Madonna with the Long Neck
painting by Parmigianino
The Madonna with the Long Neck (Italian: Madonna dal collo lungo), also known as Madonna and Long Child with Angels and St. Jerome, is an Italian Mannerist oil painting by Parmigianino, dating from c. 1535-1540 and depicting Madonna and Child with angels. The painting began in 1534 for the funerary chapel of Francesco Tagliaferri in Parma, but remained incomplete on Parmigianino's death in 1540. Ferdinando de' Medici, Grand Prince of Tuscany, purchased it in 1698 and it has been on display at the Uffizi since 1948.
Description
The painting depicts the Virgin Mary seated on a high pedestal in luxurious robes, holding a large baby Jesus on her lap. Six angels crowded together on the Madonna's right adore the Christ-child. In the lower right-hand corner of the painting is an enigmatic scene, with a row of marble columns and the emaciated figure of St. Jerome. A depiction of St.
This brief starts where responsible research should: with the source description of “Madonna with the Long Neck” as painting by Parmigianino. Everything that follows is an evidence route, not borrowed authority.
Why this record matters
The subject matters to the arts & letters register because the source frames it as painting by Parmigianino. Its deeper value depends on whether names, dates, institutions and citations support that framing.
Attribution, date and provenance are strongest when supported by the original work, a catalogue record and documented transmission. The source revision retrieved here is dated Jun 26, 2026. The linked authority identifier is Q867403. VIAF identifies the subject as 219024326. The Library of Congress control number is n2014009505. 1 of 3 selected statements include explicit references; 1 carry qualifiers and 0 use preferred rank. The first chronological checks are 1535, 1540, 1534 and 1698.
Titles can refer to several editions, objects or performances, making precise identification essential before interpretation. The lead is largely declarative, so disagreement and counter-evidence require a deliberate search beyond the opening account. Authority statements aid reconciliation but still require their own references, qualifiers and ranks to be checked.
How to read it
Separate the work, its editions or performances, and its later reception. Catalogue records, publication histories and object files often preserve different parts of that story.
- Identifying works and editions
- Tracing reception history
- Finding collection records
The original object or edition, catalogue raisonné, performance record, rights file and holding institution.
Three-step research path
- Establish the record: confirm the title “Madonna with the Long Neck”, its source revision and the description used here.
- Expand the search: follow Madonna with the Long Neck primary sources, Madonna with the Long Neck archive and Madonna research across catalogues and specialist indexes.
- Test the account: compare the strongest cited source with the responsible institution’s current record and note any disagreement.
Questions for further research
- Which source most directly establishes the central claim about “Madonna with the Long Neck”?
- Which edition, object, performance or recording is being described?
- Where is authorship, date or provenance documented?
Search terms from this dossier
This entry incorporates text from “Madonna with the Long Neck” on English Wikipedia. Contributors are listed in the page history. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License. Selected authority identifiers and statements are retrieved from Wikidata under CC0; their references and qualifiers remain part of the verification path.