'4

tx

THE DEVELOPMENT OF THE ITALIAN SCHOOLS OF PAINTING

PRINTED IN THE NETHERLANDS

MADONNA
By Barnaba

(ij-jo)
Photo Aiinari,

da Modena, Gallery, Turin.

\-^

V^i'

,M

aU-AhlMUMl Of 4R? AND AHCMAtOLOG^

Tin: ni:\'i:L()PMKNr
oi'
Till-:

Italian

Schools
liY

of

3.,;

ainting
f'ari^

KAIMONU VAN MARLE

Doctor of thf Facully of Lcitirs of the I'nivcrsily of

VOLUMi:
With
I

IV

collotype phitcs and 2S4 illustrations

THE HAGUE

MARTINUS NIJHOFF
1924

DEPARTMENT OF ART AND ARCHAEOLOGY

UNIVERSITY OF T0R^,./O

615349

ND
bU

Ms

TAP.l.EC^FCONTKNTS.

Chapter Chapter Chapter Chapter Chapter Chapter Chapter

I:

Wnicr and
I'he

the neighbouring regions

...
.

II:
111:

Painters of Padua, Verona and Treviso

in

iio
.

Painting

Lombardy and Piedmont

Modena

209

1\':
\'
\'l
:

The Painters of Rimini

279
355

The
:

Painters of

ilie
:

School of Bologna
in

394
little

\'ll

Painting
Emilia

P'errara

and other

centers in

....

482

Additions and corrections

Indices

509
511

N.B.

The terms

"right"

and

"left" are

used from the standpoint of the

spectator unless the contrary be stated.

rii.\i''i'i;i<

I.

\'i:.\ici:

AND

nil-:

nkigiiboikim. Ki-xiioxs

I'l.

It,

in

writmi; the

hi>l>i\-

of the minor Italian schools oT the

in

century, past, the City

I4tli

we
ot

begin with that ot\'enice,it is because, as the Lagunes took rather an unusual |)lace

the

in
it

the

development of painting.

We

must admit, however, that

was

not a \-eiy distinguished one. X'enetian painting, more than that of an V other region, remained under the domination of the Bvzantine tradition.

The geographical
and

e.xplain this persistence,

situation of the city suHices to the specimens of art that we find

along the Dalmatian coast are abundant proof of the route by which the Byzantine style reached Venice. Nevertheless if the
city

had possessed anv painters of exceptional talent, it is very probable that the Oriental domination would have disappeared
;

skilful in

long before the 15^11 century but the X'enetian artists, although technique and very capable, had little individuality. However we cannot den}' the presence of characteristics peculiar to the Italian national art in almost all the pictorial productions of Venice, and the struggle which took place between the Byzantine and the Western elements in the rest of Italy more

than a hundred vears before, is manifest the 14^11 century. The Occidental form

in

X'enetian painting of
art,

ot

however, had

acquu'ed a diflerent aspect. Whereas in the 13^11 century, we called the current manner of painting during the transition stage,

('i Zniiilti, Delia pittura veneziana e deile opere pubbliche de veneziani maestri. \'enezia, 1771. /J. (Vrr///7//, Saggia, Arch. Wiift., XXXIII, 1886. Cnffi, Pittore veneziani dall 1300. Arch. \'enet., XXX\', 1888, p. 57. Flat, Las

premiers Venitiens. Paris, 1899. P. Mnlnieiiti, I primi pittori veneziani, Rassegna dWrle, 1903, p. 129. L. rmtiiri, Le origini della pittura veneziana,
Venice, 1906. L.
IV
Tei^ti.

La storia della pittura veneziana, I, Bergamo,

1909.
I

VENICE AND THE NEIGHBOURING REGIONS.

the Italo-Byzantine st^le, in Venice during the 14th, we have to give it another name and that which I think best describes it is

Gothico-Byzantine. It is however a Gothic element peculiar to Venice and very different to the Northern Gothic. There are also some Venetian productions of the 14th century

which are "entirely Byzantine, at least there is no trace of Gothicism in them. These are not any older than the others on the contrar}- the most striking example, that of the mosaics in the Baptistery of S. Marco, dates from about 1350, while some of the panels are still later. There was not a great number of painters at the end of the 13111 or beginning of the 14th centur}". It is true, however, that as early as 1271, Venice had already a corporation of painters (^) and although this is the oldest with which we meet in Italy, it seems to have been composed uniquely of
;

painter-decorators

(-).

Paintings in Venice ol about the year 1300 are the frescoes in the church of the SS. Apostoli which I have already dealt with in the first volume of this work, the crucifix on the altar in the

Chapter room of S. Marco, and in the church of St. Agnese, a panel from a box belonging to the Blessed Juliet which was adorned in 1297 with a fig.ure of the saint herself and with those of SS. Cataldus and Blasius ('). Executed about the same time and very much after the same manner, is a panel in a room over the sacristy of the school ofS. Giovanni Evangelista. It comes from the Badoer Hospital and represents the Virgin as Orante with the Child Jesus blessing between SS. John the Baptist, Peter, John the Evangelist and another figure which has now disappeared. The picture is signed: "Franciscus Pinsis ocp", which might very well be the signature of a certain "Francesco pittore a S. Croce" who is mentioned in a deed of 129T (^). These panels however are of little importance as they do not possess any local individuality. The first typically Venetian painting which is of some artistic value is found in the church of S. Donato at Murano it represents a large figure of this saint in
;

(')
I,

G. Monticolo,

II

capitolare dei pittori a Venezia, Xuov. Arch. Veneto,

cit.,

p. 321. L. Testi. op.

(^)

p. 137.
Veiititriy

This

is

the opinion held by L.

op.

cit..

p. 15.

(^)
(^)

P. Mo/ineiiti, Rassegna d'Arte, 1903. L. Testi, op. cit., p. 171.

\LNR

i:

AM) mi:

M.K.IIilolKINC. KKGlU.NS.

Fig.

I.

Venetian School,

Rt-licf of St.

Dunato, 1310. S.

I>onati,

Murano.
I-..

.V

low relief and coloured and two miniature painted figures of the donors (fig. ii. Below to the left we read "('(>r(in</i> MCCCX indiiioit I'/II in
:

VENICE AND THE NEIGHBOURING REGIONS.

lo

de

Doiiato memo lionora do Podesta ancona de miser San Doiiado". quest of this panel lies in the extreme fineness of the execution, especially of the two small kneeling figures, but they

tempo dc

nobclc

homo miser

Murau facta fo The importance

alone are not sufficient for us to be able to recognize a local st3'le. This work has been attributed to a certain Bartolomeo Nason ')
(

or

Ca Naxon but
(-)
;

it

has

now

been ascertained that no such

artist

though at Murano in 1325, there was a painter of the name of Bartolomeo di S. Stefano ('). Among the pictures now' dispersed but of which we find mention in old descriptions of Venice (^), there was one of the Saviour and the Virgin in the "Scuola della Nunziata dei Servi"
ever existed
bearing the date 1314. Of another work of 1321, originally in the little church of S. Sebastiano of Venice, there remains one panel, the back of a box, which is preserved in the Cathedral ofDignano
in Istria. On it the Blessed Leo Bembo and two of his miracles were represented and below the inscription: ''MCCCXXI fatu

fecit hoc opus".

The names

of several artists of the

(')

centur}' are found in documents

any works. The

first quarter of the 14th but of these we do not possess few dated pictures that we have already ment-

ioned do not really belong to the Venetian school of which Maestro Paolo is the most important figure, if not the veritable founder.

The

characteristcs of the Gothico-B^'zantine school are the

outcome of an intermingling of Gothic forms and design with the general conception and technique of Byzantine art. The elongated forms show but rarely the hardness of outline and rigidity of the
folds of draper}' of genuine Byzantine productions but display* a trul}' Gothic elegance,while the long folds of the draper}' seem to

foreshadow that topical and almost international form of drapery which we find at the beginning of the 15th centur3^ On the other hand the solemnit}' of the images, the dark colour of the faces
(*)
(-)

V. Zcinetti,

Guida storica
cit.,

di

Murano,

1866.

L. Testi, op.

p. 149. di pittori ignoti del sec. XI\', Arciiivio

(')

R.

Fit/ill,

Cinque testamenti
cit.,

Veneto, XII,
(^)
{'")

p. 130. p. 151.

L. Trsti, op.

Idem,

p.

103 note 4 and p. 131.

\'I;NI(

I.

AM)

nil NKlCWir.orRINT.

KKGIONS.
is uj
i

iuaruNcuro, the black hair and ihr typt-s ot thr fit^urcs in jx<nral as well as thr ma^nitireiu'c (it th<- trxturrs, h"c|uiuly ihrradcd with j^old,
all

suintimu

s ijuitf

brown

with marked etTn

conn*

rl this

school with thr i^yzantin' tradition.

rh- (l)thico-Hy/antint' style sccnis to

havr made

its

appt-ar-

anc' in

W-nrtian painlinjj shortly

at'trr

1330. Thj- -arlirst

dated
;

is

is the altarpircf- ol th- l)ath of tin- X'ir^in at \'ic-n/a it a production DtMacstro i^iolo's and shows tin- date 1333 '" the inscription. A polyptych at I'iove di Sacco is probably ol the

work

year 1334 and the panel which adorns tin- lomb Handolo in the church di-lla Salute ol about 1340.

ol

Francesco

There

is

on- panel

still

sonnwhat

earli<-r;

and represents the Coronation ol the behind the back of the throne Itig. 2).
1

it dates from 1324 with eight angels X'irgin

photograph iVom which I iuilge that it was to be found once upon a time in \'<nice. but I have never come across the original in any churcji <ir collection, nor is it mentioned by anyauthor who has written on tlnA'metian school of this period. It i^ not unusual to find false signatures and dates on old Wnetian pictures and it would be very im|)ortant to find this picture again in order to establish the authenticity of its signature; for if genuine we should have in this jianel the
only
this picture iVoni the

know

oldest dated

monument

of the X'enetian school.

The

earliest date that

we have concerning Maestro Paolo

is

About
I

that of 1333 whicii we hnd inscribed on his panel at X'icenza ('I. the middle of the lyt'i century Count Ciualdo possessed

a picture of the

Death of St.

F'rancis
I-|

which was signed

has disappeared.

:" Piiiiliis

'rttciiis frcit lute of^its

Towards

the year

brother Marco who executed some designs for tapestries, hi 1341 and 1346 he is mentioned as inhabitant of the S. Luca quarter and in April 1345. he. with his sons Luca and Giovanni, signed the painted cover of the "Pala d'Oro" in S. Marco. The following year he was paid

///;" 1335 Maestro Paolo, together with his made the windows of the Frari church,
is

but

twenty ducats for an altar-piece for the S. Niccolo chapel of the

(') The dates for this painter which have bet-n publishffi have been united together by L. Tesli, op. cit p. 187.
.

bv(!ivr<. niithors

(*)

Idnn.

p. 192.

VENICE AND THE NEIGHBOURING REGIONS.

Fig.

2.

Venetian School, the Coronation of the Virgin, 1323.

Photo Nava,

was destro3ed b}' fire in 1483. Maestro Paolo at Carpineta (near signed b}' Cesena) dates from 1347 of the year 1358 we possess two other works signed b}" the master and his son Giovanni, the one at
Palace of the Doges but
this picture

The Madonna

CORONATION OF THE
By
Maestro Paolo
(?),

I'lRGLX
PhtH^ Alimari.

Btrra, Milan.

\'i:nick

am

II

ii;

.\i:itii iiu

)ii<iN(i

KKCiu )xs.

Sii;niaiiiijiM repn'Sfntiiiy; llu-

Coronation

ot the \'iij;in, thetjtlu-r

an

alltiroi-ical pii'turr at Stutty;art.

!>

AsMaifo

probably anotlir

soil

imiiliont'd in Scptfrnbt-r 1362 as "del tii Marsiro I'aolo we can aNsunn- lliat hi^ lallirr nuisl lia\<' dit-d Ix-tore pilton"'

thi^ dale.
riir autlu-ntir \v<>iks of this

painter air il'.m only live

in

innn-

which were executed with tlie assistance ot'hissons. Ilif I)iatli ofihi- X'iru'in b'tw<-en SS. I''rancis and Antnm of I'aiiua ot 1333 Comes oi-ii;inally iVoin the church ot S. I'lani'esco at \'icen/a and attt-r havinin passed tlirous^h vaiious hands, it is now to hr tnund in the (iallery ot that town (pre\'iousl\' n<j. 28
br. three ol

now

ii>.

i^y. liM.

^ji.

This picture

is is

probably only part

ot a

more

important polyptych.
are
ot"

The trame

modern and
others
in

ot the predella as wrll as the eii^ht

the ei^ht tijL;ures the three |)innacles

a later date

'|.

composition ot the central panel is traditional; theXir^in is stretched on her bier with the Apostles and numerous ani^els gri)uped behind her; in the centre the Saviour is depicted with
rile

the small personification of His Mother's soul in up le is seen carrying it to heaven. Kach of the
1

lis

arms.

ligher

two lateral saints

represented on a separate panel one holds an open book, the other a closed one. Below the couch of the X'irgin we read:
is
;

'MCCCW'AW'l//

/\jii/its (/,

rrihciis pinxif hoc opus'

at a

From

this

work we see

glance that Paolo

was greatly

dominated by the Byzantine tradition; this is specially obvious in the schematic composition, the solemn and rather rigid attitudes,
the types, thr technique of the drawing, the colour of the faces

and the gold weaving in the robe of the Saviour. here are certain Gothic elements in the construction of the figures, especially those of the lateral saints, and in the drapery. as may be observed in the figures of SS. Peter and I^uil who can be recognized at the head and feet of the X'irgin. But in the whole group of GothicoByzantine paintings, this. tiiink.is the one in which the Oriental intluence is most pronounced.
I
1

I believe we should ascribe to this early stage in the evolution of Maestro Paolo a Coronation of the X'irgin in the Brera Gallery (no. 227. plate I) which tor a long time was attributed to Lorenzo
('1
I

should

tliink

even

later than Battista

da X'icenza to

whom

Signer

Tics//

hesitatingly attributes them.

VENICE AND THE NEIGHBOURING REGIONS.

Fig.

3.

Maestro Paolo, the Death of the Virgin and

Vicenza.

saints, 1333. Gallery, Photo 1st. Art. Graf.

Veneziano. Messrs. Malaguzzi Valeri and Testi hesitatingly adhere to this attribution (^); Cavalcaselle and Signor L. \>nturi contradict it(^), but no one has as yet ever connected this picture
with Maestro Paolo.
(*) F. Malaguzzi- Valeri, Catalogo della R. Pinacoteca di Brera, Bergamo, 1908, p. 132. Testi, op. cit., p. 228. on account of certain non-Venetian details in (^) L. Ventiiri, op. cit., p. 28;

the composition Signor Venturi

is

of opinion that the picture could not have

l.Ml K

AND

rilK M.K.I

li;< >l

KIM.

Kl.(.l< ).\b.

9
l>rath

Nevertheless, coiiiparmf; llus [xiiul wiili lliuse

ol

ili-

of the X'irgin and Ci)ronalioii ol the Madonna of 1358 at Sij^mariiij^rn. it se!ns to m- possible that Maestro l'aol ini^hl have

been

tin-

author of

this

work which

is

the rtnest of ihe j^roiip of

\n- ol

>*Ciothico-Hy/anline paintings. If this be so, tin- Hrera piiture must

slightly later date

than the Death of the

folds
is

\'irt;in at

\'ic<nza,beraus<- the line of the

more

(iothic. In the

Coronation

Oriental peruliarities are less niarktd perhaps due to his l)Ut neither the proportions collaborated with his son having
all

at

Sigmarin^en the

nor the types and form of the faces have changed. '\'\n- angels in three works are very alike. It has been suggested that some small pictures which surround another panel of the Coronation of the X'irgin in the Cial-

lery of Venice (no. 21)

formed part of the same polyptych as the

in tin- Hrera, in other words the central part ithe Milani has been substituted for another representation panel of the .same subiect which is signed by a certain "|)lebanus"

Coronation
in

Stefano
I

who

will

be discussed further on.

certainly think that these small paintings (fig. 41, twenty in number ('tare from the same hand as the Coronation in the Hrera

and consequently are works of Maestro Paolo's. The e.xecution is much finer than that of the panel of 1333 and is very analogous to that of the second row of scenes on the cover of the Pala d'Oro; on the whole, however, the style is more Hyzantine and
the Gothic features rare. In any case this manner of painting does not resemble that of Lorenzo Veneziano to whose school

these panels have been ascribed (-). In attributing these pictures to Maestro l^aolo

we have

to

been made until towards the end ofthe 14'*' century. This is a question with whirh shall deal later on. on the I'l .Apart from thf tigurr-. ..It wo prophets, thc-f panels represent
I

highest row, Pentecost, St. Francis receiving St- L larr, .St. Francis breaking with his father, the stigmatization of St. Francis, his death and the Last Judgment. These pictures are smaller than the others and are separated one from another by figures ofthe tour Evangelists. The second row shows the
Infant Christ in the manger adored by the Magi, the Baptism, the Calvar>' and the Crucifixion, and the third tlu- La^t Sunn* r, the Kiss of juda*;. Noli me tangere and the Ascension. (*) L. Sfrra, Catalogo delle R.R. Gallerie di Venezia, Venice, 1914, p. 14.

lO

VENICE AND THE NEIGHBOURING REGIONS.

admit that a considerable change took place in the artist's manner. This change seems actuall}' to have occurred already in the painting with which he adorned the cover of the altar of
S.

Marco

in

1344

(fig. 51

where there

is

clear evidence of

it;

but

we should not forget

that the artist

was

assisted b^-his sons and,

furthermore, that the panel

was

entirel}^

repainted in 1847. This

Fig. 4.

Maestro Paolo and

Venetian Master of the 21^ half of the

14th centun',

polyptych. Accademia, \'enice.

Photo Anderson.

panel is divided into fourteen divisions the upper seven of which contain half-length figures; the central one shows that of the dead
Christ with the Cross behind Him, on the left are depicted SS. George, Mark and the Virgin and on the right SS. John the Evan(')

Note

of p. II.
St.

St.

Mark pope,

to the

Anianus, the saint ground and beaten

The incidents illustrated are: St. Peter crowning Mark healing the wound in the hand of the shoemaker in prison conversing with the Saviour, St. Mark thrown
b}- soldiers,

the bods' of the hoi}' Evangelist being

sick

brought

to Venice, the relics

maimed around

the saint's

worshipped in the basilica and the tomb begging to be cured.

and

\i:Nin: a.\i>
Peter aiul

hi;

M;i(.iir.(

xkinc kkgions.

<;fli->l,

Nicli<l:is.

It'Wi

Thf InW
!>

CD
lit

III

|)(.St'(i

I)

sevrn srern's
mi
till-

lilc ol
(

St.

Mark

').

The conjccl II

re thai

tlu-

oiiy,iiial

asprct

of

f.lu-

panel

was

fairly Hy/aiuiiu-

is
l)V

suppo ilfd
the actual ap-

piaraiice ot SS.

Gregory. Peter

and Nicholas.
elongated opo rt n s p
I*
i
< )

The

and thedraptry

of S
the

t.

o h n

Kvangelist rather belong tn

the

il

C
is

traditinii.

It

much more
ficult in

dif-

imagine

what
<Mi

the scenes

the second

row must have hccii before

the

restoration

which hasgreatly

changed the

details, leaving,

however, the

composition
(')

See note on

p.

ID.

