Carved in pale stone against an elaborate Gothic tracery backdrop, this breathtaking marble relief from Florence's Chiesa di Orsanmichele captures two of Christianity's most dramatic moments — the Death and Assumption of the Virgin — in a single monumental composition by Andrea Orcagna (c. 1359). The lower register pulses with mourning apostles crowded around the Virgin's bier, their drapery rendered with astonishing naturalism, while above, Mary ascends in a mandorla flanked by angels, serene amid the Gothic riot of foliage and pinnacles. This early-1900s black-and-white photographic postcard, published by the prestigious Florentine stationer Francesco Pineider (catalogue no. 1178), was produced during the golden age of Italian art-postcard tourism, when educated travelers carried cards like this as refined souvenirs of the Grand Tour tradition's twilight. The divided back, printed in seven languages including Hungarian (Levelező-Lap) and Czech (Dopisnice), signals a pan-European retail audience. The card was never mailed and retains crisp tonal detail throughout.