(redirected from tondi)
Also found in: Dictionary.
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.



a circular painting or relief. Often the term “tondo” is used to describe only the circular representations of the Madonna and Child characteristic of Italian Renaissance art of the Florentine school from the mid-15th to the early 16th century.


Hauptmann, M. Der Tondo. Frankfurt am Main, 1936.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.


A circular plaque or medallion.
McGraw-Hill Dictionary of Architecture and Construction. Copyright © 2003 by McGraw-Hill Companies, Inc.
References in periodicals archive ?
The remaining chapters present, in considerable detail, the most significant or representative examples of tondi, first in portraiture and then in religious imagery, with the latter category more greatly represented.
From Fra Filippo Lippi through Sandro Botticelli, Lorenzo di Credi, and Piero di Gosimo to Michelangelo, Raphael, and Giuliano Bugiardini, she notes that tondi flooded the Florentine market as part of the idealization of domestic life and the celebration of family relationships.
The Sala (1490): Tondo di Tondi and Francesco Bonsignori were already at work at Gonzaga in November of 1490 (appendix, item 1) when it was reported to the marquis that "dopo che gl'io fato fare danari hanno lavorato, e lavorano di e notte ne la sala." Whatever was accomplished in the sala at this time, was replaced (see below) by the decoration commissioned in 1495-96 when the room was transformed into a celebration of Ludovico II's military triumphs.
The Marmirolo Triumph of Alexander the Great was the joint creation of Francesco Bonsignori and Tondi who painted them "suso le tele secondo a facto messer Andrea Mantegna, et dicono che cosi facendo farano piu presto e seranno piu belle e piu durabile et anchora questo dice ognuno experto in tal exercizio." Depictions of Triumphs were clearly in Francesco II's blood, making all the more curious the reluctance to credit him with the commission for Mantegna's Hampton Court canvases.(37)