12

VENICE AND THE NEIGHBOURING REGIONS.

and the architecture probably much as they were. Below the first Aplis Die XXIT panel on the left the date ''MCCCXL V is inscribed and on the second picture from the right we read ^Mgr. Paulns cii Lnca ct, Joke Filiis suis piuxcnit hoc opits'\ in his Madonna in the church of Carpineta near Cesena, Maestro Paolo created a type which was to be widely disseminated in Venice (^). The Virgin sits on rather an elaborate throne over the back of which appear six angels; she holds the Child standing on her knee. The appearance of the Madonna is not dissimilar to that in the Coronation of the Brera and in the picture at Sigmaringen the faces in particular are alike and the same
:

MS

of Byzantinism is present in all three. Below in the centre of the panel of Carpineta the artist has signed: "Pau/iis VIP'. De Veneciis pinxit

amount

MCCCXL

attitudes of the principal figures in the Coronation of the in the Museum of Sigmaringen (fig. 6] (^) which it appears \'irgin came originally from Ravenna, are identical with those in the

The

panel of the Brera. The fall of the draperies and the form of the crowns are also remarkably alike in these two works. Since the
cloaks are entirely repainted we cannot exclude the possibility that they too originally showed an ornamental design. This ornamentation, however, is visible on the re vers of the cloaks which
leads one to think that the outer surfaces

were not

also adorned

in this manner for the revers in the panel of the Brera are plain, and Maestro Paolo then probably imagined these cloaks plain on one side and figured on the other. In both cases the sun and the moon are depicted at the feet of the Saviour and the Virgin but only the feet of the former are visible. Again in both we see an angel at either side holding a little organ of Gothic design, and a large group of angels playing on musical instruments behind the throne the thrones, however, in no way resemble; the motif in the border of the back of the one in Sigmaringen is borrowed from Arabic characters. Although Venetian painting of the Trecento abounds in Coro;

nations of the Virgin, there

(^) /".

is

not another instance of such a

Germania, Arch. Stor.

Harck, Ouadri

italiani nelle gallerie privati di

deir Arte, 1893, p. 388. G. Gigli, Per un quadro di Paolo di Venezia, Rassegna d'Arte. 1908, p. ('*)
182. L. Testi, op.
cit.,

pp. 534-535-

\i:nici:

am n ik

NKUUiBofRiNt; kkgions.

13

Fig. 6. Mae;>tro Paolo, the

Coronation

ot tiic

S'lryin,

1347. Gallerj-,

Sigmaringen.

14

VENICE AND THE NEIGHBOURING REGIONS.

striking resemblance. It is, however, very clear that in the latter the artist is less inspired by the Byzantine style this is evident in the technique of the faces which besides are much less dark,
;

and

in the generally less austere spirit of the

:

signature at the foot of the picture runs

whole work. The ''MCCCL VIII Pauliis

cum

Jolianiniis

ciii filiu

piseriit

hoc op'\

change in this artist's style is due son Giovannino but perhaps a certain evolution towards an Occidental supremacy took place in Maestro Paolo's own art. All the same I cannot admit that Paolo, the same year that he executed the Coronation of Sigmaringen
It is

quite probable that the

to the collaboration of his

also painted the panel at Stuttgart and as this work is again signed by the father and the son, I think the latter must have executed the greater part of it.

The picture illustrates the legend of Ottavianus Augustus whom, on account of his great beauty, the senators desired to include among the divinities adored in the sacred chants, but Octavian,on consulting the sibyl Tiburtina, is shown an image of the Virgin and Child in a circle of gold (M. The principal part
of the composition is a medallion of the Madonna. Below on either side, the background is filled in with elaborate architecture;

supported by three nude figures, shows "Fons acque in liquorum dei versus est; qua Christus di Maria Virgine natus est". The building on the right is the temple from which the heathens flee, w^hile within the statues fall over and break; the building on the left is the palace of Octavian who is seen looking up at the vision shown him by the sibyl. The signature is inscribed on the fountain, it runs:
in the centre a fountain,

the inscription:

''

MCCCLVIII Pauliis cum filio

....". Cavalcaselle believed the

be by Maestro Paolo but doubted the authenticity of the signature which seems to be quite genuine. I must admit that if I were not certain of the signature, it would not have been
picture to
difficult to

convince

me

that the picture

little in

was by another

artist.

The
(')

Virgin and Child have but

Leggenda Aurea, nelle memorie

common

with Paolo's

Roma

cap. VI, La Nativite de N.S. jesus Christ. .-J. Graf, e nelle immaginazione del Medio-Evo (Ristampa),

p. 247. Z-o^sfr, I quadri italiani dellaGalleriadiStoccarda, L'Arte, 1899, p. 172. Testi, op. cit., p. 198. L. Vciitiiri, op. cit., p. 21, A. Veiitiiri, Una rappresentazione della leggenda Augusto, Ausonia, I, 1906, p. 93.

Turin, 19 15,

VKNICK AND
oiluT \v<Hks
;

IK

NKKil lllolKINCi KKCilONS.

15

ihen- is no tract" of'l-JyifaniiniMn in br louiul in iht-m and tluTf can bv no doubt that this part was left t-ntinly to the
>oii.
\\

rh- archilrrturo

tools vtTV

ditfi-rf-nt.

^o also the fountain

art

hull su.ngrsts to our

iiily nu-t

tr'(|u

minds thr rrniiniscrncrs of classical with in (iioitn's works. Only the small tV.
<f tht-

so
t\

llut>
'

N)wer part

picture

show

a fairly strong rcsriiujuuin'

what wc
th-

find in
is

Marsiro

I'aolo's othrr

works;

lh<*

technicjue

especially Hy/anlin-. Signor Testi finds that Signor Mosclutli exaggerates the imporlanct- of Maestro Pat)lo wIkii he says that it is to him we owe
the start

faces

however, to a certain e.xtent is almost incontestable. The only question which might arise is whether there did not e.xist other artists just as impt>rtant as Paolo but whose names have not come down to us. This does not seem probable. .Maestro Paolo was almost certainly the first painter of that period in Venice, and we have
already seen that the oldest certain dated work of that school of
X'enetian painting

and early

perfecli<)n of X'enetian art. This,

which we

call

the Gothico-Hy/antine,

is

from

his hand. Besides this, th- entire school

whose members apart

from Caterino and Donato.are anonymous, is chiefly inspired by Maestro I^aolo.and that it owes its e.xistence and characteristics largely to him is consec|uently almost certain. The rather harsh judgment of Cavalcaselle. Molmentii'l and other lovers of the
X'enetian school of the 151'! century i^ easily explained by the wide difTerence in tendency and in artistic manifestation which existed between these early artists of the Lagunes and the geniuses of the Renaissance but once we admire the primitive productions of other schools there is no reason why we should not appreciate those of Maestro Paolo and his group of f^llowers. It is obvious that the Venetian, m<)re than any other school of the Trecento, was dominated by the Byzantine tradition, and to whatextent Maestro Paolo himselftried to free it from this yoke is ditVicult to say. The authentic works dated and executed entirely by the master's own hand are only two in number, the Death of the Virgin of 1333 and the Madonna at Carpineta of 1347- In comparing them, we cannot admit any diminution of the Byzantine influence perhaps he made no attempt to reduce it.
;

t'l

/*.

Mohiuiili,

La peinlure

venitienne, Iran-, hv M.

J.

de Crorals, Flo-

rence, 1904, p. 8, says "Maitre Paul est informe"

i6

VENICE AND THE NEIGHBOURING REGIONS.

On the other hand, it would be unjust to pretend that his works do not contain other elements, because in the structure of the bodies and the draper}" there are traces of a thoroughly Northern Gothicism which probabl}' reached Venice directh' from the North, from Germany, in fact. In some of the small scenes on the lid of thePalad'Oro and the
altar-piece (no. 21) in the Gallery of X^enice, there are certain details which are reminiscent of Giotto. Besides, when Maestro

Paolo executed them, Giotto's frescoes at Padua, almost

gates of Venice,

at the

were

alread}' thirty or

fort}'

years old; naturally

Maestro Paolo knew them and considering Giotto's universal fame had probably studied them. From here no doubt originate the interiors seen in section such as we find in the small scenes of the panels in S. Marco and the Galler}'. The}* are conceived
exactly the same way as in the works of the great Florentine, for the buildings in w-hich the events should take place form the
in

background.

We

can no doubt also ascribe to a Giottesque

in-

fluence, the tragic action w^hich is rendered in a manner very superior to what one would expect from an artist purel}' inspired

the Byzantines. Signor L. X^enturi thinks that the panel in the Venice Gallery must have been executed tow'ards the end of the
b}'

14th century on account of the presence of certain details which he believes were onl}- introduced into the Venetian school at this moment. Among them he quotes the Giottesque iconography of the scenes from the life of St. Francis. But before agreeing with this, we must first of all prove that Giotto reall}' introduced

important innovations in the representations of the legend of St. Francis and this seems very doubtful if we compare his frescoes in the Upper Church at Assisi with the 13111 century

series in the

nave of the Lower Church and

if

we

consider with

what

fidelit}'

scenes from should be given why these images remained unknown in V^enice until almost a century after Giotto represented them at Assisi. Therefore, I see no reason to suppose that the altar-piece in
the

to old iconographical traditions Giotto depicted the Evangel and second!}', if this be so, a reason

Maestro Paolo's
in ascribing
it

Accademia of Venice should be posterior to the date of activity, and I am of opinion that we are right
to this artist.

we

other works, here too, find certain Gothic elements intermingling with a Byzantine
in all his

As

VKNIC
fourulati>ii.

i;

AM) niK NKKlUliorKINCi

in ih-

KKCiluNS.

17

and as
l*an|('s

intlurruf can bv observed in

Mastri)

paiicU with small scenes, a Giottfsque th- cnmpositidn. nunurniis |)ii|)ils must irmain anonymous;
in tin* dncumenls is called Niccolo wurks an* known. which shows some connection with Paolo's

the only disciple mentioned

tia

Zaral ') The oldest paintini

Is

and

nnn- olliis

art

apart iVoin the ( "oionaiioti ofthe X'iri^in ot 1324. which is a panel probably earlier but only known from thr photoj^raph
in

the sacristy

t)t

the

chunh olPiovediSaccoipnnincf nt
first to
1

Padua).

i^inton.wlu)

was

the

tion ran: "M(ii^^. Pttiiliiius

publish }}2 f>ii.(L

il(-(,
I

states that the inscrip-

'rmci", but this sij^naturt-

has since disappeared and as the chapel which it adorns was built only in 1334. there must be some mistake, more esj)ecially

can be a work from the master's own hand. It represents the enthroned Xirs^in with two small devotees at her tV-et and at the sides SS. Clare, James \hnor.
as
it

is dilVicult

to believe that

it

Martin. Thomas, I'rsula and Francis. Ot the pinnacles, then- only remain the X'irgin and angel ot the Annunciation and a bust ot
the dead Christ between

two small

figures ot saints. These latter

panels are considerably repainted and the others much damaged.

TheX'irgin. however. possesses a certain charm and seems otrtner execution than the other tigures.Thecoloursare Byzantine but the long elegant figures seem to be modelled on Gothic proportions.

Chronologically
lunettr

wr now

conn- to the picture

in

the form ot'a

which originally adorned the tomb ofDoge Francesco Dandolo in one of" the sacristies of Sta. Maria delta Salute, X'enice
7) (').

ifiiJ.

X'irgin sits on rather a low seat, the background being lormed by a curtain held up by four angels. The Child Christ blesses the Doge who kneels on the left ap|)arently presented by St. Francis who seems full of solicitude for his protege. I'he X'irgin turns towards the Doge's wife who kneels on the right and behind whom stands the protecting figure of St. Klizabeth. forming a pendant to St. Francis on the other side. This is a
'

The

'
I

A'. Fiiliii, op. cit. Niiiivo Arch. Veneto, 1891. vdI.

I,

p. 77.

a project to reconstruct this tomb in the Frari church, v. \\ luzia studi di arte e storia e cura delta Direzione del museo Correr, Milan,

There

is

Rome.
IV

1920, p. 270.

i8

VENICE AND THE NEIGHBOURING REGIONS.

Fig.

7.

Venetian School, Madonna, saint and adorers, 1339. Sta. Maria della
Salute, Venice.
Photo Alinari.

\-i:\i(K

AND

riii:

nkk.iii;* )iKiN(i

ukcwdns.

19

com|)i>silinn

The

death

nt

whirh ptTsisletl in X'tjiice for several hundred years. Francesco )and<l which occurred in I339enabk-s
I

us to (hite this picture with precision. Thi* spirit of the work is t I'aolo's own productions, slightly l^^^ Hy/antine than lliat nevertheless th- type of tin- any:els and the technique of the

hard dcsij^n and niarkrd contrast of hght and brown shadows, closely contucls this artist with th*- founder of
faces, with lhir

the school, as
1

do also the decorative

tin-

details

think this picture, as well as

pn-vious

on-,

shows

a lanly

strong resemblance to a sniali .nr<up of lour painlings, thnr nf which Siijnor 'I'-sti has already classiHcd together. They are a Madonna in the Louvre, a polyptych at Chioggia and an altaranfl to them think piece in the Cathedral of Pirano in Istria, should be added a polyptych in the- Museum of Lecce lApuliai.
I

)f the central panel )f the p< dyptych (hg. 8l in the ( )raof S. MartinoatC'hioggia.we find the date: "ilA ( ( XLl'HII tory J I IJ ." ). This altar-piece no longer possesses its firiginal
< <

At the foot
.

MS

'

form, the varinus panels having been dismounted and nunitefl in quite another manner, while others, of more recent date hav-

been added. The principal figure is the \'irgin holding the Child jesus on her knee; Me is in the act of receiving a banner surmounted by a cross from one of the two figures of a confraternity who kneel below. The lateral panels show the images of SS.
carries a staff instead of his traditional keys. l<hn the Baptist. John thei^angelist and Paul. The half-length figures in the predella are those of the Magdalene. SS. Dominic, Martin.
Peter,

who

the central panel there is a sculpture of on horseback and the beggar, and at either side four scenes from the life of the titular saintlfig. 9).

Agnes and

Julian.

Over

later date of St. Martin

the Saviour on the Cross between the Virgin and St. John and over it the bust of an F'vangelist; between this part and two other scenes from the life of St. Martin which are
Still

higher

we see

depicted at either side, there are two figures of angels dating irom the i6h century. The connection between this artist and .Maestro Paolo is obvious.
It is

not only the type of the

but

we

find here the

Madonna that is analogous, same Byzantine spirit and similar colours

lew remaining Iragmenls, completes

() L. Tfsli, op. cit.. p. 202. from the the inscriplion////rt//'T tjinst o/>trn.

20

VENICE AND THE NEIGHBOURING REGIONS.

Fig. 8.

The Master

of the Pirano altar-piece, polyptych. Orator}- of

S. Martino, Chioggia.
Photo
Alinari.

and technique. The difterences between

Paolo consist

this painter

and Maestro

in the exaggerated length of the figures at either side of the Virgin, the vivacity of the Infant Christ, which is quite a characteristic of this master, and the poorness of composition

and architecture which, however, in one instance (the saint lying on his couch) corresponds in form with what we found in one

VKNlCi:

AND UK
I

NKK.IUUJl kINCi KK(,|i)NS.

21

Fig. 9. Th-

Mn^trr of tin- I'irano aUar-piece, polvptvrh. nrntnn* of S. Martino, Chioggia. aSmH.

Maestro Paolo's works. All the samr. it can be said that in general the compositions of the Master of Chioggio are more Oriental than Maestro I'aolo's. The chief frature which induces us to associate the panel on Francesco Dandolo's tomb and the poiyptych at Chioggia is the
of"

animation of the Infant Christ; the same is the case for the poiyptych at Piove di Sacco which shows, besides, the same attenuated
proportions of the figure>.The resemblance
is

much

less

marked

Fig. lo.

The Master of the Pirano

altar-piece,

Madonna. Louvre.
Photo Braun.

\K.\I(

I.

AM)

111.

M.U.I lli)UKlN(.

KI.(.U).N.^.

23

bflwfrn
>t

this last pul\

<lf conation ot ilu*

piych aiul llu- oiu- al i.rci ihr tuini and trame- art- also soiiuwhat clitTcrfnl. Tin- j;rvatT
;

part
tht*

tin-

iVamr

ot

tlit-

pirtiin- at Chioj^^ia is missinj;,

nl" it 011 th'

hut from

few

rt'inaiiiini; picrrs aiul thr traces

paiu-ls,

one

can suppose- tJKit it ry sinular to that surr<)UiKlin>( the panrl at 1-cccf. The- polyptych in thi* sacristy al I'irani) has a shijhtly tlitVe-rrnt hain- and one- in a ijood state* <>tpns(rvation I'l. litre
\ t

was

ajjain the- crntre- is lornn-d

hy a

tij^urehevlel

olthe- \'irj;in sfal-d e)n a

throne- he-hind

which two
I

anijels

a curtain.

The- a;;;itatcd

Child

is heUI in

lis

Mothe-r's

arms and

at either side are four

verv

ele)ny;ateil tiirures
tin-

of saints,
of this j)olypiych with the one in the
is

Ce>mparinjj
I.ouvre(ne).

Madonna
lol.

154
it

1, tiij.

which

there- attrihule-d to Ste-fano

Vene/iane),
artist.
in

is

vt-ry e-vident that they are

hy one and the same

the

The chief points >f ditVerence are- the abst-nce of the anijels background and a slight chani^e in the- attitude of the Child,

Who.howe-ver. has the same- lively appearance. In the rii^ht-hand ''>/" (October). lower corner we see the date '\MC( ( fJll This panel originally formed the central part of a triptych the wins: sof which were- se-nt to the Museums of Toulouse and Ajaccio in 1876: the-y showed St. Antony with St. Bartholomew and

the-

Baptist with St. Francis

point
1

(,-1.

.\

which
1

diflerentiates the

Madonna

ifrom the other images is Lecceltig. crown, and in this the- picture- resembles the altar-piece at Pie)ve di Sacco ('. 'I'he Madonna at Lecce is depicted nursing the- Child Who seems very intent on his little task. Again four saints are seen at either side and as in the pe)lyi)tych at Chioggia their

of the polyptych at the absence of the\'irgin*s

names are
saint; the

Above each

inscribed above; at Pirano the inscriptions we-re- below. lateral panel is a smaller one containing a bust ot a

one over

the*

Madonna

is

missing. Iht- marke-rl resem-

i.i i'ai^') Lapnii, L'Utiia iiot)iiiiina, i'art II, p. .Sii. J/t>.^itiiif, 1. htriaemazia, Bt-rgamo, p. 36. *) S. </< Ricci, Description raisonnee des peintures du Louvre, I, Paris,

'9'3. P/'.

'46fl

//.

Ritr/ioii, !.

musee de Toulouse, Toulouse.

1906, p. 38.

R. Jtan, La Galerif Campana et les musi-es franejais, Bordeaux, 1907. p. 32. Cni-alras^Uf read tlu- datf as 1354. r'l This polyptych has been attributed to Jacobello del Fiore: 0.l'aleiilini^

Prrdhzft

Di un polittico di Jacobello del Kloro esist'-nte in Lecce, Bolletino d'ArtedcI Ministero della Pubbl. Istr.. July 1913. M. Salnu. L'Arte, 1919. p. 162.

24

VENICE AND THE NEIGHBOURING REGIONS.

Fig. II.

The Master

of the Pirano altar-piece, polyptj^ch.

Photo

Museum, Lecce.
Pubbl.
Istr.

Miiiist. del,

VKNICK AND n IK NKKiHUOlUlNG KK(;iuNS.

25

blanrr whuli <xi>l^ bflwffii ihr laliial li^urt-s ollhis |K>lyplych and ihost- at INrano, espfcially tin- two nrarcst tin- \'ir^in

not only
thf

in ihrir

altrmialed fVoni but also

in tlnir

hard asirtic

aspt'Ct.is suHiri-nl to coiilirni niir

supposition that tln-y an- from

samr

haiul.

Altliou.nli

Liilain

nunibtT of muiviuuai riiararu nsln

tii;ur's,

s.

ainonji tin in tht-

attrnuation of his

revt-als th-

"Mastrr

of Chiojijiia's" indrpcndcruf, lh<- most important factor in his paintinij is tin- inlluriut- of Ma'stro Paolo, whose most faithful
pupil \vf ran rrlainly consicitr him to be. rhrn* arc fr\v details which dilV Ttntiatr his art from that of jiy/anlium.but the vi-

vacity of the C'hiUl Jesus is one so opposed to the Ori<ntal spirit that in this alone the "Mastr of Chiog.sjia" is slightly more
Italian

than Maestn Paolo with

I

whom

he was almost contem-

see no reason for dating the polyptych of Pirano as porary. late as 1372, as Signor Testi has doneCi.

