Pentecost Triptych (c1364). Le Pentecoste is a tempera and gold painting on wood by Andrea Orcagna and his brother Jacopo di Cione, datable to about 1362-1365 and kept in the Accademia Gallery in Florence. The work is probably the one that Vasari saw on the main altar of the church of the Santi Apostoli in Florence, and was then removed shortly thereafter, with the modernization work on the church of Giovanni Antonio Dosio, finding a place in the Viviani Chapel. In an unspecified period, perhaps in the eighteenth century, it was brought to the Badia Fiorentina, and from there to the Academy in 1939. As for the attribution, Vasari believed that it was by Spinello Aretino, as is also reported in the guides of the following centuries. In the nineteenth century a more prudent attribution to the Giotto school prevailed and only with the investigations of Crowe and Cavalcaselle the work was assigned in doubt to Andrea Orcagna, and subsequently to Andrea with the collaboration of his brother Jacopo di Cione. Subsequent criticism essentially confirmed this attribution, with some voices out of the chorus, such as Sandberg Vavalà who attributed it to Jacopo alone, or Offner who spoke of an assistant from Orcagna called "Maestro della Pentecoste". The most recent studies today tend to assign the painting to Andrea's autograph hand, also representing one of the most typical works, albeit with possible help from his brother. As for the dating, the most followed hypothesis is that of Kreytenberg around 1362-1365. The altarpiece is a triptych, with a central arched panel of larger dimensions, where the Madonna towers in the center and in the front position, surrounded by five kneeling apostles; in the side panels, similar in shape but on a smaller scale, there are two groups of three apostles, kneeling along a transversal line, which amplifies the spatial depth. Each has a flame of the Holy Spirit on the head, as typical of the subject, while at the top, in the main table, we see the dove embodying the Holy Spirit, between two flying angels. Typical of Andrea are the squared volumes, the rigid frontality, the contained chromatic range, while the hand of Jacopo, recognizable in some apostles, usually shows softer and more nuanced passages, with a construction of the volumes that hints at greater sweetness. The frame of the painting is original; on it there was an eighteenth-century inscription, removed during the restoration. However, it is likely that the altarpiece had some cusps that have been lost.