early in his career. Made on poplar wood, it’s small—about 66 cm across with its frame.

Birth trays were gifts for new mothers back then. This one shows careful detail matching Masaccio’s earlier work from 1422. It’s mostly known by its nickname, *The Berlin Tondo*, since it’s kept in Berlin now.

Check out the artist: Masaccio next if you like this style.

Overview

The work is a circular panel, known as a desco da parto or birth tray, executed in tempera on poplar wood. Measuring roughly 66 cm in diameter with its frame, it dates to around 1423 and represents an early phase in the career of the Florentine painter Masaccio.

Subject & Meaning

Designed as a gift for a woman in childbirth, the tray combines decorative motifs with symbolic elements intended to convey blessings and protection for the newborn and mother. Its iconography reflects contemporary beliefs about fertility and the safe arrival of a child.

Technique & Style

Masaccio’s handling of form and light on the round surface shows a clear affinity with his San Giovenale Triptych of 1422. The use of perspective, solid modeling, and restrained color palette demonstrates his early adoption of naturalistic principles that would later define the Renaissance.

History & Provenance

The panel entered the collection of the Berlin State Museums in the 19th century, acquiring the nickname “Berlin Tondo.” Its provenance before this acquisition remains undocumented, but the work has been identified as a birth tray—a customary present in early 15th‑century Italy.

Context

Birth trays were a widespread custom among affluent Florentine families, serving both as functional serving boards and as commemorative objects. Masaccio’s contribution reflects the integration of fine art into domestic rituals, illustrating how artistic practice intersected with everyday life during the early Renaissance.