The most important

Trieste,

of the other
is

works which manifest a conin th<-

nection with Maestro Paolo's art

the triptych

Museum

of

which Signor L. X'enturi has already judiciously classified among the works which rtlect this master's int1u-nce ifigs. 12. 13 and 14II-). The principal part of this picture is divided into six rows, each of six scenes, thirty-thn-e of them illustrating the history of the Saviour from the Annunciation to the Ascension. th- other three the death of the X'irgin. the death of St. Clare and St. Francis receiving the stigmata. It is curious to note that between the Calvary and the Crucifixion, the head of the Redeemer represented against a cloth is symbolic of St. Wronica having wiped His face and the miracle which resulted thereof. On the inner
surface of each of the wings there are three divisions, slightly larger than the central ones, showing figures of saints. Apart

we find the representation of an event, the confirmation of the order of the Poor Clares. A saint perhaps is depicted on the outer surface of each of the wings of the
from the isolated images,
triptych. The picture

The author
/.. 1*1

of this beautiful

comes from the convent of thePoorClares. work was even more dominated
Trif^te, 1897. 77"
irmi., Tri.-ti-.

/>//,

G. Cnftrin,

"p. lit. p. 234. II Tr< '-nt,. .1 Tri'*f

Rr.

gamo,

1907. p. 50.

26

VENICE AND THE NEIGHBOURING REGIONS.

Fig. 12.

Venetian School, Scenes from the Life of Christ,

14'h centur}'.

i^'

half of the
Photo
Alin:xri.

Museo

Civico, Trieste.

the B3'zantine style than Maestro Paolo himself. The compositions, t3'pes, attitudes, expressions and gestures are reminiscent
b}'

before

espethe case for the thirty-six scenes ofthe central panel among which we also observe traces of Giottesque backgrounds and
ciall}'

all of the miniaturists whose productions we Greek manuscripts of the nth and 12th centuries. This

find
is

in

architecture similar to

what we found

in

some

of Maestro

\"1:MC

AM) NIK

Ni:i(.llli()ri<IN(;KK(.I(JNS.

27

<^-

Fig.

13.

Venetian School, Scenes from the Life of Christ, i" half of the
14=

<(ntury.

Museo

Civico, Trieste.

photo AimaH

Pablo's works. In thr largt-r tij^ures it is clear that wc are dealing with a Venetian interpretation ot Hy/antine art. There ran be no doubt that Donate tried to imitate Maestro Paolo's art. but as the only work ot" his that has come down to

us

was executed in collaboration with Caterino. we shall discuss him together with this latter artist whose paintings belong to the transition manner.

28

VENICE AND THE NEIGHBOURING REGIONS.

Fig. 14.

Venetian School, Saints,

i*'

half of the

14''!

century.

Museo

Civico,

Trieste.

photo AiinaH.

\i:ni(

i:

.\M

iiK

NKu.iiiioiuiNc. ki:c.i()Ns. Masiro

29
I'aolo,

Amonii
a paiu'l
(ft

ili-

anuiiymous works of ilu- school

tli-

<.l

th*(."oronalion ot

\'irijin in

ihr author's tollrrtion

iniijht still

br mrruinnrd

dii;. 151.

Ilx- roniposiiioii i^

unusual,

only arr llu- tinurcs in invrrsj- oidrr lo tin* usual arranijrnicnl hut rallur a lanta^lii- iniagr o(" (iod tin- Kalhrr,
iioi

brcausf

plaoiny; a haiul

on

v:\ch olilu* ninibiollhr

Sa\ iourarul ihr

\irijin,

draperies Tail in tine (ioihir lines and the decorativedetailsare minutely executed. InditVerent
is (it-pirtrd Ix-hintl.

Vlv folds
tind

ot thr

t'hurcln's in\'<'nice

we

some other works which can he

;

class-

ed with

this

Coronation

(repainted ni S. Silvestro
;

they are a j)olyptych, of the \iri;in with saints, in the sacristy of 1756) a Madonna in prayer in which Paolo's influence is
of the X'irijin

the sacristy of S. Irovaro; a similar panel inS. Krancesco allaX'iijna; an imaii:*' of the Saviour in S. Samule; and atMurano
faint, in

a pt)lyptych of the Death of the X'iry^in and saints. With this same s^roup can be included twi |)ane|s, each showing

two

fiijures

of saints,

in

the Correr

Museum

'1

ery fine

little

panel of a polyptych representing St. Catherine, from the Karl of Southesk's collection, which i^ exposed in the Kdmbursjjh Picture Gallery where it was ascribed to Hartolo di Kredi fourteen
isolated figures from a polyptych in the Museum of Poitiers (nos. 186
tion

the Marlonna and

and 1871 of

saints

a coarser execu-

slightly later date.and a fairly large number of half-length of the X'irgin that belong to different private collectors. figures The X'enetian "Madonari" continued for some hundreds of \ t"
r-

and

produce the same image

,

(-).

^') L. Tfsti, op cit pp. 159 and 167, tiassifits with tliis group a panel of the Virgin andC hild between the Haptist and St. janvs Major witli a lialf-length figure of llie dead Saviour above, in tlu- Accademia of Venice no. 61. It is
1

however the production of a late artist of the second half of the 15'' centun.' who worked largely after the Byzantine manner. *) The following productions of this current might still be menlioned: two

figures of Kvangelists in the Stor'-mom of the Vatican (iallery(nos. 163-164', executed rather after the manner of .Maestro Paolo; a pi.I\ i>(\. h in the same

place no. 122) showing the Virgin and six saints all > .y framed, the work of a provincial artist; four fine half-length figures of saints that I saw
for sale in

Rome
th-

a short time ago; they closely approach Maestro Paolo's

'

is moH" Gothic; whiles few yhad a panel with three half-length figures o: held a book, the third bestowing a blessing after the Greek mam early Venetian production, showing a strong Byzantine influence.

manner

but

drapery

ler

in Paris

m
.

xl

Fig

15.

School of Maestro Paolo, the Coronation of the Virgin. The Author's

Collection.

VKNlCi:

AND

111:

NITir.llHol'KINC.

RKCIONS.

Fig. i6. Till-

Baptism of the Lord and prophets, mosaic, i.'M^i 3jvv Thr

Haptisten*, S. Marco, Venice.
i'bolo Alifwari.

Before passing to that group of painters which occupies the between the Gothico-Hyzantine and a newer form of art. I should like to mention a few works in which the
transition period

Gothic or Western element

is

almost entirelv absent, and which.

32

VENICE AND THE NEIGHBOURING REGIONS.

from their appearance might make us think that the}' were produced in B3'zantium itself. The tendency' towards this more purely Oriental style of painting seems to have coincided with the execution of the mosaics in the baptistery adjoining the basilica of S. Marco which were made between 1342 and 1355 b}' order of Doge Andrea Dandolo

who governed
The dome

the city during these years

is

(^).

adorned with an image of the Redeemer, Who sends His Aposdes forth to preach and baptize in the different parts of the world; the four Doctors of the Church are depicted on the pendentives,and at the sides of the windows, seven scenes from the life of St. John the Baptist (fig. 16) and the
of the baptistery

which the kneeling figures of the Doge as donor, and an unidendfied person are represented. In that part which serves as entrance to the chapel we see, above, Christ surrounded b}" prophets and, on the walls, Herod sending forth the Wise Men, the Adoration of the Magi, the Flight into Egypt and the Massacre of the Innocents (fig. 17). Of all the works of this group, these mosaics are the most
Crucifixion, in
his chancellor Caresini

purely Byzantine. With the exception of the Latin inscriptions, there is nothing whatsoever in this decoration to reveal its Oc-

and what is particularly strange is that the artists do not manifest a familiarity with the austere and primitive form of Byzantine art but with that rather decadent manner of which the weakness of form, exaggerated rigidit}' and abundance ot
cidental origin,
detail characterize the

contemporary productions ofthisartin

see no reason to believe, as man}' do, that

the Orient. Therefore

these mosaics were executed

that the Venetians

by Venetian artists. Even admitting had a thoroughly Byzantine training, I find it

hardly possible to accept this hypothesis. I do acknowledge, however, that the mosaics of the St. Isidore
chapel
in the

North transept, although an imitation of Byzantine

certain
Italian peculiarites. It

productions, possess

was

also

Doge Andrea Dandolo who

ordered the ornamentation of this

chapel, whither he had transported the relics of the saint which had been discovered in 1342. I am. not of M. Diehl's opinion that

(')

P. Saccardo, Les mosaiques

de

St.

Marc

a Venise, Venice, 1897,

p.

136.

VKNICI. .\M>

Ml.

NKlGllu

)l

K1.N(. Kl.l.U

>.N.>.

33

"entirrly

tl-

coralrd

in

Um
bui

Ctiolli->(| in*
stylf" it is
(').

nevtr-

ihflfSN irur thai in comnus;uc.s

paring these with

those
of
ll

\vv

Haplistrrv obser\

<

that the

com-

positions aimorr natural a n

(I

r
tl

dramatic,

more
ratr

backijrouni elab'

and

tl

forms and

r.\

prr-ssions less

hard. Thf
scrnes here
illustrate
in-

cidents thr
life

from
of
tin-3

saint, the tran-

sporting of his
relics
\*
i

first

en c e
to

an d
this

then

chapel.

Manuel

d*A it

bvzanlin. Par
1910. p. 510.

IV

34

VENICE AND THE NEIGHBOURING REGIONS.

Fig. i8. Veneto-B^-zantine School, St.

Andrew,
in

2"'^'-

halt'ofthe 14th century.

Photo
1st.

Correr Museum, Venice.

Art. Graf.

This return

to

mosaic decoration

Venice seems to have

in-

fluenced the painters to imitate the technique of that art. It is difficult, however, to date with any precision the productions in

which this archaism is voluntary. The most characteristic works of this tendency are two half-length figures of SS. John the

\'i:.\i(

AND mi;

Ni.K.iir.orKiNc.
iHi in the

kkcions.
Mu.-.um

35
Mi'J'^-

Hvanijelist

ami Aiuln-w
tlu-

Ifij^.

Cunvr

ami 8)1 M ot which

tif

aliun

Wnitiafrct' M('( LXXXl" otCach feature in the laces

.

foiinrilxar^tlif taIsesij;natun':"r///;,-v///;// he urious i'nnloiirsan(Ultliru-1

|)ivi(lr

us with sulticicnt proof

that the paintT imitated mosaics, hut ui th<- >th<r hand tliesr two panels show sn much ditVcrencf to the utiier pictorial jiroduc-

m XCnict- that we can certainly not hase on them alone the argument that all XCnttian primitive paintini^ derives ht m mosaics. Kxecuted much in the same- maiuier as the two saints in the Correr Museum is a head of St. Mark in tin- iin-ra hut on account of certain Cialleiy. Milan; it is tiated M( ( ( 1.1 details which seem to reveal a knowledge of 15th century pain tini^,
tions of the IVrcento
1
.

"

Signor

L. X'enturi thinks that possibly a

is

missing

(-).

influence of the mosaic technic|Uf is more evident in two SS. Andrew and John the Baptist in the figures of saints National Gallery. Knme, probably to be transferred to that in the

The

Palaz/o X'enezia

(fig.

19).

although the elongated forms indicate

a certain lamiliaritv with the art of the "Master of ("hioir^ia"

or of I.oren/oWneziano,

who

will

be dealt with later on. and to

al-

whom

work has been wrongly attributed. Another little group is formed by those paintings which,
this
in

anv wav imitating the mosaics, show none of those Gothic effects which characterize the works of Maestro Paolo and his followers. These paintings then are thoroughly pA'zantine and can only be distinguished from Italo-Byzantine productions of the previous century by a more advanced stage of evolution of
though not

some of the details of this category; we can make a sub-division which would comprise those panels in which the figures are large
and amply draped and the proportions and attitudes majestic. A Crucifixion in the Correr Museum (no. 10) shows these peculiarities the Virgin and St. John are depicted under the Cross and SS. Andrew. Augustine, Catherine and Nicholas at the sides.
;

Two

other panels of this group are found

is

in

the

Ravenna Mu-

seum; one

a Crucifixion, similar

in

composition

to the previous

one, the other a representation of the Trinity amidst ten figures of saints. Not long ago I saw at a Parisian art-dealer's, three
i''<

to its
(*)

As this chapter was written before the Correr Museum was transferred new site, the numbers hrre mentioned are those of the old catalogue.
L.
I

'eiifiiri,

op.

cit.,

p. 50.

36

VENICE AND THE NEIGHBOURING REGIONS.

Fig. 19.

Veneto-Byzantine
2"ci

School,

SS.

Andrew and John

the Baptist,
Photo Anderson.

half of the 14th centuiy. National Galleiy,

Rome.

\'I.NICi:

AND

II

IK M.l(.lli;)ri<I.N(.

KLCjIONS.

37

pant-Is in this niannrr;

|u(lj;mrnt has lattly U.S.A. ('. 1 hit- ihf

N'irgin aiui St.

nnv u\ ilu in winch rrpnsintt <i ilu- luisl brn acquiiftl by iht-Musruniol Worot-sirr Saviour in glory, sinroundrd by angt-ls, the (\ John, ^tntilus (orth hs hand towards tlv

<

Kii;.

20.

Byzantine School executed

I4*>

in Venire, Saints. century.

i*

half of ihr

while below the wicked are depicted. The other two >hrAvrd

each four figures of saints

.\

(fig. 201.

number of paintings reveal only the peculiarities of Hv/antine works and the fact that thev are Venetian in origin can but faintly be discerned in some unimportant details. The name of one of the artists of such works is known to us through
certain
1

It

was published

as a 13'^ centun." painting from Central

It.)

A\ Hdtniiktr-Steaton.

An

Italo-Byzantine panel. Art in America, 1924.

-^8 o

VENICE AND THE NEIGHBOURING REGIONS.

a signed picture. It is Gulielmus whose panel in the church of Sta. Maria at Castelnuovo, near Recanati, in The Marches, shows the

Virgin enthroned in the centre, her crow^n supported by two little angels while two miniature devotees kneel at her feet; two saints,

one above the other, are depicted at the sides, they are SS. John the Baptist, Antony, Andrew and Christopher (^). At the foot of
the throne
vi fe far S.

we

read:

''MCCCLXXXII del Mcxc Dc Marco

a di

Andrea de Clwlitco
.

citadin de Venexia quesio lavoricr

Gulielmus piuxif

panel showing the same composition is preserved in the church of S.Niccolo at Piove diSaccolprov. of Padua); the saints here are the Baptist, SS. Martin, Nicholas and Francis. A frag-

ment of the signature is still visible, it runs: ". pinxit hoc opus\ The quality of the painting is
.

ieluu'i

de Veueei

slightly superior

Castelnuovo -(which is rather a vulgar work and one not easily distinguished from the panels contemporaneousl}- executed in Greece the t3'pes of the Virgin and Child as well as of the saints, the design and the colour belong to the decadence of Byzantine art. For this reason it seems to me inexact to classify Gulielmus as a retrograde Venetian artist never before in Venice was an}' painter so absolutely B3zantine. Artists of the name of Guglielmus are mentioned in Venetian documents of 1352, 1364 and 1367 {^). A Venetian painting of a slightl}' less Byzanto that of the

one

at

ofParma (no. 458) showing above, the Crucifixion with a fairly large gathering under the Cross, and below, a half-length figure oftheXTrgin with the Child, while in the wings are depicted the Annunciation,
tine aspect
is

a tript3'ch in the Gallery

in the centre,

the
It is

Assumption of Mar}' Magdalene and some figures of saints. not a work ofvery great importance and dates probably from
in the

Gallery of Pesaro are of much finer quality; they represent Joachim driven from the Temple, the Meeting at the Golden Gate, the Nativity of the Virgin, the Presentation of the Virgin in the Temple and her Marriage (-'j. The
(M Colasanti, L'Arte,
('-')

about 1360 or 1370. Five little panels

X, 1907,

p. 409.

op cit., p. 177.: Testi, op cit., p. 178. (') (^) L. Serra,m his guide to the Museum of Pesaro 1920), p. 12, apparently considers them to be Italian works of the beginning of the 14'h century.
Testi,

Vi-.MCLAMi

nil. M.K.I li;)ll<lN(.

KM. lO.Ns.
1

39
ut
i

fiiu-nessol ihficchnKjU* mjI llu^trpaneUisreiniiusctiu*)!

.s

art but they an- inniv By/nntin- in nIvIc: even the inMTi|Jlions art' iti(in-<-k.l lad it imt brrn lor nn- nr two details which Ix-tray
th- artist's

lirVfd lluni tn

Oicitiental tiinprranu'iu, one mijjht almost havr behavr been exerul{| by a(ire-k miniaturist. In the

coni|)>sitit)n ot

low

(iiotto

the Meeting at the (ioldm (iate*. he seems to foland expresses the same tendriness briween husband
tile

anil wile

asdid

does not
school.

at ail

ronform

great I-'lon-ntine; this manifestation ofaflTertion to tlie austere spirit of tiie By /amine
pictures were no doul)t executed in the first second quarttr. of tile i4t'> century, A panel

These

iittir

half. prtliai>iy lh<-

of St Jerome witii llie lion in the National Gaiiry, Loiulon Uio 3543), is a siigliily later production t)f tiie same current.

seem
any

reproduce pictures which have been Venetian production^ made under a strong Hy/aiitin- influence. l)ut from the plates we are utiai>le to make
I

)'.\giiuourl(
to

')

andKosinil-)

botli

critical

comparison.

in tile

history ot

Wnetian

painting, I-orenzo does not actually

belong to the transition, hut he seems to me to have been the painter whose influence brought about the ciiange which occured in the greater part of the N'enetian school after the death of Maestro Paolo: this change cv>nsisting in the gradual disappear-

ance of the By/antine elements. The data we have concerning Lorenzo are chiefly Lo ue I'.'uiiu in the inscriptions of his various works. The earli-st of these has disappeared; it was the inscription " M( I (Ll't lior of*iis

on a picture which Maffei, the historian of X'erona, in his "X'erona Illustrata". tells us belonged to him and
/.'tun n/ins f^inxit"

we can have complete

writer.

confidence

in

the statement of this tah-nted

Signed works, dating from 1357 and 1359, are found in the Galler>- of N'enice. A Madonna of 1361 is conserved in the

Museum
X'icenza.

of Padua, and a polyptych of 1366 in the Cathedral of

The Correr Museum possesses

I

a signed panel of 1369 113701

ii

'.

/>'.

L.

(r. s,

/-,(//. \
II.

li'

Ai^tiicniiit. Stoii.i U'

.\i tc <.i;ni'"-t:
1

menti trans.

fV.iMi

Fi.

Prato, 1826

etc., Pitiura. '^'-

WW
,

.It.'

u\'\.

LXXXVIII.
I '

G. Rosiiii, Storia deila pittura itaiiana, Pisa, 1839 etc

pi.

CXII.

40

VENICE AND THE NEIGHBOURING REGIONS.

is

the date 137 1

inscribed at the foot of an unsigned panel in the

Accademia of Venice; two figures of saints from a polyptych in the same collection also show this date, and lastly the Madonna in the Louvre bears the date 1372.

Fig. 21. Gulielmus,

Madonna and

saints, 1382. Sta.

Maria

at

Castelnuovo,
del. Puhbl. I>tr.

Recanati.

Photo Minist.

To

these dates which

we

find or

once found on the

artist's

can add some others which, however, are less certain. works, Malvasia in his'TelsinaPittrice" informs us that in 1345 Lorenzo
painted in the cloister of S. Domenico at Bologna in a competition

we

with Vitale, the well-known painter of that townlM, and that he

Filippini, Rassegnad'Arte, 1912, p. 105, quoting the edition of 1868, 1, p. confirms this statement, hi the one of 1841 this competition is not clearly 27, mentioned.
(^)

VKNICK AND
sii^iird

nil; NKIC.IIiWH'KIXC

KKGIONS

.,

lir-Mii 111 1 )aiiii'l in tin* linn's l<ii " Mr//aiatla: Ltiitri ntnis f^n tur i ;6/" '(.

ili-

Oiatory

)l

Ai

rordin.i^

ncords

inaiuistript ol ilu- i/t'* ciiuury containing oltlu- chuii h ol S. Giacomo at Mo|o;na. Lorenzo paintt-d
tin-

to a

a parnl tor

hii;li-altar

of this rliurrli
it

in

1368;

tin-

piriun-

rcinainrd tlu-rc until 1-191

della

wlun

was transported
ni

to the "sruola
in tin(

Madonna

di

Consola/ione";

1616

it

hunj;

hapter

hi)use ant! in 1636 the various pieces which had l)r<n tak<-n apart were placed in the S. I-orenzo chapel (-1. In 1362 Facino di
(iit)vanni di lAuca, a

execution
tych that

ot

merchant at i^o|ni;na. jrlt 173 lire lor the an altar-piece (''I. and doubtless it is this picture with
dealini;. \\'ticlhr the Iraj^iiicnts of a polypstill

which we arc now

wc
is

tind in this

churih can

Ix-

identified with this

altar-piece
later.

another question and one to which

we shall

return

Lan/i mentions another of Lorenzo's works which also dated

irom 1368; it once belonged to the Icrcolani family in Bologna and was signed: "Miiiiu l.iuireufii dr 'nir/it's" (*).Anc\ lastly wiI

have some documentary evidenc*-; one act of 1365 mentitns a Loren/o son of "Nicolo pittore", another of 137 refers to a painter called Lorenzo while a third ot" 1379 records that a
1

MurDtn" contributed 400 imperial lire tor the expenses of the war withChioggia. it is possible of course that these documents do not refer to the same artist ('i. There
"Lor,
ii:(i

/>rn/or di Saiitii

exists also the possibility that all the evidence of the activity of Lorenzo at Bologna nt-ed not necessarilv concern our artist,

')

BnnialJn. Miiuivalia Boiionitn;;ia, Bologna, 1641,

p. 2y){/i7i/>/>iiii,

Ih-.

<

it.l

Hiiidi-

t<i

Holosjna

ol"

1592 reports that thes' frescoes

p.
1

were signed

"Ldiirtii/iiis /".". Ttsfi, op.

(trans,

The I listory ol" Painting in Italy, 1847, p. 71, tells us that the signature ran "Lnnrm/iiis P.'\ that the date of their execution must have been about 1370
cit.,

79; l.aiizi.

by

Tfi.

Roscoe)

II,

London,

and that the style of the painting was non-riiottesque. Malvasia, ho\vevr, who wrote a century before Lanzi. informs us that already in his time the
tVesco's
(*i
I
1

were

entirely ruined.

Fi7i/>fiini,

op.

c\t.
I

F. Mfi/n^nizci

'al,ri.

La chiesa e

il

portico di

San Giacomo

a Bologna,

Arch.Stor.
(*)
(*)

dell" arte, VII, 1894, p. 318.

cit., p. 79.

Ltin-i, op.

Tts/i, op. cit.,

pp. 210 and 179;

it

seem< very unlikpiv c^nrriallv with

regard to the entry of 1371.

42

VENICE AND THE NEIGHBOURING REGIONS.

Bologna might also have possessed a painter of

for the city of

that

name.
first

The

dated

work then

of

Lorenzo Veneziano's

is

the altar-

piece with the Annunciation in the centre, in the Accademia of Venice (no. lo). It is dated 1357. but comparing it with some of
the master's other works, the style points to an earlier period in Lorenzo's career, one in which he was more inspired b}' the
artist

whom

believ^e to
is

have been

his

master and

who was

not

Maestro Paolo, as

frequently thought, but the anon3'mous whose works we found at Chioggia, Pirano, Lecce and painter in the Louvre. discover in Lorenzo's pictures the same

We

elongated proportions and the same ascetic types of old men as we saw in this master's productions. I do not exclude the possibility that this earlier period, at least a

large part of it, passed

us not forget that according to Malvasia, Lorenzo Bologna painted there in 1345 and he must certainly have been active
at
;

let

some time before 1357

and 1354.

to acquire

such familiarity with the art

of the Master of Chioggia

whose dated works are from 1348

The paintings which show Lorenzo entirely under the influence of this artist are the detached panels of a polypt3'ch in the church
of S. Giacomo, Bologna, and two half-length figures of saints in the Gallery" of this town. The works which we find by him at San

Severino, in The Marches, ma}" be of a slightly later date but all the same are previous to the polyptych of 1357 in the Accademia of Venice.
I

grant that

it

would

that

we now

find in S.

simplify matters to identify the panels Giacomo, Bologna, with the work that

Lorenzo executed
is

for this

church

in 1368,

but their appearance

so very different from the paintings we

this slightly later period

executed at

know the artist to have that I am convinced that

in S. Giacomo belongs to it. The}' and the San Severino are the outcome of a manner which is transitional between that of the Master of Chioggia and that followed by Lorenzo himself in 1357 The altar-piece that Lorenzo painted in 1368, therefore, must have been another, perhaps the

not one of the panels

at

works

by Lanzi as belonging to the Hercolani famil}', which showed the same date. We can conclude then that Lorenzo worked on two different
picture cited

VKNICK AND Tin: NKK.IIIU

oi'ca>ions tor the

n<IN(. KlXiloNS.

43

chuivh

ol S. Ciiaconit".

of
in

Nvhirh acliviiy llirrc siill exists

1368.

once early in his lart-tT, evidence, and lh- second lime

W'r

fuul not infr(jiirriily that artists

\vh>

\vt)rk lor
<>nl\
iiitrr

prrsons tmin this

ol

What
cum<
is

remains

were recallrd to had ainady rniploy.-d thin and we can that thrir hrst siTvit*s navr lull sa" n. Lon-nzo's |)t)ly|)tych in tin- church ai n. iiiathe Sla. Croct* chapel, or that ol' tin* choir, united to a Coronation of theVirj^jin
in

now

pn-srrved
ih*-

Cari I'amily.hrhind

and t)ther panels by lh' iioloiincsr painte'r. Giovanni di I*aolo. Thrre are six panls of full-leriiilh tii;ures of saints, a row of nine smaller panels, three of whieh represent scenes and the other six. half-lenijlh tiiiures of saints, and below, six middlesi/ed panels, two of which show St Martin dividinti his coat with the begv^ar and St. Cieorge- killini; the dragon, while the other four are adorned with hall-liigth tiu;ures of saints. No doubt this polyptych resembled the one now in tin- Cathedral of Vicenza,
for here too the vari)us parts

show

the

same

diversity of size.

Two figures
Bartholomew

in

the

(figs.

Bologna Gallery ofSS. Ant(ny Abbot and 22 and 23* whirh have been cut at the level

of the knees, probably once belonged to a similar polyptych. The names are inscribed in the same way but the execution here
is

perhaps somewhat finer. The little Gallery of San Severino, in I he Marches, also contains some panels from a polyptych by Loren/o (no. 5) ' which
I

were previously attributed to Allegretto Nuzi. The <iriginal altarfull[)iece must have been more important for there remain eight
length figures of saints and below them six half-lensrth fiijuns. Some of the |Vrmer are considerably damaged.

hese three groups of panels, each of them proof of the existence of an important polyptych, were very likely executed in the first stage of the artist's career and reveal to us the aspect of his
l

earliest

manner.

In

none of them do we

find

much evidence

ol

Byzantine influence with the exception perhaps of the hard ascetic appearance of some of his figures and in that the connection is not alwavs vrrv distinct. The types are not Oriental,
a

' !

V.

/..

J/((ii/<//7.
III.

La

pin.i'
(i.

"f

.1 <;; .'^-U',

-^

nail italiacu-.

p.

136.

B'-rnitn/nii, L-

Roma.

1906, p 77 K.i^-f^gna

Manhigiana. 1923,

p.

460

44

VENICE AND THE NEIGHBOURING REGIONS.

Fig. 22.

Lorenzo Veneziano,

St.

Antony. Gallery, Bologna.

Photo Minist.
del.

Pabbl.

Is\r.

the colours

still

less

the dark

brown shadows,

the rigidity and

conventional design of the features and of the hands have all disappeared; the expressions are quite animated. The drapery

\'i:\i(i:

.\M>

III.

.NKK.iir.orKiN'f. rkuion.-^.

45

1
t

i/r.

Fig. 23.

Lorenzo X'cneziano,

St.

Bartholomew. Galler}% Bologna.

I'hoio

Minix.

del. Putbi. Ittr.

46

VENICE AND THE NEIGHBOURING REGIONS.

and general line of the figures are markedly Gothic, and it is this style that dominates Lorenzo in his earliest productions. The attenuated forms which Lorenzo borrowed from the Master of Chioggia and which are so evident in the different

and

panels at Bologna, are less marked in the work at San Severino, still less, although not entirely gone, in the first dated work,

Fig. 24.

Lorenzo Veneziano, polytych,

1357.

Accademia, Venice.
Photo Anderson.

the altar-piece in the Gallery of Venice (no. 10), originally in the al Castello (figs. 24 and 25). The central is occupied by a representation of the Annunpanel of this work

church of S. Antonio
ciation

before the enthroned Virgin kneels the angel Gabriel

while from above

God

the Father sends forth the

Holy Ghost

in

the form of a dove; a miniature figure of the donor, Domenico Leo, kneels in adoration at the foot of the throne. At either side

C)

The actual
left

position of these saints

is

reversed, those on the right should

be on the

and vice versa.

V'KMCK AM) THE

NEir.f Uif

)n<lNG RECiiu.N^.

47

Fig. 25. Detail of

fig.

24.

48

VENICE AND THE NEIGHBOURING REGIONS.

two

pairs of full-length figures of saints and below each of the five principal panels, there is a medallion containing

there are

a bust; the}' are of a holy anchorite and the four Evangelists. Above each of the lateral figures there is a half-length figure of a
saint,

a panel of the

The

but the central part here has disappeared and is replaced b}' Almighty executed by Benedetto Diana in 1525. larger pilasters, six above and six below, are adorned with
;

three small figures of saints.

The

date, 1357.

which

is still

legible,

scription.

The

latter w^hich is difficult to

forms part of a long indecipher andmterpretis

not the original; it runs: ''MCCCLVII Hec tabellafcafuit ethic affissa p Lmirecius pictoresq caninus scultores itpe regis veil,

R. Lot p. iois{^) etJunto monis viri Dili fris Goti d' Abba Tib 5 abiie{-) triuuptiato orbis Dominicns lion isti. Havic tiiis ego nunc supplx arte pre politani Doiio pa bellani'.
Cicogna, after giving a fac-simile of the date (^), persists in conwho tradicting the old authors, such as Zanetti and Zucchini,

read the date as 1358, and believes that the year inscribed on the this picture is that of 1367. Signor Testi is inclined to accept version with which he finds the manner of painting corresponds, but I think the contrary opinion is much more likely to be correct,
because, not only do

we

find in this picture the characteristic

proportions that Lorenzo borrowed from the Master ofChioggia but the figures of the Annunciation in the centre resemble much

more those

of the Marriage of St. Catherine of 1359 than the artist's productions of about ten years later. The Virgin and the celestial messenger are rather different from the other figures.

The}^ are less conventionall}* Gothic and larger of form, reminding us to a certain extent of the art of Central Italy and above
all

of Sienese painting.

This new tendency

is still

more manifest in the mystic marriage

I'j

This

is

as

it

has been transcribed

b}- L.

Serra, Catalogo delle

RR.

Gal-

lerie di

Venezia, Cicogna, Iscrizione veneziane reccolte ed illustrate, I, GotiifAbbn etc. p. 185, gives a slightly difterent version Thus the last words have been read b}- this authority as Goti d. Flot p. ois etc.
p. 8.
;

(-)

Instead of Abne Cicogna gives

Cicogiin, loc.
cit.

Ague which seems

to

me more probablj^

the correct reading.

('')

KNK

I.

AND UK
I

NKK.dli*

KINli KKli|(NS.

49

;,.

JO l-uitJUiJ

\ tiK/iaii

',

-aiiils

and

Accademi.i,
IV

r.

50

VENICE AND THE NEIGHBOURING REGIONS.

Accademia of Venice
(no. 650, fig. 26)

of St. Catherine in the

in

Or

which the Virgin seated in glory slightly bends towards the Child, Who, looking up at His Mother, passes the ring on to the finger of St. Catherine. The latter stands on the left, accompanied by another figure; on the other side a kneeling angel plays a
little

organ, another standing figure conceals those behind in a similar manner as its pendant. Eight musical angels surround the Virgin's aureole at her feet the sun and moon are depicted.
;

Below we see the signature Fevraro fo fatta sta. ancona

:

"MCCCL Villi
/>.

al

XX

e
in

man

dc Lore^o pentor

Venexia\
can reproach the painter with a certain lack of finesse in the forms and the faces which are of a slightly more vulgar type than in the previous picture, the Sienese influence is this is most evident in the somewhat sentistill more marked

Although

we

mental attitude of the Virgin and the appearance of the tw^o saints on the left whom one might compare with the SS. Agnes

and Catherine of Alexandria by Pietro Lorenzetti in the Gallery of Siena (nos. 578 and 579) (-). This influence, however, is not very profound and although there is no trace of Byzantinism, the
artist is before all

thoroughly Venetian. Belonging no doubt to the same period is the beautiful altarpiece, originall}' in the monastery of Sta. Maria della Celestina,

which has recently been transferred from the Imperial Museum (no. 41) of Vienna to the Accademia of Venice (fig. 27). Here the Virgin is seated on a very elaborate throne, the back ot which is adorned with statuettes she is surrounded b^^ numerous angels and under her feet the moon is depicted. Eight full-length figures of saints arranged in two rows, comprise the rest of the polyptych. There is an empty space below the central panel it might have been occupied by another panel or the central part might originally have been on a lower lev^el. The execution is
;
;

finer than that of the

;

marriage of St. Catherine or of the polyof 1357 the reliefs especially are very subtly rendered and ptych the general spirit of the work quite Italian. The type of the Christ,

however,
(')

is

the

same

as in the previous picture and in

some

of

Cantalatnessa,
V. vol.
II, fig.

(-)

Le Gallerie Nazionali, V, p, 42. 223. Signer Testi finds that these figures betray a Giot-

tesque influence.

VKNICK AND IHK

Ni:i(,lll5oLKlN(. KKCIK^NS.

51

ihf fi^urrs of >aints, partiiularly lh- uppi-r pair on tin- Nfi. iheir are rrminisoences of the master's Holo^m-Nf manner I'l. The chief inierest of the Madonna by I.or<n/o in the l*inaco. " teca of Pa<hia huk 3831 lis in ih- >i)inalure: M( f ( I.XI ,ii.

Xl'll

itifsis Stf*ttiiibri Laiirt'iui

iK

'imriis pinxit", which

is

M^'^f^
Fig. 27.

Lorenzo Veneziano, polyptych. Arcademia, Venicr.

in>cribrd at the foot of the panI, The \ irgiu i> uvj>i' it u <>ii' liij; a pomegranate to the Infant Christ, but the painting is so damaged
i

and restored and the colours so faded that it is of no significance nrh. r for our knowledge of the artist. There is how'V* r marked C.oihic hne in the folds of the draperies;.
>

Signor Tfsfi Lorenzo's (op. cit.,

t t

is

little

doubtful

-'>

''"-

r-,;.-t,,r.

h.^,^rr

^..-v

p. 2301 but to

me

it >

52

VENICE AND THE NEIGHBOURING REGIONS.

The

pol3'ptych of 1366 in the Cathedral of Vicenza is perhaps the onl}' one of Lorenzo's works that has retained its original appearance. Besides the central panel which shows a represen-

Death of the Virgin, there are three full-length on either side and above each a half-length figure of a figures male or female saint; the Crucifixion, with the Virgin, St. John and two little angels between two figures ot saints, is depicted over the central panel. Five of the pinnacles contain busts of saints, the others being formed b}- carved ornaments. The predella is composed of fifteen small panels, twelve of which show half-length figures, and the three in the centre, the Adoration of the Magi, the Virgin and Child between St. Joseph and the three
tation of the

of the Death of the Virgin is an unusual one because the Saviour canying awa}' the soul of His Mother is not depicted behind the bier but above in a mandorla surrounded by angels. A small adorer kneels at the feet of either of the saints adjacent to the central panel; the one on the left whose

Wise Men. The composition

name, ''Messer Toniinaso"

is

inscribed,
:

was probabh'

the donor.

Below

the central panel

we read "MCCCLX! 7 luciisc Deccmb.

Lmircntius pinxif\
various figures ofthis altar-piece are particularly beautiful and the execution very fine. These two details closely connect
it

The

with the picture from Vienna but here there is practicall}" no trace of what we called his Bolognese manner. The image of the

Baptist which has generall}' shown the most characteristics of the master's early ascetic manner reveals here that Lorenzo

followed another schema, one in which the elegance was not diminished, but on the contrary, the form and attitude of the
figures have

become even more

graceful.

panel of 1370 in the Correr Museum, Venice, representing the Saviour giving the ke^'S to St. Peter shows again that resemblance to Lorenzetti's art which we observed in some of Lorenzo's
earlier

The

works. This

is

ver}- noticeable in the general composition,

which reminds us of that of them3'stic wedding of St. Catherine; in both cases there is a large central figure which might almost be said to be framed in the smaller surrounding ones. The prothe portions are large, the plastic effects ver}' pronounced and of 1357. figures finer and more animated than those in the panel

KMlx:. .\Si>

ih

NEKUIHOURINC; KKGluNi>.

53

Fig. 28. Lorenzi)

Vcneziano, SS. Peter

anti I'aul. 1371.

Aivadrmia. Vt)'
Pholo An

however, the picture bears more resemblance to this latter \v<rk than to the polyplych of 1366 at Vicenza, the grace and elegance of the latter being somewhat
In its general aspect, less

marked. The sitrnature

ftiii.xit".

is

"MCCC LXl'IIll

nwnst' fniiimri

Laiifcncit

the year 1371 we have two works from llie hand ol Lorenzo; one, comprising two panels, represents SS. Peter and Mark and is now in the Accademia of Venice Inos. 5 and 5^, fig. 28);

Of

54

VENICE AND THE NEIGHBOURING REGIONS.

same
Galler}'

the other in the

shows

the Annunciation

between

four figures of saints (no. 9). The two figures of saints, which

come from

the "Ufficio della

Zecca" or "della Seta" (^)-ire beautiful images, full of expression and executed in a purely Italian manner without an}' B^'zantine
elements.

The Gothicism

is

ver}-

marked

in the draper}*

which
:

has here acquired another aspect, one approaching the flowery Gothic style. Under the feet of the saints the signature reads " MCCCLXXI iiiFse Novch Laureci piiixit hoc o.'p."
.

Two panels very similar in appearance and of about the date are to be found in the Berlin Museum (-) whence the}^

same came

from the Cheney collection (^). The saints represented here are SS. Mark and John the Baptist; the former has a curious, ugly face. The Gothicism is less marked, which might indicate that
these panels are slightly earlier than those in Venice. beautiful picture in the Galler}' of Pesaro which has some-

times been ascribed to the school of Allegretto Nuzi belongs, I think to this period in Lorenzo's career (*). It depicts St. Ambrosius in full episcopal vestments sitting on a ver}' simple throne. The fineness of execution, the chiaroscuro effects, as well as the

type and expression point to this rather late stage in the artist's

development. In the second work of 1371 we observe a Gothicism more florid, almost manneristic, which is not very pleasing (fig, 29).
In the centre the Virgin sitting on a monumental throne, inclines towards the angel who kneels before her, while from above the
Alriiight}-

sends down the Holy Ghost and a small figure of Christ carrying the Cross. Two figures of saints stand on either side but as the frame is modern, it is possible that the picture is
not complete.

The forms

are unpleasant, even sometimes ugly, the central

(^)
(-')

TiPs//,

Crowe

op. cit., p. 224. Olid Cava/caselle, ed.

in

Laugton Duitgla^,

III,

p.

270 note

3.

(^)
(")

This collection was sold

London

in 1905 v. L'Arte, 1905, p. 286.

Museum, more

G. V'accai, Pesaro, Bergamo, 1909, p. 109. L. Serra, in his guide to this rightl}^ ascribes this picture to the Venetian school of the

14'h centur}'; in the

Rassegna Marchegiana,

1923, p. 332, this picture

was

attributed to Lorenzo's school.

VENiLi. .\Ni> riiK

Ni:i(;iii;t

'I

\<\sr, kri.io.ns.

:):>

Fig 29. Lorenzo Vcneziano. Annunciation and saints, 1371. Accademia. Venice. ihtto Anderwn.

56

VENICE AND THE NEIGHBOURING REGIONS.

two adjacent saints are of a markedly
all

figures are very heav}', the

conventional design, while

show

a hardness of outline, a

rigidity of attitude and an exuberance of Gothicism. The fact that all the saints are placed in flowery fields is an innovation.

Perhaps the restorations which this polyptych has undergone have helped to give it its present disagreeable aspect. The picture comes from the "Scuola di S. Giovanni Evangelista"

and was given

to the

Accademia by the

collector Molin.

The
is

signature I think has been repainted but what probably a faithful copy of the original; it runs: Laureci pinsif"
.

we now

see

"MCCCLXXI

A much more pleasing work is the Madonna from the Campana

Louvre (Room VII, no number) it is a painting of the 3^ear 1372 and the last we possess from the master's hand. The Virgin, with slightly inclined head, is seated on a monumental throne under an architectural baldaquin she holds a rose which the Child, standing on her knee, grasps in His little
collection,
in the
; ;

now

of the shortcomings of the previous picture is evident here; on the contrary the Gothic elements are fairly pure, the forms charming and the expressions very sweet. The signature

hand.

None

is

inscribed in the usual place and reads: Sctebris Laureci d Venetis pisif" {}').

"

yiCCCLXXJI Mcse

works attributed to Lorenzo there is an enthroned Madonna with two little angels in the church of S. Zaccaria that

Among

the

Signor Testi believes

painted with certaint}^
in

the

to be by the master (-), but it is so overmanner of the Vivarini that it is impossible to say

Signor L. \'enturi ranks four figures of saints in the Martinengo Gallery at Brescia (no. 12) among Lorenzo's finest productions and although I do not share his enthusiasm about them, I think
that the attribution
is

correct; SignorTesti

however

is

of opinion

(') P.Perdrizet et R. Jean, La galerie Campana et les musees francais, Bordeaux, 1907, p. 33, must confound this picture with a wing of a triptych of 1354 by the Master of Chioggia of which the central panel of the Madonna is now in the Louvre, when they inform us that this painting of Lorenzo's

was sent in 1876 to the Museum of Ajaccio where, according to a letter written by the director, it was no longer to be found. (^) 7i?5/7, op. cit., p. 226 L. Veiititri, L'Arte, 1909, p. 84.

\'i:ni(

KANi)

nil: Ni:i(.iiiu)ri<i.\(. kkc.ions.

57

that tluv brlonj; to

tiu*

scIiodI nl Hrt>cia biii \\re

i

executed

under a strunvj X'enetian influnur

ot paintiriij^ o( his

'i.

Lorcn/oX'tiif/iano occupies a very special piaic

native
tlie

in

ihr school

the

(iolhic

and
of"
It

characteristics

this

two convt-ntional stylt-s, Hy/anline, which constituted tin- chief school, it was the I'oi nier which dominated
town.Ot
th'

our master.

is

tions of his early

true that the appearance and curious proj)orworks rveal his clos<- conn-ction with the

Master

ot (hioii^ijia
th'

who himself was

a faithful follower of Maestro

this

Paolo, hut

resemblance to the works of

master,

who was

under

a stronu^

painting and I tions, sucli as Laii/i and

Byzantine influence, is (|uite external in Lorenzo's think that the opinion of writers of former genera(

Lorenzo belongs to the group of "Byzantinized" artists, is wrong. do not think that L<irenzo was a really great painter; he was too much dominated by the conventionality of the Ciothic style, but it is certainly to him that we owe the introduction of a new form of Venetian have painting, one free of all Byzantine influence, and, as
avalcaselle. that
I I

already remarked, showing some connection to the contemporary productions of Central Italy, especially those of the town
of Siena.

Not only Lorenzo's drawing but also his colours are independent of Byzantine art. There is no trace of these dull tints with dark brown shadows and the marked contrast of light and shade which seem to have been accjuired from mosaics and which in
any case, characterize Byzantine painting. Lorenzo's colours are very bright and the tints sometimes even lighter than in contemporary Tuscan works. This may perhaps be due to a Northern, that is to say German, influence. The shading is finely graduated and shows no resemblance to the Byzantine
technique. Thus, Lorenzo
painting, for he

was

the artist

who

revolutionized Venetian

abandoned
its

had constituted
quite a
little

the Byzantine style which, until then, principal basis. After Lorenzo, there existed
to

group of painters who seem

have been inspired

't

Ttsti,

and

221

op cit.. p. 230, believes four saints in the Corner Museum by the same hand but to me this seems improbable.

(nos. 15

58

VENICE AND THE NEIGHBOURING REGIONS.

;

bv his art in their works Byzantinism has almost disappeared and the Gothic style is predominant
' (

).

Contemporaneous with the adherents of Lorenzo, there existed

art the Gothico-B^'zantine manner, as Maestro Paolo, had acquired amorepurel}' interpreted b}' Italian form. Before going further we shall discuss this group of artists and their productions. Signor Testi is of opinion that Guariento had a considerable influence on most of the painters who were active in the second half of the 14^11 century, especially on Stefano Pievan di S. Agnese, Jacobello Alberegno and Jacobello di Bonomo. I do not deny that Guariento may have exercised a certain influence

certain painters in

whose

it

was

during his sojourn

painter,

in

Venice, but

find that in the art of this

who

started his artistic career at Padua, the Giottesque

elements are very

painting of the the Florentine school in Guariento's painting can onl}' be explained b}' his Paduan origin and it is for this reason that I consider

much more important than in any Venetian 14111 centur}'. The preponderating influence of

him andSemitocolo

to

be the founders ofthe Paduan school

with which the}' will be discussed later on.

The correspondence of st3'le that Signor Testi observes between certain Venetian painters and Guariento actually does
exist but this
is

rather the result of the fact that in both cases

manv
b}'

of the earlier Venetian characteristics have been replaced

that

those purel}" Italian. I have just mentioned how it these were introduced into Guariento's art.

came about

As

for the

Venetian painters, the Byzantine style which had prevailed in the City of the Lagunes longer than in any other artistic centre began at last to give way to an Italian form of art. It is only
natural that this
Ital}^
(^)

art,

which was current throughout the

in

rest of

should sooner or later replace

11,6, six

Wnice

the conventional

Museum,
ture,

Lorenzo's school works I should like to mention in tlie Correr figures of saints; 11,9. St. Pett-r with a devotee and St. John the Baptist; VII, 12, a small panel showing four scenes with the false signa-

Among

"Vl/. Simon f. ijc)6" ;\\\, 15 and 22, four saints; Walters collection, Baltimore, triptych, the Madonna seated on the ground in the centre with the Crucifixion above and two saintsand the Annunciation in the wings; B. Bercnsoii, Venetian Painting in America, London, p. 3, ascribes this panel to about i-ioo but judging from the illustration, I would not place it later than about 1375.

X'KN'KI.

AM)

Mil.

ir,Iir.nrKIN(. KlJ.IONS.

59

li\

/antini^m whitli had olscwhfre been abandoned snuc the

<f

biiinninsi

lli-

14'''

crnturv. That N'miic

l<

was so backward
unintfrruj)tfd

in

lullnwiiiij this -xani|)If is in pail diif

il^

inl< r-

cnursc with By/anliinn and

in

part to
special

its

distinrtivr
iVoin

|)tlitiral liU-,

which
It

is(lal"d

it

in

\ i\

way
(

the rest of the

Peninsula.

may seem
the

strange in

|)lace the
in

Omnalion

ot the X'ir^in n|

1372 by

Caterini)

and Donate

the (Juerini-Stam|Kilia Gallery

among

works of the

transition, Init taking into consideration

is

the career ot the former of these artists, there

no doubt that he

played an important part

in tinit

realization olthis transformation.

From

the documents,

is

artists of the

name

of Caterino; the one, Calerinn

very clear that there existed two di Maestro

Andrea, a sculptor mentioned in 1394 and deceased before 1430, who was in no way connected with the painter of the same
I he latter is mentioned lor the first time in 1362; we then tind him acting as a witness in 1367, during which year we know that he executed, in collaboration with Donato di San

namei'i.

X'itale.

a cross for the church of St.

Agnese

for

which thev

together received one hundred gold ducats. At this period he inhabited the S. Angiolo quarter. In 1372 the same two painters

signed the above mentioned Coronation of the \'irgin a large polyptych painted by Caterino in 1374 was once found in
:

S.

Georgio Maggiore. while the following year he executed the Coronation of the X'iiirin. now in the Accademia of Venice. Our artist is mentioned for the last time in 1382 when he lived in the
Ihere are eight references between 1344 and 1382 concerning artist or artists of the name of Donato. Considering the lapse

(|uarter of S. Luca.

an

of time between the firstand thelast of these data and considering that the document i>f 1344 and another of 1353 speak of the
artist as

an inhabitant of the S. Luca cjuarter while those after

t'l The facts concerning Caterino and Donato previously published by other authors have been collected by Tfsti. op. cit p. 236 et. scq.This writer contradirts Lu^fu'ii:^ who erroneously states lArchiv. Beitr. zur Ciesch. der
,

Venezian MalenM. Jaiirb. der K. Preus. Kunstsamml., 19031 that Caterino is first mentioned in 1365. We possess no data for this year and Liidicig must have wrongly read the inscription on the Coronation of the Virgin of 1375.

6o

VENICE AND THE NEIGHBOURING REGIONS.

1367 inform us that he lived in that of S. Vitale, Ludwig (M has alreadypropounded the hypothesis thatwe must herein be dealing

with two different

the

artists.

documents of 1344 and 1353 we gather but little From information the}' simply mention the artist, the former including him in the membership of the "Scuola grande delle carita'". Another document of 137 1, without mentioning the quarter that the artist inhabited, offers us the same information; it no doubt refers to the same artist. The Donato who received paj^ment
;

for a

work executed together with Caterino in 1367 is he of and is naturally the same man who with Caterino signed the Coronation of the Virgin in 1372. His name appears in notarial acts of 1374 and 1382, the same address being given; he must
S. Vitale,

have died before 1388 for widow.

in that

year there

is

mention of

his

Previously there existed a carved and painted polyptych in

the church of S.Giorgio Maggiore,
''

showing the

inscription:

Bonincontrus Abba... H... Christus sit MCCCLXXXIII iicl iiiexe di Decembrio Katarinns pinxit hoc opus\ Because the name of the sculptor is not mentioned, Testi infers that Caterino should be held responsible for the entire work but the preciseness of the word "pinxit" seems to contradict this hypothesis: the artist would never have omitted mention of the plastic part of the work or would at least have emplo3'ed a term of a more general significance. A similar inscription is found on a wooden relief of
1394 in the Correr Museum which was sculptured by the other Caterino and painted by Bartolomeo di M. Paolo, an artist about

whom we know

nothing except that his father was still alive in 1389 w^hich excludes the possibility of his being a son of the famous Maestro Paolo if), and again on a cross of 1404 at Verucchio, sculptured
di

by the same Caterino and painted

later on.

b}'

Nicholas

Pietro with

whom we shall deal

The Coronation
tion
(fig.

of the Virgin in the Quirini-Stampalia collec-

by Caterino and Donato, is scarcely less Byzantine than Maestro Paolo's own works. The Saviour and the Virgin are seated on an elaborate throne with a richly ornamented
30) excuted
(')
(-)

Ludwig, op.

cit.,

p. 29.

Tesii, op. cit., p. 249.

Fig- 3-

Caterino and Donatio,

th-^

L>>i<>nali"n

><( tlic

\'irgin, 1372.

Querinit
.

Stanipalia Gallt^ry.

Wni.e.

rn

Nav.v

62

VEiNICE

AND THE NEIGHBOURING REGIONS.

back; a large group of angels is massed behind while three others kneel at the feet of the principal figures, the central angel holding a small organ two small medallions between them
;

contain the signature which reads: Donatii et Catariiiu' picxif

.

"MCCCLXXII

lujce

Agusti

the figures, the colouring especially of the faces, and the draperies of gold-threaded material give to this picture a markedly Byzantine appearance.

The

types of

all

we

this work with those that Caterino painted alone, discover that the great artistic qualities of the panel of 1372 as well as the Oriental tendencies are due to the hand of Donato.

Comparing

The composition and

attitudes of Caterino's Coronation of

of the Virgin of 1375 in the Accademia of Venice (no. 16) show a good deal of correspondence to what we found in the pre-

vious picture. However, the grouping is more simple, the angels below are absent and those above much less numerous while neither type,
technique, nor drapery has a Byzantine character the faces, above all, are here thoroughly Italian, bearing a resemblance
;

sooner

to the Florentine

than to the Sienese manner of painting.

But the general aspect of the work is rather vulgar. The signature which is inscribed below the feet of the principal figures runs "MCCCLXXV 7mcxc 7 Marco Chatarinu pinxif AnotherCoronation of theVirgin in thesameGallery (no. 702I
:
.

')

is

of finer quality. The number of escorting angels is still further diminished and the throne has been given quite a western form
central figures vary but little, the}' are however graceful of form. This picture is the central panel of a triptych, the wings of which are adorned with the figures of SS. Lucy and Nicholas of Tolentino. Again the
(fig. 31).

The

more animated and more

work retains but few Byzantine characteristics. The other work signed by Caterino shows strongly
ence of Lorenzo Veneziano, the absence of which
productions
is

the infiu-

in his

other

rather curious.

It is

a polyptych

which previously

belonged to the art-dealer Piccoli in Venice but now forms part of the Walters collection, Baltimore (-). The centre is occupied
(') This picture was bought from Signor T. Mezzoli in 1902: Paoleiti, L'Arte, 1902, p. 126. (^) Testi, op. cit., p. 242. B. Bereiisoii, Venetian Painting in America, p. 2.

\I.MC1. .\M> NIK

.\K1(.11H(

)IK1N(. Kia.loNS.

63

by a

fijjurr ol ihr \'irmti huUliUfi tin-

Child naktil on lur knee; a

saints an- df-piclrd at cither
lh-

miniatun* achjivr knls bh)\v.

sid-; tht'V

lun

an* St.

Antony Ahhni and

Hapli?l, St.

Clan- anci

Fig 31. Catrrino. the Coronation of the Virgin and ^aint= Accademia, Venice.

St.

saint and
St.
in

James. Above each of these there is a haif-lenglli figure of a over the central panel the Crucifi.xion. with tht-X'irgin and

John between tw> saints, is represented in the same way as Lorenzo's polyptych in \'t nirr. hi the more elongated proportions, the Gothicism of the draperies, and the types, especially that of St. Antony, there is a resemblance to Lorenzo's style that

no one can denv. This connection shows more aflmitv with the

64

VENICE AND THE NEIGHBOURING REGIONS.

manner Lorenzo followed at the beginning of his career, when he was still inspired by the Master of Chioggia, and of which the last production, so that we must altar-piece of 1357 was the be dealing here with a youthful work of Caterino's. We certainly
cannot pass without mentioning the remarkable resemblance which exists between the St. Christopher of this polyptych and the one signed by Giovanni da Bologna in the Museum of Padua, but instead of explaining this b}^ an influence of the latter artist on Caterino, we should rather think of the fact that both were
inspired by Lorenzo, as has just been demonstrated for Caterino and as w^e shall find later on to be also the case for Giovanni da

Bologna.

The polyptych
'
.

at Baltimore is signed:

"Chatan'mf de

I ^enecii pinxif

trace remains of a picture by Caterino representing the Virgin with the Twelve Apostles and a lion in the background

No

which Cavalcaselle mentions as probably coming from the Corpus Domini and to be found in his time in the Lichtenstein collection, Vienna (^).

The

chief interest of Caterino's art

Italian forms. It
b}'

is

that

it

leads the

way

to

pureh' ever dominated

seems improbable that he himself was

the onl}' picture the Coronation of
;

the B^'zantine influence

which betrays an adherence to this style is 1372 which he executed together w'ith Donato. In the altar-piece of the Walters collection we see that he w^as inspired b}' the art of Lorenzo who was not a follower of the Byzantine school. The hieratic spirit and stiff attitudes of Caterino's figures link him with
the Gothico-B3'zantine artists of previous generations but the
purel}' Italian

A
23)
(fig.

element in his painting is much more important. Coronation of the Virgin in the Accademia of Venice (no.
the false signature:
is
''

shows
32).

Nicolo Semitecolo

MCCCLIV

The composition
t3'pe of the Virgin is

the same as in Caterino's works, only the somewhat different and she does not gestic-

ulate with the right hand as w'as invariably the case in Caterino's panels, as w^ell as in the one which he executed in collaboration

Donato. The t3'pe of the angels is slightl}' more Bvzantine, but, apart from these minor details, this painting strongl^'resemw^ith
(^)

Z..

F(?//r/-/,

op.

cit.,

p. 34, 7>s//, op. cit, p. 245.

X'KNlCt:

AM)

II

II-:

NKIGI IliOUKlNC. KKCilUNS.

6s

Fig.

32 Mannt-r of Caterino. the Coronation of the Virgin. Aa-ademia, Venice.

I'hoio Ut. Art. Graf.

bles

Caurinos compositions and may be considered a production

in this Ciallery (no. 4)

of his studio.

Another panel

can be ascribed to the

same hand
is

tig. 33).

The
left,

false signature "J/.

:

Smion

/yv/". which

has occasionally caused it to be attributed to Smi'Mi da Cusighe with whom we shall deal further on. This
IV
r

seen below to the

66

VENICE AND THE NEIGHBOURING REGIONS.

picture comprises four scenes arranged in two rows; above they represent the Descent of the Holy Ghost and the Ascension, and

below the Entombment and the Resurrection. These representations offer a curious mixture of Florentine style and dramatic force with reminiscences of Byzantine types and technique; the execution is not ver\' fine but the picture is interesting on account of the action which is depicted.
Stefano "plebano" or "pievan di S. Agnese" is rather a vague figure in the history of Venetian painting. The only two pictures

bearing his

name which have come down

to us,

seem

to

be by

cannot be looked upon as while another work which the painter executed for the authentic, monastery of S. Alvise and which showed the inscription
different artists so that they
:

two very

''MCCCLXXXmi P.Stcfamis Plcbanus

attributing to this artist the

S.Agnetis pinxif
is

(0,

has disappeared. Cavalcaselle only added to the confusion by

Madonna

Master of Chioggio and

is

now in

of 1353, which the Louvre.

by the

of the pictures on which Stefano's signature appears is conserved in the Correr Museum (XV, no. 21); it shows the

One

crowned Virgin, seated on a finely designed throne, holding in left arm the Infant Christ to Whom she offers a rose (fig. 34). The rich decoration of the throne and the garments of the two
her
figures betray the artist's adherence to theVenetian tradition but the faces show no trace of Byzantinism, revealing rather a

Giottesque inspiration (-). The Virgin's robe describes a Gothic line, but the picture as a whole is not very beautiful. The signature inscribed below on the left runs ''MCCCLXVIII Adi XI Avosto
:

Stef Plcb. See. Agii. P!\ but its authenticity has always been doubted for paleographical reasons and, further, because at that

was no "plebanus" or parish priest of the Stefano at the church of St. Agnese ('),
date there
(') (-)

name

of

Gcogiia. Iscriz. Venet., V, p. 507. Cavalcaselle and L. Veiituri have already remarked on the absence of Guariento's influence. M. Tesli, op.cit.. p. 304 note 6. finds that a comparison
this picture and the Madonna in the Museum of Padua provides us with sufficient proof of the contrary. I do not agree with him and am of opinion that the resemblance which does exist arises from the fact that both

between

were influenced by
(*)

Giotto's school.

Tesli, loc. cit.

i:m(

i:

AM

riiK

NFir.nRoruiNr, ri:giuns.

67

Kig. 33.

Manner of Caterino. the Descent of the

loly

Ghost and three other

Pholo
Il.

scenes. Accademia, Venice.

Art. <;raf.

Nor

wa.s there

any

priest of that

name

in

the year 1381, the

date found on the other panel signed by Stefano. It is aCoronation of the X'irgin which forms the centre piece of the altar-pit^ce (no. 21) in the Accademia of Venice. The surrounding panels

68

VENICE AND THE NEIGHBOURING REGIONS.

belonged to the Coronation of the Virgin in the Brera, which, as we saw, ma}' have been painted by Maestro Paolo (0- The attitudes of the principal figures as well as the grouping of the angels makes us classify Stefano's Coronation
originall}'

Milan

(no. 227),

with those of Caterino. There

from

its composition, which is of Venice. Types, technique and above

nothing in this picture, apart reminiscent of Byzantium or even

is

all

the sentiment of the

work seem purely Tuscan, showing a close connection especially to the Sienese school, and it would be very easy to believe that this is onl}' a free cop}^, made by a foreign artist, of the picture now in Milan. The signature which is inscribed on either side at
the foot of the panel reads: ''MCCCLXXXl Stefan Plebau SFe Agnet pinxit'\ but there are but few who believe in the authenticit}'

certain

of this inscription. number of other

works reveal the

influence that

Central Italian art had on this emancipated school of Venetian painting; some of them also show false signatures. Belonging to
this

group,

is

in the centre, the

a small altar-piece in the Accademia, representing Virgin nursing the Child, over which we see

between the Virgin and St. John with the figures of the Baptist and St. Jerome at the sides, and still higher the Madonna and angel of the Annunciation. Although of rather coarse workmanship, this picture is none the less very characteristic of the effect that the Giottesque tradition had on Venetian artists of this period. It bears the false signature: Antonhis Vcu ij68'\
the Crucifixion
''

In the Correr Museum there is a large panel depicting the dead Saviour upright in His tomb between the Virgin and St. John with two litde angels above; the inscription: 'M//^^///5/'/;/.v//" is

again a counterfeit (-). The tragic spirit of this picture and the appearance of the Saviour, of St. John and of the angels obviously

show

a Florentine influence; the image of the Virgin, however, as well as the colour, and technique of light and shade, recalls the old Venetian st3de. Caterino's manner of painting, together with
(')
(?)

V.

p.9.

veneziani nel milletrecento, Arch. Yen.. Vol. 35, p. 60, believed that this maj^ have been Angelo Tedaldo whose will dates from 1324 but Signor Testi, op. cit., p. 171, has demonstrated the improbability of this hypothesis.
Caffi, Pittori

VKNK

i;

AM)

1111.

M.l(.ili;nrKlN(. KIA.ION.S.

tyg

Fig. 34.

Venetian School, Madonna. 2"' half of" the Correr Museum, Venice.

14'*'

centun-.
Photo .Aiinan.

70

VENICE AND THE NEIGHBOURING REGIONS.

in a

man}' Tuscan elements, is evident in the Correr Museum (VII, no. i6).
:

Coronation of the Virgin The picture dates from about T400; it shows the false signature "Alvisc Jlvan'ir One of the painters who, although belonging to the \>netian school, nevertheless advanced this union with the art of Central Ital}', was Zanino, or Giovannino di Pietro, mentioned as witnes.

sing a deed in 1407

picture
It is

(^).

We find in the Galler}' of Rieti,

by

this artist, signed: "//or

Umbria, a opus depinxit Zaniii 11 pctri

-bitato r(abitator) Veeciis i cirata (incoutrata) tati appoliaris'if).

showing in the centre a representation of the Lord is depicted between the two thieves and a large crowd of agitated figures stand below among them the fainting Virgin is tended by her faithful companions. Mar}' Magdalene grasps the foot of the Cross and several Jews converse together while numerous angels fly around the central crucifix. Three kneeling saints holding crosses and long inscriptions are
a tript3'ch Crucifixion Our
:
;

seen
is

in either

of the wings.

The

outer surface of the lateral panels

adorned with some scenes

in grisaille

from the life of St. Francis.

The dramatic
somewhat
tints of

action of the central scene, the gestures and convulsed expressions do not seem to belong to the

Venetian school, nor does the soft warm colouring with its tender
blue and green. Some faint traces of rigidity in the drawing are the only features which vaguely remind us 01
B}'zantine art. In another work which
(no.
3),

we

find in

Venice

Zanino

is

more

faithful to the
;

in the Correr Museum Venetian school (fig. 35).

The subject is again the Crucifixion Christ is represented alone without the thieves but the crowd of people below the Cross is just as numerous as in the previous picture and the action in
less dramatic. The Christ is depicted dead although the executioners have not yet finished nailing Him to the Cross. Between the panel and the fine Gothic frame there is a border

no way

of twenty-eight busts of saints and prophets, each one holding an inscription. No one has previously thought of attributing the

(')

G. Lndivig.

h.\'ck\\\2\.

Beitr. zur Gesch. der

Venez. Kunst, herausgeg.

von Bode, Gronau. u. v. Hadein, Berlin, 191 1, p. 106. Testi, op. cit., II, p. 89. U. Giioli, La pinacoteca di Rieti, Bolletino d'Arte del Ministero della (-)
Pubblica Istriizione. 191 1,
p. 328.

' r-'f''! Fig. 35- Zaniii'^

fliM

rnicifixion. Correr

Museum,

Yenici
I>t.

Photo

72

VENICE AND THE NEIGHBOURING REGIONS.

panel in the Correr

Museum
;

to the artist

who

executed the

picture in the Rieti Museum none the less this is likely to be the case, only in the former the Byzantine influence is more evident,

the colour as well as the rigid archaic design both being due to can suppose, a faint persistence of the eastern tradition.

We

therefore, that

Zanino started
is

his career in

Venice and that the

panel

we

still

find in this city

later, he, like

of Tuscan

art.

many He probably painted

left

a production of this early period ; another Venetian painter, felt the influence

the picture

now at Rieti some

considerable time after he had

must have been towards the end in Venice. His art reveals him as a true artist of the Trecento (^). One of the most purely Italian works in Venice is the mosaic of 1382 that adorns the tomb of Michele Morosini in the church of SS. Giovanni e Paolo (fig. 36). I do not see, however, in what

his native town. In 1407, which of his career, we find him back

way

this

monument provides us with an argument

in

support of

the theory of Agnolo Gaddi's presence in Venice, for the style of this work, although Tuscan, is very different to that of this

Plorentine master. In the centre the Saviour

to the cross
;

is

depicted nailed

over which hover two angels below we see on the left the Archangel Michael and the Virgin and on the right the two SS. John with the kneeling figures of the doge and his wife

between either

pair. The cartoon of this mosaic might very well be Florentine but by a much less able artist than Agnolo Gaddi. The figure of the Baptist alone recalls the Byzantine school, but it may be accounted for by the traditional asceticism with which
this saint is usually

portrayed.
artists,

The- last of the Venetian Trecento

manifests in his

Niccolo

di Pietro,

works

his entire

independence of the Gothico-

Byzantine

possess three dated works, of the years and 1409, while mention is made of him in records of T394, 1404 1414, 1416, 1419 and 1430 (-|. From the inscriptions on the
style.

We

authentic

works we know

that his house

was

situated

on the

suppose that the Crucifixion with the fainting Madonna in the collecNew York, must be executed in much this Gaddi but Mr. Berenson, op. cit., p. 4, is of opinion that it is a Venetian work of purely Italian style. The documentary evidence has been collected by Testi, op. cit., (-)
(')

tion of the Historical Society, manner. It is attributed to Taddeo

P- 329.

vtMci- AM)

iii:

NKir.iiBorKiNr, rkcwons.

Fig. 36.

The

Crucifixion, mosaic, 1382. SS. Giovanni e Paolo, Venice.

Photo Alinari

74

VENICE AND THE NEIGHBOURING REGIONS.

del

"Ponto

Paradiso" and that he was

in the

made

chevalier in or

before 1404 but not yet in 1394. These facts explain

why he is

mentioned
di Santi
artist

documents as '^Niccolo Paradiso depeutor' or

luilitis picforis". It is possible that Niccolo his will in 1365 was the grand-father of our

again as "Z). NicJiolay

who made

whose

father, Pietro di Niccolo,

was

also a painter

(^).

He
was

has sometimes been confounded with Semitecolo

also called Niccolo di Pietro, but the mistake
is

who

only too

evident.

The

earliest

dated work

is

the

demia of Venice

(no. 19, fig. 37).

Madonna of 1394 in the AccaThe Virgin sitting on an elaborhand and with her
feet.

ate throne holds the Child with her left

right

indicates the small adorer

angelic musicians stand on the pilasters of the throne; higher, on the back of it are the tiny figures of the Annunciation while over the
is a group of five angels, the three middle ones on musical instruments, those at the extremes supporting playing the curtain which forms the background to the principal figure. I have been unable to trace the origin of this picture which formwas in the Manfrin collection and was given to the Accaerly demia b}^ Francis Joseph I.

who

kneels at her

Two

Virgin's head

The group of angels in this picture is vaguel}' reminiscent 01 those we find in the works of the Gothico-Byzantine artists, including Caterino, but, apart from this, the panel might easily be taken for the production of a provincial adherent of the Florentine school. The artist has given much care to the decorative
details but, apart from that, the principal interest of the picture is that it is one of the few purely Italian works executed in Venice
15^11 centur}'. The signature is inscribed at either side of the base of the throne and runs: ''Hoc opus fecit per Dits Vitlcia

before the

Bclgarcoue^
fdiiis
tujill

civis

Yadriensis

MCCCLXXXXIIII

Nicholas

Mgri

Petri pictoris de Veneciis pinxit hoc opus qui nwraciuipite pontis Paradixi''
.

great shortcoming of this picture is the absolute lack of expression in the faces of the two principal figures the forms,
;

The

although a

little

heavy, are

fairl}'

natural, the drawing

is skilful

(')

Fntliit,
12^1'

Cinque testamenti
Tesii, op.
cit.,

di pittori ignoti /. ^^vv/rtr^//,

Arte e Storia,

1886,

June.

pp. 133 and

330.

VKNICK AND

UK NKU .IIIU

)IKI.\(

KKi.loNS.

75

Fig. 37. Niccolo di Pietro,

Madonna,

1394.

Accademia,

W-w

76

VENICE AND THE NEIGHBOURING REGIONS.

and the

effects of light and shade, especial)}^ in the figures of the angels, quite remarkable. The image of the donor is without doubt an excellent portrait. The colouring too is more Tuscan

than Venetian.

The work of 1404 is a small cross carved b}" the second Caterino
who, as we saw, was a
It is

sculptor, and painted by Niccolo di Pietro. church of S. Agostino at Verucchio in the preserved province ofForli(^). At the extremities of the cross on which the Saviour is depicted the symbols of the Evangelists are seen. The
in the
is

image of the Christ

works,
in fact the

similar to those

we find

in late

Giottesque

colours, as in

whole cross belongs to that tradition. The the previous work, are borrowed from the Central

Italian school of painting.

is
:

The

signature at the foot of the cross

''MCCCCIIII Nicholau Paradixi Miles De Venecis piiixit Chatarinu Sci Luce ineixit". Lastly there is a work by Niccolo di Pietro in the church of
Maria dei Miracoli.
in
It is

Sta.

executed
tined to

1409 for the

sum

a fragment of a tript^'ch that Niccolo of 14 lire 15 sous and that was des-

adorn a tabernacle

in the Calle al

Canton.

In 1480 the Madonna, the only part remaining, became the object of special veneration and in 1489 it was transferred to the

newly constructed, where it has remained (-). It was no doubt at this same moment that the picture was entirely repainted; nothing whatsoever of the origaltar of the church, then
until

our day

inal

work remains

visible.

Maffi informs us that a picture in the church of S. Pietro in Castello in Verona showed the signature "A7r/?<7A///5 filiiis
:

Magistri Petri picfor pinxit hoc opus Feueciis" but knowing nothing more about the picture (^) I, in accordance with Signor L. Venturi, am unable to see how this fact in any way provides us with a proof, or even with an argument in favour of Signor
Testi's hypothesis that the Venetian school at that time already influenced the artists of Verona (^1. On the other hand I do not

agree with Signor L. Venturi in finding

in

the

Madonna

of

(^)

Tesii, op. cit.,

I,

p. 340. II, p. 730.

cit.. I,

(^)
(^) (I)

Boni, Archiv. Venet.. XXXIII, p. 241. Tes/i. op. L. Venfiin] L'Arte, 1909, p. 80.
Tes/i, op.
cit..

p. 340.

p. 335.

\KM( KAMI
ri94
soiiuliitN-

111;

M:!(.iii;<)rKi.\(.

Kia.iuNs.

77

tlu- t>nl\

our

of NuC(jln">

works

that luriusius us with

lriii-rUs, which, a tnrmation (jfA'eronesr

knowUd^i- of his later, were of such

art

thosr Khniish

iinpDrtaiire in th-

art

the presence ot which we should have to inl'-r that this artistic centre also exercised an influence on Niccolo

ami

hom

di i'lttro.

The

individuality ol this artist

atic:
in

he comes at the

iul of that lonij struijuNtin14'''

X'enice thiouij;hout

no way prohlnnwhich lasted c-ntuiv and of whuh \\r havr

is

in

heen able to follow the different

tine yoki', theX'enetian painters

stajjes. One** free of the Byzanhad no choicr hut to adhere to the Italian manner which at that time was most forcibly expressed in Central Italy. VUr art of th- modest Niccolo di Pietro ami its resemblance to that of I'uscan masters can only be considered the outcome of these circumstances; it would be impossible to say exactly from which artist he acquired his manner (M.

Whilst the rvolution of the Gothico-Hy/antinr into a purely Italian form was continued by one group of X'enetian artists, another followed quite a different direction of the old formula so
;

- was wide-spread the first the Gothic ahone being respected. abandoned, have already remarked that Lorenzo was the first who worked
in X'enice,

the second element

the By/antine

We

aftrr this

manner and

it

was probably he who founded

this little

school.

of the earliest and most imj^ortant artists, who, to a certain extent, can be identified with this group. wasNicoletto

One

Semitecolo, but

find

it

better, for reasons

artist, to classify

dealing with this of the school of f^idua.

when

which him with

I

shall explain
tin-

painters

Giovanni da Bologna
recently. Signor
'

I-

1,

whom
1

Lanzi,

Cavalcaselle
tht-

and

1".

I'llippini
<

place

among

Bolognese

dftnia ot Venicr no. 201

I

do not agrcr with Signor L. I ii/uri that the St. Lawrenre in thf Acrais by lh" iiand ofNicrolo di F'it-tro. In Cavalcasll.''s

tliere existed a picture of Christ in the A. delle Rovere collection with the signature "Xicoln pisit" or "Sic/iola pixtt" but nothing else is known

time

about
('

it,

V.

/.<://.

op. cit, p. 344.

A. Mosr/h/ti, Giovanni da Bologna, trecentislo veneziano, Rassegna

d'Arte. 1903. p. 36. (I /". /V/j/>/>/m, Giovanni da Bologna, pittore trecentislo, Rassegna d'Arte, iqo8, p. 103 and H. ( A", in Thieme Becker's Konstler Lexikon, XIV, p. 112.
.

both affirm that he received his artistic training in Bologna.

78
artists,

VENICE AND THE NEIGHBOURING REGIONS.

came under
the direct influence of Lorenzo.

The

last

of

these writers has found mention of a painter of this name at Bologna in 1359, 1365, 1371, 1380 and 1387, but the name is such

common one that importance. What

a

is

these records cannot be considered of great much more significant is this author's

demonstration of points of contact between the Venetian and Bolognese schools of painting in the 14th century; according to SignorFilippini, Giovanni da Bologna's art is an outcome of this
I hold a slightl}' different opinion. There are certain Bolognese traits in some Venetian paintings obviously of the 14th century but I cannot admit the presence of any

combination.

Venetian characteristics

in the

Bolognese school. Bologna then

was probably the artistic centre which most influenced Venice at the moment of the transition from the old Gothico-B3^zantine manner to a more Italianized form of art. The few paintings
which Lorenzo Veneziano the artists of that town
;

left in

Bologna had no influence on

of Humility

also Signor Filippini

finding in the

ground
in

type of the

Madonna

seated on the
We find this

is

mistaken

in

a Bolognese element in Giovanni's art.

Caterino's polyptych, now in the Walters collection, type which, of this master's works, is the one that most closely

resembles Lorenzo's art and

it is

quite possible that both Caterino

and Giovanni borrowed

this

iconographical type from Lorenzo.

In other regions of Ital}', however, the Madonna of Humilit}^ known before this time.
It is

was

of course quite possible that Giovanni da Bologna

became

acquainted with Lorenzo when the latter worked in Bologna, but the Bolognese artist also went to Venice where he is mentioned

Johannes de Bononia pictor in contrata Santi Luce de Venetiis i^Sg" {^]; besides this, one of his three signed pictures comes from the "Collegio dei Mercanti" in Venice and is dated
2is:^'

1377-

This
in the

last

work is a panel representing St. Christopher carr3ing

it as being "Scuola di Mercanti" at Sta. Maria dell' Orto but Cavalcaselle and other writers thought that it had been lost; Signor Moschetti, however, discovered it in the store-room of the Padua

the Child Christ on his shoulder. Lanzi mentioned

(^)

Tesfi, op.

cit.,

p. 297.

Fig. 38.

Giovanni da Bologna,

St. Christopher.

Museum, Padua.
Photo
It. .At. C.Tjif.

8o

\'ENICE

AND THE NEIGHBOURING REGIONS.

now hangs
(no. 348, fig. 38).

Gallen* where
this painting is

it

The

technique 01

perhaps finer than that of any of the master's other productions. I have already drawn attention to the resemblance between this figure and the image of St. Christopher in Caterino's polypt^'ch in the Walters collection but the execution is different.

Here the general line of the figure as well as the drapery, part of which floats behind, is Gothic. Above we read: ''Xpofonis Mcrchantorimi\ and lower down on the rocks: ''Joancs de Bononia pinxif We know the date from an entry in the
.

"Mariegola dei Mercanti"

(\).

The picture in which Lorenzo's influence is most evident, is the Madonna of Humility in the Accademia of Venice (no. 17), a work which has been considerabl}" restored and repainted. The
principal figure is that of the Virgin sitting in a flowery field, nursing the Child (fig. 39); the kneeling figures of the Annunciation are depicted in the spandrels, while below kneel the white-

cow^led

members of a religious confraternit}'. The figures at either

side, depicted

Peter on the
right.
is

one above the other, are SS. John the Baptist and left, and SS. John the Evangelist and Paul on the In the centre below we read: ^^Qiane da Bologna pense\ It

connection with Lorenzo

especially in the four lateral figures of saints that this artist's is apparent. certain evolution in the

Gothicism of the folds of the draper}*, which are more ample, can even be noted. The appearance of these samts can but confirm
the opinion held by Messrs. Moschetti and L. and A.Venturi that the artist's master or at least his source of inspiration was Lorenzo and not Caterino, as Signor Testi believes. Still I do not exclude

some
and

slight influence of the

Bolognese

artists,

Lippo Dalmasio

Vitale.

The same remarks apply to Giovanni da Bologna's third signed work which, some years ago, was acquired b}' theBrera Galler}-, Milan (-). It is again a representation of the Madonna of Humilit}', nursing the Child. It shows some variation on the usual composition, for

here the Virgin

is

seated on a rainbow; from either side

approaches a group of angels

who

in

some ways, although not

{')

Testi, loc. cit.

(')

Filippini, op.

cit.

G. Moihglia)ii,

A Picture
191
1.

by Giovanni da Bologna

in

the Brera,

The Burhngton Magazine. April

\'i:nick

and

nii: NKiciinoi'KiNd rkc.ions.

81

in st\ic.

have imith
<ii-

in

thf Madonna's tliinnc

s\^^nv(.\:"/(i:(niis

in

roinnKni willi the anicds we find btlund older X'tnctian painlinij. Tlu- picturt- is
.

Ho/oj^iki piiixit"

do

n<t tliink

that

Signor

Fig. 39. Gii^vanni

frat:>rnity in

da Bologna, Madonna, saints and members of a Conadoration. Accademia. Venice.

i'hoto

Naya.

Filippini is right in sayiui; that this work, more than the one in Wnice, reveals the Bolognese characteristics of Giovanni's art if. on the one hand, the figures show a less strong resemblance to those of LorenzoVeneziano, on the other hand, the groups of
;

angels are of a purely X'enetian inspiration. Besides, Giovanni has

IV

82

VENICE AND THE NEIGHBOURING REGIONS.

painted a Coronation of the Virgin surrounded by angelic musicians, a subject thoroughly Venetian. This picture, which seems to have been signed: "Joanes picfor de Bologna" {^), belonged, in
Cavalcaselle's day, to Michelangelo Gualandi. In the small museum of S. Stefano in Bologna, there exists a picture of this subject with four lateral saints which is signed by Giovanni di Canelo

or Zanello but the inscription is almost illegible. This inferior picture has sometimes been ascribed to Giovanni da Bologna

with

whom

Cavalcaselle,

who

deciphered
to

onl3^

the first
it(-)-

two

words of the

signature, seems also

have associated

only picture which, I tliink, can be attributed to Giovanni da Bologna is a Pieta in the Booymans Museum of Rotterdam
(no. 179), where formerly it was ascribed to Simone Martini. This panel which nowadays is oval in shape, shows, against a gold background, the Virgin holding the dead Christ on her knees. The

The

type of the Virgin, as well as the style of the painting, in which the Gothic elements are not absent, makes me inclined to believe
a work by Giovanni da Bologna. been said while treating the differpreviously ent works of this artist, it must be clear that in my opinion Giovanni was, before all, Venetian, and as we saw in some of the figures of the Madonna of Humility, inspired by Lorenzo; certain peculiarities, however, such as the round heads of his Madonnas,
that in
all

probability this

is

From what has

probable that at least a part of his artistic education was acquired in Bologna. We find no trace of Byzantinism in any of his works.
it

make

picture in the

affinity

Accademia of Venice (no. with Giovanni da Bologna's art (^). It

is

14)
is

shows much

into four parts, the principal of which

a panel divided adorned with a figure of

ground gazing at the Child asleep on her knee (fig. 40), Above, w^e see the dead Saviour upright in His tomb between the half-length figures of the Virgin and
St. John,

the Virgin seated on the

while the lateral panels

St. Francis.

show

the figures of St.

James

Major and
(^)

Crowe and Cavalcaselle, ed. L. Douglas, III, p. 202^ note 4. Crowe and Cavalcaselle, ed. loc. cit. () This painting in my opinion shows no resemblance to the art of Maestro Paolo to whom it has been attributed. L. Testi, op. cit., p. 200, believes it to be by a pupil or imitator of this master of the second half of the i4'ii century.
(^)

VICN1CI-:

AM)

li:

M:K.llBOL'KlNt. Kla.K )NS.

F"ig.

40

Mami

r >|(

liovanni da Bologna. Accadt-mia, Venice. I'hoio AndenoD.

theGothicism of the draperies and quite Venetian but the other figures, those of the Pieta.show that force of design and exagespecially geration of dramatic effects characteristic of the Bolognese school. The picture, which has been very much restored, comes from the church of S. PVancesco alla\*igna or that of S. Gregorio.

The image

of theX'iri^in.
is

in

their ornamentation,

84

VENICE AND THE NEIGHBOURING REGIONS.

Lorenzo's influence
a certain
is

to

extent also
in the

to

be found

work

of

Jacobello Alberengo about

whom

the documents only inform us that he died in

1397 (^j.The Accademia of Venice possesses a signed work b}' this master
(no. 25) representing, in the centre, the Saviour on the

Cross between the Virgin

and

St.

John and

at

the sides SS.

Jerome and

Gregor}-, each carrying the model of a church. The

^^

picture

is

signed:

Jacobus

Alberengo pixif; Cavalcaselle doubted the authenticity

it

of this signature but

likely
it

seems very

is

genuine, since, as Signor Testi remarks, it already

existed in Lanzi's day when
the
his

document mentioning

name was

as yet undifficult to

discovered; see how his

it is

name would otherwise have been

sufficiently well

known

to

be forged. This picture is also considerably repainted.

all

Jacobello Alberengo in likelihood also executed

tour panels, each of four saints, in the Galler}- of

Testi, op. cit., p. 319.

Fig. 41. Jacobello

Alberengo
-Mini.st.

(?),

a hol}^
Istr.

bishop. Gallery, Ferrara.

Photo
del.

Pubbl.

\'i:nici:.\ni) riii:Ni:ic.iiH()ri<iN(; kkc.ions.

8.S

Ferrara
i8o

Room
tiiis.

XIII.

lu*^

183.
tiiul

41 ami

42).

W'f
riijitl

hen-

tin- saiiu" loni;

lornis. tin-

same hardvery
i'lir

ness

ol oulliiu- aiul

similar

types,

rocm-

blanct* to Loitii/o X'ciuvia-

no's \vorl<s

is

mor<- j'\i(l(Mt

than

111

th<-

panel

in

the

Aicademia
Gothic
figures,

ol

\'ime; the

ertVct ot

some

of tin-

such for example as

that of the i^ajUist, miij;ht be

traced to the

same

st)urce.

Signor ates with

X'eiUuri

("l

associ-

this artist's

name

a \irgin and Child Ixtween the Baptist and St. Jerome

in

the
a

Accademia
in

ol X'enice
in

and

Presentation
the
Paris,
to

the

Temple

Lazzaroni

collection.

which

i>>

unknown

me.

Jacobello Alberengo i> one of the less important

artists

who came

undeistill

Lorenzo's influence;

he

possessed a certain dramati*

sense, as will be noticed
in

the Crucifixion scene of the

panel inX'enice. which seems to be of Tuscan origin.

In the onlv signed

work
intlu

that

we have by
is

jacobello

Bonomo,
ence

Lorenzo's

very strong. Apart

fromthis picture which dateL.

I 'tii/nri,

(')

op.

cit.,

p. 49.

Fig. 42. Jacobello Alberengo (?), St. the Baptist. '^" .Ferrara.
1

John
I$tr.

*l.

del.

Puhbl.

86

VENICE AND THE NEIGHBOURING REGIONS.

official

from T385, there exists an tions him in 1384 (\).

deed

in

Venice, which men-

The authentic work is a large po]3'ptych with a very beautiful frame of Venetian style; it was originall}' at S. Arcangelo di Romagna, but some years ago, after several vain attempts, it was finall}' acquired by the Accademia of Venice (-).
in
is depicted the Virgin seated, holding the Child her arms; to either side there are three figures of saints, above each of which is a half-length figure, while over the central panel

In the centre

we

see the Crucifixion with the Virgin and St. John and two saints. With the exception of the centre, the general plan of this altar-piece is similar to that of Lorenzo's picture at Vicenza.

Not only do the elongated proportions correspond to those of Lorenzo's figures but some of the types St. Peter's for exam-

ple

seem

to

have been copied from

bility Jacobello

Bonomo

ture

which

is

probalearned his art from Lorenzo. The signainscribed at the foot of the middle panel runs
:

this

master. In

all

^'MCCCLXXXV Jachobelits de Bonomo venetns pinxit hoc opits'\ Two works showing a ver}* close connection in stj'le to the
altar-piece are found more or less in the same region. are six figures of saints at the sides of a sculptured Madonna at Pesaro; and a Coronation of the Virgin, with again six lateral panels of saints, in the church of S. Angelo at Fermo.

above

They

think,

however, that

all

three

works are from

different hands.

The

town was

altar-piece of Pesaro, which now hangs in the Gallery of the originally in the church of S. Francesco whence it was

transported to that of S. Ubaldo. Cavalcaselle, Morelli

Cantalamessa

(^)

ascribe

it

to Jacobello del Fiore,

('j.

and Signor G.
['')

Cagnola

to Jacobello

Bonomo

do not quite agree with the

per servire alia storiadella The same, Un an-

(M P. Paoletti, Raccolta dei

documenti

inediti

pittura veneziana nei secoli

XV e XVI, Padua,

1895, P- 5-

cona

di Jacobello Bonomo, Rassegna d'Arte, 1903, p. 65. Venetian record of 1355 mentioning "Nobilibus viris Ser Jacobello Bonomo" has certainly

nothing to do with our painter. Testi, op. cit., p. 322. (-) V. Testi, op. cit., p. 322, note 4 and vol. II, p. 732.
(') ()

Gallerie Nazionali italiane,

II,

p. 245.

Cantalamessa, Nuova Antelogia, 1892, p. 407. G. Cagnola, Rassegna dArte, 1903, p. 159. G. I 'accaj, Pesaro, Bergamo, (^) 1909, p. 92, attributes it to the school of Jacobello del Fiore. Testi, op. cit., p. 326, gives it to neither one nor the other.

\I:N1(

1.

AM) niK

NI.K.IIlJorKINc.

KKGION^

87

l.ilirr. tor llu- tlniijijate'cl pniporlions that \vr saw lacobello limionu) had horrowrd tVoin Lorrnzo, an- ht-iv absi-nl; on the olhrr hand th' line of the draprries is more markfdly (iothic ami

think that ihr pictiuv in (|u-stion is of later date than the one from S. Aitanj^rlodi Koniaijna hut not solateastobecontniporhdirve, therefore, that ary with Jacolx'llo dri Fiorr's activity. the panel at I'c^aro must have bt-en fxecut'd towards the year
I

1400.

I'Vt-n

do not exeludc the

possibility that

it

may be

a pro-

duction

nt a ial r

manner

in

Jacobello Honoino's career.

prevents me from admittins^that thepolyptychat Fermo diy;. 431 miiiht hv by Jacobello Bonomo is that we find here a much nitire mark'd Ciothicism than in the sii;ned work. The j)rincipal panels of this altar-piece are preserved in the Angelo at I-'einio but it is not entire, the upper and

What

church of S.

havini; disappeared. In X'irgin and to either side thn-e full-length figures of saints. The.se panels have been attributed to Bononvi by Signor Colasanti( '),

lower jiarts the centre we see the Coronation of the

but Signor Testi

Caterinoi-i.The

of the opinion that they are from the hand of latter. I think, is far from the truth, for the figures
is

here have quite a difiennt appearance to those of any of this master's other works. It is true, however, that the composition of
tht- central group is identical with that of Caterino's Coronations and behind the throne we see a similar group of angels. Gothicism is very pronounced and the forms remind us of Lorenzo X'eneziano's second manner but the resemblance to his productions is

not strong enough to admit the presence ofthis master's direct

influence.

Gothicism
school.

is le-ss

evident
is

One

of these

in two other pictures of theX'enetian also found at Fermo, preserved in the

collection of paintings adi(ining the Library. The principal subject is again the Coronation of the N'irgin but here portrayed in a different manner, for the X'irgin is depicted kneeling before the

A. Cnlasnnti, Per la storia dell' arte delle Marche, L'Arte. X, 1907, p. 410. p.inels, each of two figures, in the Correr Museum (VII 15 22 that I have mentioned among the school productions of Lorenzo are also attrib(')

Two

utrd to Jacobello Bonomo.

To him was

equally ascribed a triptych at the

Ttsti,

Gozzadini sale (Bologna 19061 which 1 do not know but which Signor op. cit., p. 328, judges to be Venetian but inferior to Bonomo's works.
i*i

L.

7"'5/i,

op

cit., p.

329.

88

VENICE AND THE NEIGHBOURING REGIONS.

I Saviour, and behind
:z'

-~

them appears God the Father from

^
I

Whose mouth descends the Holy

Ghost. This last
detail is not unknown

^
c 2

in the
bJ3

Venetian

school in which this composition abounds. Another

Venetian element
the
is

-a

group of angels

behind the monube

mental throne.

The
seen
on
rest

>

small female figure of

the
o
-4-t

donor
right.

is

kneeling
the

below

The

of this picture comprises five panels

with figures of saints. It is beyond doubt

that in these pictures,

and

especiall}' in the

technique of the
faces, there are cer-

tain

Bolognes e
that this

peculiarities; nevertheless I do not believe

is

work by Andrea da
Bologna
(*)

(^)

but con-

A. Co/asa)ifi,loc. cit.f

attributes the picture to

tiiis artist.

Astolfi,

Before him C with a good deal

of hesitation had given

it

to

the

same master,
193.

L'Arte, V, 1902, p

VKNit

i:

AM)

nil: NKir.nBorRiNr. rft.ions.

Hg

F'ig. 44.

X'riutiaii Stliuol. poiyptych, t-nd of thr Mnn-. Torre di Palmt' (Fermo).

14'*"

Phoio

century. Sta. Maria a .Minit. del. Pubw. l*tr.

sider

it

rather to be a jiroduction of a local

artist,

fluenced by the

numerous Wnetian works in was more or less familiar with the Bolognese school of painting ('). i'l A panel, representing, th' Arrival of the Magi, in the Arcademia of
(no. 121, there hesitatingly attributed to the

one who was inthe region and who

Venice

Bolognese school,

is

exe-

cuted in the

same manner.

90

VENICE AND THE NEIGHBOURING REGIONS.

The second

picture, in which the Gothic element is less evident, a polyptych in the church of Sta. Maria a Mare, at Torre di Palme, which has sometimes been attributed to Jacobello Bonis

omo

(^)

but which in

my

this master's art (fig. 44).

The

opinion is in no way characteristic of centre is occupied b}' a figure of

;

the Madonna of Humility nursing the Child to either side there are two full-length figures of saints and above each a half-length
figure.

The panel over the Madonna is missing. Not only the shape of the frame but also the ornamentation of the Virgin's robe and
the Gothic line of the draper}' affirms the Venetian origin of this work. The lateral figures are harder in design and of a more rigid form but in this strikingly resemble the saints at the sides of the panel of the Virgin and the Pieta in the Accademia of Venice (no. 14), there attributed to Maestro Paolo, but executed sooner after the manner of Giovanni da Bologna.
In concluding I should like to recapitulate the outstanding features of the somewhat complicated school of Venetian paint-

ing during the 14th century. From its ver}^ foundation, X'enetian painting can be differentiated from the mosaic art by the presence of a Gothic element

which characterizes the Venetian primitive pictures as productions of a local school under B3"zantine influence, but in essence
Occidental. It is true, however, that certain paintings executed even in the second half of the 14th century can only be considered as imitation of mosaics which at that moment in Venice were
particularl}' Oriental in

and indeed no such form of art

appearance, but these works are sporadic is found in Byzantium itself.

The

principal figures of the Gothico-B^'zantine

manner are
after the

Maestro Paolo and the Master of Chioggia, but shortly

3'ear 1350, Venice, half a century after the other centres, follows the general example and replaces the B3'zantine formula by an
Italian national art, the

models of which seem

to

have been Tus-

can, taken no doubt from Giotto's series of frescoes at Padua, just outside the gates of the city. I do not think that the Paduan artist,

(')

L.

J'(?5//,

op.

cit.,

p. 326,

with some uncertainty.

\ENI(

i;

AND mi;

NKK.lUiorRINc.
111

I<1.(.10NS.

91

(iuarieiUo, took a very active part

lhi>>

iiutanmriiliosis; he

may have contributed without, however, leaving any direct pupils, hi th- work ot Lorenzo, active horn 1356 onward, the
(iothic lactors are alone conserved, while, almost contemporary, another current, by a slow process of evoluti)n, dissociates

from both the(iothi( and the Hy/antine formulae. In this chanije the painter C'aterino was an important li.y;urc These two
itself

directions of X'enetian art c<ntinue(i until

while the second

freeing: itself

movement

i^nlury, but finished with Niccolo di Pictro by

tin- 15'''
1

from archaic elements, as did all

tther Italian schools

about the year 1400. lin- painters who were influenced by Lorenzo retained, at that time, many traces of Gothicism.
<

Uiis

chapter

in

which

wi- arc dcalini; with

still

14'''

century

painting;

in \ fnice,

there are

some words

to

add regarding

the miniatures of that period, likewise a short account ot the spread of Wnetian art to surrounding regions.

Man\ X'metian miniatures of the

14111

century manifest, as did

the painting, the persistence of the Byzantine influence. Purely Orit-ntal in appearance is a miniature adorning the
register of the S.

IVodoro school

in

the Correr

Museum, and

dating probably from the beginning of the 14111 century. Not only does the subject the Saviour enthroned between the X'irgin

and

figures are typical productions of the school of Byzantine miniatures. In a miniature, executed by Cristoforo Cortese between 1360

St.

John

correspond

to the

Greek Deesis, but the

and 1390, which illuminates the register of the Sta. Caterina dei Sacchi confraternity and which is again preserved in the Correr

Museum,
in

a strong Byzantine influence is evident in the design, spite of the jiurely Italian composition. Many of the miniatures found in Dalmatia belong to the Byzan-

tine style. In the

liturgical

church of S. Francesco at Zara. there are some books of the end of the 13th century with remarkably

tine illuminations of

markedly Byzantine appearance

in the

('I.

while

two antiphonaries

same building are

llluni.

illustrated with

(')

Beschreibendes X'erzrirhnis der

Handsclir.

in

Dsterreich,
p.

herausg. von /'. U'ickhoff 11 M. Dvorak, VI (Dalmatitni. Leipzig, 1917. 1534. A. Diufnn, La Dalmazia nell' arte italiana. I. Milan, 1922. p. 399.

92

VENICE AND THE NEIGHBOURING REGIONS.

which, although somewhat more Italianized, also

miniatures

a strong Oriental influence (M. Another example is found in the Paravia Library of the same town, in the register of the
is written in Venetian and again dates from the beginning of the 14th century. The Italian elements here are only very faintly discernable(^). At Sebenico the Franciscan monastery possesses anantiphonar}' with miniatures resembling those of the 14th century in the church of S. Francesco at Zara but rather inferior in composition (^), We also find some miniatures, which are probably Venetian but much less markedly- B3'zantine, in the Duomo of

show

"scuola S. Giovanni" of Venice which

dialect

Gemona

in Friuli

(^).

During

this time there

were miniatures of quite an

Italian ap-

This change of technique on the of the miniaturists took place long before there was any trace part of it in other branches of painting, and it may very well be that
pearance executed
in Venice.

these artists largely contributed to the introduction of Central Italian art into the City of the Lagunes.
In

preserved in the Correr Museum, there is even as early as that date no trace of Byzantinism; nor is there in the illuminations of the register of the"Pelizzeri d' ovra vera" of about 1324. The Bolognese school of miniatures was the school which dominated the Venetian artists and this influence was felt by the
(131
1

1312),

a choir

book with a portrait of Doge Marino Zorzi

now

miniaturists long before there is trace of it in other painting. In the illustrations which adorn the "Promissione" of the Doges

Francesco and Andrea Dandolo {1329 and 1343), now kept in the State Archives, we observe the strong but unrefined technique and pronounced shades characteristic of the Bolognese school.

Another example of this manner is the decoration of the antiphonary of Sta. Maria della Carita (1365) in the Marciana Library. During this time however the Byzantine current did not entirely
disappear from the art of miniature making, as
(^)

is

demonstrated

any reason
(')
(^)

In Beschreibendes Verzeichnis, pp. 34. 38 and 39, attributed, without I think, to the Bolognese school.
If^ei",

55-

Idem,

p. 69,

(^)

G. Bragatn,

again considered as belonging to the Bolognese style. Da Gemona a Venzone, Bergamo, 1913, p. 58.

Fig

45.

Veneto-Byzantine.

St. Peter, later

years of the
Photo SlinUt.

14**> centiin>-.

Sta. Maria, Zara.

del.

Pubbl. Utr.

94

VENICE AND THE NEIGHBOURING REGIONS.

by the above mentioned illuminations executed by Cristoforo

Cortese.

Signor Testi (^) gives us some names of Venetian miniaturists and cites many more examples of this art in the 14th century but all the material he has gathered together only tends to prove, that, apart from the works belonging to the B3'zantine manner, Venice had not a definite individual school of miniature of its own.

The paintings that are found along the Daluiatian Co^^/, just as much as the miniatures, force us to believe that this region was even more under the influence of the Byzantine tradition
itself (-). Apart from a crucifix, by theSienese artist, Maestro Fredi, at Zara ('^j, there is little in this district but paintings of quite a Byzantine aspect, or in which an Oriental inlluence is very marked.

than Venice
Bartolo
di

A work of a thoroughly Greek appearance is a panel painted back and front in the church of Sta. Maria at Zara. On one side we see the Virgin and Child with a small kneeling adorer and the figures of the Annunciation above, and on the other St. Peter standing and holding the keys (fig. 45). The inscription is in Latin and the painted ornamental frame sooner belongs to the Italian style but the forms and technique are purely Byzandne. The picture seems to date from the later years of the 14th century ('). A crucifix in the church of S. Crisogono in the same town
(fig.

46)

is

Italian

one might almost say Florentine elements intermingis

probably of a slightly later date

('');

here

we

find

some

ling with those of Greek origin. Besides the Christ, we see, on the lateral extremities, the Virgin and St. John and above the half-

length figure of an angel. The Byzantine influence evident in the schematic manner of execution.

especially a cruci-

The abbey

of Teon on the island of

Pasman possesses

fix showing the same figures but dating from the end of the 14th century. Here all trace of a Byzantine influence is absent the refined technique and sweetness of expression might lead us to believe that the artist had come under a Sienese influence.
;

(^)
('-)

Testi, op. cit., p.

494 et seq.
p. 368.

Diidan, op.

cit.,

(^)
{^) (^)

V. vol. II, p. 504 note I. Idem, op. cit., p. 371, dates it from the end of the Idem, loc. cit., ascribes it to the 13th century.

13^^ century.

\'i;.\k

1.

AND
at

II

IK .\i:i(.iii;( )ri<iN(;

rva.u
(.t

.\^.

95

The
<

Callu-ilral

Arln- (<'iii.ims

pninl
I

the
I

Madonna
\vi
I

uthronccl, hnldini;
n|
till-

h.-

Ch

Irl

li

tii;urc

donor

work
douhl

ci)n.si(lci'ald\'
tlatinj^'

knrclini; h( low, a re s I o red lj u n o

I

from

ihr

i.itli

ccnlniv.
in

polyptvi-h in the which the priniM|)al

r
i

.^anif cliuii-h,
scent' a
is

the

Cru-

l"i

o n

t"i

j;.

47).

honnds
I.

in (i i"cck

elenu-nts although

die

aim inscriptions

and the

betray its or an cvrn more

t

expressive Occidental
u e u
r c

fliTUreS

markedly i^y/antine
crucifix in the Ognisr zol a (fig. 481.

r c h n

c|

is

a
a
t

a n

c h

Ou

Vhv symbols of the adorn the extremThe Latin inscrip\v

t'

four Evangelists
ities

of

the

cross,
I

e r n detail

tion is the o n V this work.

Two

polyptyclis,

one
in

in

the

> a

me

church, the other cezione in the same

been executed by the
long to the transition
i^t'i

that of the Con-

town, have certainly

same hand and bebetween the 14th and

tirst

centuries.

The

shows

in

the

centre, the Pieta. the

both representations either side, but only

terminals been

second the Madonna: have two saints at of the first have the
Fig. 46. Crucitix,

end

are executed

prein a

served. These

works

of the

century. S. Crisogono, Zara.

14'*^
L<tr.

fairly
still

advanced
manifest.

Gothic
art of

t %

but

Photo Minist.del. Pubbl.

reminiscences ot the

Lorenzo Veneziano and of Alberengo are

96

VENICE AND THE NEIGHBOURING REGIONS.

Fig. 47. Crucifixion,

end of the

14'^ century. Cathedral,

Photo Minist.

Arbe.
del. Pubbl. Istr.

Pol3'ptychs at Sebenico and Zara probabl}" date from the 15th centur}' but are executed in the same style as the productions

of past generations

(^).

The Franciscan monks

at

Zara seem

to

have

in their

possession several panels belonging to the 14th

(')

Diidntj, op.

cit., p.

372.

VENICE AND THE NEIGHBOURING REGIONS.

97

^J^ -''^ip^'%^1

Fig. 48. Crucifix,

end of the

14th century. Ognissanti,

Curzola (Dalmatia).
del.

Photo Minist.

Pubbl,

Istr.

among them, Signori Dudan and Smirich discovered a polyptych representing the Madonna and six saints which, from the description (^), in all probability corresponds to the altarpieces of similar composition, so many of which were executed
centur}'
;

J')

Diidan, op.

cit.,

pp. 371 and 448.

IV

98

VENICE AND THE NEIGHBOURING REGIONS.

in Venice.

What we

find in

Dalmatia

now is

only a small part of

what there originally was. During the Austrian rule the town of Zara alone lost more than sixty of its pictures (^). As for the names of artists which have come down to us: there was a
certain Joannes Clericopulo, evidently a Greek, who in 1314 signed a picture in the church of S. Demetrio at Zara, represent-

ing the Apostles, while in the same

tovv^n

a Magister Nicolao de

Jadra was active

in

1317

(^).

The

city of Trieste, situated

between these regions and Venice,

contains, apart from the large altar-piece of thirty-six divisions belonging to the Venetian school, that I have already mentioned,

some

be associated with

beautiful frescoes of the ]4th century which can in no way this artistic current. I have already mentioned
of the school of

them among the productions

for they really are to
all

Simone

Martini,

appearances purely Sienese works (^'). These mural paintings adorn the five arcades of the choir of the Cathedral four of them contain each two scenes illustrating
;

of St. Justin, to whom the building is dedicated, while in the fifth the saint is depicted holding a model of the church. The artist was certainly not one of Simone's good pupils; far
the
life

from

design is sometimes not very skilful and the colourhard but the general appearance of the figures, their elegance and sentiment betray the painter's knowledge of the art of this great Sienese master. Apart from these frescoes we have already noted a Sienese influence on some of the Venetian artists as well as the presence of a work by Bartolo di Fredi at Zara. At Aquileia, some fresco fragments have recently been discovered and restored in the Basilica and in the Baptistery of the Pagans. They show the Lord enthroned between saints, figures of saints and miracles of St. Nicholas, and are local productions of little importance, dating from the 14th century (^).
it.

The

ing a

little

(')
-

Sabalic/i,

Le pitture

(-) Dudan, op. cit., Ragusa and Zara now dispersed,

antiche di Zara, 1912 and 1920. pp. 371 and 372. For pictures of the 14'^ century
v.

at.

Dadan, op.

cit., I,

pp. 107 and 128.

II, p. 248 note i. A. Morassi, Bolletino d''Arte del Minist. della Pubbl. ascribes some of these to the 13'^ and i5'ii centuries.

P) V. Vol.
(*)

Istr.,

1924, p. 419,.

VENICE AND THE NEIGHBOURING REGIONS.

99

Fig. 49.

Simone da Cusighe, polyptych,

1389.

Accademia, Venice.
Photo Anderson.

loo

\'ENICE

AND THE NEIGHBOURING REGIONS.

To the north ofX'enice we find at Trcviso some frescoes by Tommaso da Modena and his followers which will be dealt with
later on.

In speaking of 14th centur}' painters, Rosini (^) mentions a certain Martinello at 5rt55<7Wo, without, however, being able to

attribute a single work to him. In Friuli there can still be discovered

some

traces of pictorial

activity.The village of Cusighe, near Belluno, possessed an artist of the name of Simone who has left some frescoes and an altarpiece in the parish church. These frescoes, judged being "ver}' tolerably executed", no longer exist.
:

by Lanzi as They were

for

signed "Simon pmxif ("). The same painter was paid 440 lire an altar-piece for the Cathedral of Belluno: in 1400 he
assisted at the opening

ceremony of the large reliquary of this

(^).

Cathedral and died before 1416

There
(no. 18);

is
it

a pol3'ptych b}' this artist in the Accademia of Venice comes from the Pagani family of Belluno and was

originally in the church of S. Bartolommeo in Sake near the town (fig. 49). The central figure is that of the crowned Virgin

with an image of Jesus seated on a rainbow within an aureole against her breast; her wide-spread mantle seems to protect
feet.

the figures of a confraternity that kneel in adoration at her At either side of the Madonna four scenes from St.
:

Bartholomew's legend are depicted. Below the inscription runs o M CCC o _ A _ ''M.UJLXXXXIIIJindic IJ die XX Angusti actujuit h.op....
onesto viro d' p"

X foro
this

Venetian part of

work

capll S BatJii. Simon fecit". The most of art is the frame; the figures of

(^)

(^)

Rosini, Storia della Pittura italiana, II, Pisa, 1841, p. 145. L. Land. The History of Painting in Ital}-, transl. by Th. Roscoe,

II.

London, 1847, p. 80. (^) Crowe and Cavalcaselle, ed. L. Douglas, III, p. 259, giv^e these documents and mention as a work by Simone da Cusighe also called dal Peron an altar-piece with scenes from the lives of .SS. Martin and John the Baptist, a work in part repainted which was in his da}' transported from the church of

Martin at Belluno to the Baptister}-. They also cite a panel of St. Antonj^ enthroned amidst saints, frescoes in the church ofSala and a panel of the
St.

Virgin between saints

sight of.

at

Orez which, as

far as

know,

hav'e

been

lost

VENICE AND THE NEIGHBOURING REGIONS.

lOI

Fig. 50.

Consecration of the Cathedral of Venzone, 1338. Cathedral, Venzone.

Photo
1st.

Art. Graf.

cial

the small scenes might easily be taken for the work of a provinTuscan painter. The type of the Madonna resembles those
find later

we

on

in Vivarini's paintings.

In this region there are remains of two series of frescoes, both

I02

VENICE AND THE NEIGHBOURING REGIONS.

in

important

where the fragments of what can never have been an important mural decoration include representations of the Saviour on the Cross, angels and saints in heaven and the Ascension, all of which are thoroughly Florentine in appearance (^). The second Giottesque work comprises some figures of sib\'ls adorning what was no doubt once the
found

display no in the Abbe}' of Sesto(Friuli)

that they belong to the Giottesque school and trace of a Venetian influence. The first of these is

Palazzo del Capitano della Giustizia at Cortina d'Ampezzo iCadore) (0Lanzi informs us as well that the facade of the Cathedral ot Gemona was adorned with frescoes and that under a scene of a

martyrdom, the work was signed

"MCCCXXXII

Magister

Nicolaiis pintor me fecif (J'). Rosini and Maniago, however, tell us that the decoration comprised scenes from the life of St. Chris-

topher and that the inscription was:"/^^'/ inagister Nicolaiis pintor refecit Jwc opus sub Jolmiie Cauicrario quondnm Petri
Merisori''
(^).

of the hospital at Gemona is adorned with a fresco of the half-length figure of the Saviour, naked and bleeding but not dead, between the Virgin and St. John. It is a work of a
certain merit but very Tuscan in appearance ('^). In the Cathedral of Venzone, near Gemona, a fresco of

The facade

some

importance represents the consecration of the church which took place in 1338 (fig. 50). The composition is divided into two
parts;

above we see a row of bishops of which the central and

is
;

principal figure

that of the patriarch Bertrand; angels are over their heads below are represented the depicted hovering choristers with the "camerario" Bartolommeo Sclusano and other

persons

who were present

Carlo
\\\

at the

ceremony.

On

the

left

there

is

(') (-)

A.

De

L'lllustrazione Italiana,

XXXI,

1904, p. 335.

Tolomei,

Le

sibile Giotteschi a
I.

Cortina d'Ampezzo, Arch, per I'Alto

Adige, III, 1908, fasc. (') Lanzi, loc. cit.

(^)

and p. 159. 7l/(7///<7^o, Storia delle Belle Arte Friulane, Crowe and Cavalcaselle, op. cit., p. 258 note 3, mention two documents of 1334 and 1337 in the archives of Udine concerning this artist and others regarding his family.
/?os/'/, loc. cit.

Venezia, 1829,

p. 117.

(^)

G. Bragato, op.

cit.,

p. 78.

VENICE AND THE NEIGHBOURING REGIONS.

103

Fig. 51.

Scene from the legend of St. Julian. 2nd half of the

Cathedral. Trento.

i4t>^

century.
Photo Alinari.

large somewhat isolated figure of a saint. In Lanzi's day these frescoes were attributed to Magister Nicolaus who worked at Gemona
in

1332. but

Maniago

is

of opinion that they

were probabl}'

I04

\'ENICE

AND THE NEIGHBOURING REGIONS.

executed by a certain Giovanni guojidani ser Viano, a Venetian painter whom we find at Venzone in 1359. As is usually the case
with the older historians of
only name he had

Maniago has made use of the But a glance at the picture is all that is required, for there were no artists in the middle of the 14th century in \'enice who worked in this purely Italian manner
art,

at his disposal.

with such strange observation of facial details, characteristic above all of Sienese artists. On the same wall and belonging to
to the

same

the fresco of the consecration,

current, but older, since they are in part covered by we find some fragments of other

are a head of a holy bishop and St. Martin dividing his coat with the beggar. short distance from Venzone, in the little church of S.
paintings
;

among them

Giacomo. a damaged fresco of the Saviour between the Twelve Apostles, although a very mediocre work, is one of the few in this district in which a Venetian influence is manifest; the modest provincial master who worked here must have seen some of Lorenzo Veneziano's paintings M. The "Tempietto" at Cividale contains, besides the mediaeval
(

of saints of the 14th centur}'. These figures are the production of a very rustic artist who, however, seems to have been more familiar with the Giottesque style than with the
frescoes, a

row

Venetian school.

The Gallery

of Udine contains an unimportant detached fresco

Madonna of the 14th century representing two figures of saints. of B3'zantine appearance in theVirgin's chapel of Sta. Maria delle
Grazie probabh* belongs to the same period. In the apsidal vault of the Cathedral of Grado an important fresco executed in a Tuscan st3ie shows the Lord in a mandorla

between the four S3'mbols of the Evangelists, the \'irgin, the Baptist and two other saints. In Trento, besides the frescoes in the tower of the Eagle in the castle "del Buon Consiglio" which are of a later period, we find in the left transept of the Cathedral some mural paintings,
(')

Crowe and Cavalcaselle,

o\). c'w..,^.

2=^<),raeni\on other frescoes at

Ven-

zone, of which I can no longer find any trace, in the chapel del Pio Instituto of the Cathedral, in the church of Sta. Lucia (the Saviour with the s^'mbols of the Evangelists and the Church Fathers! and in the church of S. Antonio

Abbate (scenes from the

New Testament of 1405).

VENICE AND THE NEIGHBOURING REGIONS.

illustrating the
in
life

105

of St. Julian

(fig.

51).

These representations,
feature,

which the contemporary costumes are an outstanding

in

show
sions

nw

and

influence; the t\'pes, the expresgestures of the figures, their form and proportions

opinion a

German

I i.i:^=^s^iaa.Jmii^^i^
Fi o-D^
Battista da Vicenza, polyptj'ch. 1404. Pinacoteca, Vicenza
Photo
1st.

Art. Graf.

which seem
ver\' close

to

sufficient indication of this origin.

have been inspired by Gothic sculptures, are This decoration displays a

many German

connection with the profane paintings with which castles were adorned during the second halt of

the 14th centur3\ There are still century in the same church. Hard

some other frescoes

of the 14th

by the foregoing we find represented the Nativit}'. the Decapitation of St. John the Baptist and the Trinit}', and in the right transept some other mural decor-

io6

VENICE AND THE NEIGHBOURING REGIONS.

mediocre works of
purel}' Italian st3le (^). Padua, we find an adherent
(-)

ation; all are rather

At

Vtcenza, to the other side of

of the Venetian school in Battista

to us b}'

da Vicenza

who

is

known

two signed works, the one of 1404

1408
in the
in

in the

Gallery of the

town

(no. 17), the other of

church of S. Giorgio, near

Velo d'Astico
it is

the heights of Asiago. The first of these works comes from the church of S. Agostino (^);

a large polyptych

(fig.

Veneziano
this

who

left

one

52) quite after the styX^ of Lorenzo of very similar model in the Cathedral of

is occupied by the enthroned Virgin, the Child Jesus in her arms. To either side there fondly clasping are three full-length figures of saints, above each of which is

town. Here the centre

depicted a three-quarter length figure, while the Crucifixion, which we generall}^ find over the central panel, is here replaced
b}'

the dead Christ upright in His

saint at either side; the medallion

tomb with a small figure of a which forms the pinnacle

encloses a bust of the Almighty. The predella, fianked on either side by the coat of arms of the Chiericati famil}^ comprises six small images of saints and in the

middle John the Baptist and two angels. The inscription which is seen below runs: ''Opus factum Vincencie comissione niagnifici Ludovici de Chierigatis.An MCCCC quarto Xllindicione".

This painting, which was originally on wood, has been transferred on to hnen. Lorenzo Veneziano's influence is manifest not only in the building up of the picture but also in the figures for we
;

can discover many elements in the proportions and general aspect of the persons depicted here that remind us of this master's art.

Velo d'Astico was destroyed during the great European War and I have not been able to discover the fate of the polyptych originally in the church of S. Giorgio on the outskirts of this
village. It

smaller in size than that described above, for at either side of the Madonna there are but two figures of saints
is
;

a document which proves the presence of a painter called (*) There exists Bettino da Verona at Trento in 1387, Repert. fur Kunstw., XXVI, p. 22. Battista da Vicenza, (2) Crowe and Cavalcaselle, op. cit., p. 247. Moschetti,
in

(^)

Thieme-Becker^ Kiinstler Lexikon, 111, p. 49. G. Pettina, Vicenza, Bergamo, 19 12, p. 76-

IT:

"a

>
71

bX)

io8

VENICE AND THE NEIGHBOURING REGIONS.

shows us
the Christ on the Cross
his wife are

the central panel above, here

between the Virgin and

in

St. John.

The donor and

:

of the depicted kneeling former is given in the inscription on the predella ''Hoc opus fecit fieri Bonencontrus qdani dotnini Andree de Pioiie de Velio de

separate lateral panels; the

name

niese Setembris

MCCCC octavo''

This work closely resembles

the foregoing.
I do not share the opinion held by Cavalcaselle and Signor Moschetti, that the frescoes found in this church are from the same hand. The vaults are adorned with the figures of the Saviour

and the four Evangelists and the walls with representations of the Crucifixion, St. George slaying the dragon, the Nativity, the Pieta and the Resurrection. As Signor Moschetti himself remarks, explaining, however, the difference by an evolution on the part of the artist, these scenes are clearly inspired by the Giottesque painters of Padua; the Crucifixion is a copy of Altichiero's composition in the church of S. Antonio in Padua, while the colours and design have changed in the same degree. I agree with Cavalcaselle in attributing to Battista da Vicenza a Madonna in the Gallery of the artist's native town (no. 23), as well as four panels with scenes from the life of St. Sylvester
t^'pical of the master, although very are two predella panels and three pinnacles, all possibl}^ by him, showing figures of saints, and very likely forming parts of the

(nos.

13 16),

while less

in the Gallery of Vicenza (nos. 1822) they are catalogued as works by Battista da Vicenza. Quite in the master's manner but even of a more inferior execution than
;

same polyptych

usual, are ten figures of saints, no doubt from one large altarpiece, in the Museum of Berlin (fig. 53). Battista da Vicenza was

a provincial adherent of a

good

tradition but not an artist of

great merit.

cannot leave Vicenza without mentioning the frescoes in the church of Sta. Corona, which, in the chapel to the right of the choir, adorn the tombs of Mario and Giovanni diThiene,
in 1344 and 1415, but probably both frescoes were executed about the latter date. Each of the paintings shows us

We

deceased
the

Madonna seated on
and a

saints

monumental throne, the one with two kneeling knight, the other with three saints and a
a
a stylistic relation with the paintings of

devotee.

They betray

VENICE AND THE NEIGHBOURING REGIONS.

Padua and more
belong
to the

109

especially with those of Verona and really group of earl}^ 15th century Gothic productions.
in the

This

little

ramble
art

clear that theVenetian school

regions around Venice makes it fairty was not very wide spread(^).Firstly,

few works of

have been exported from Venice, for of this very productive school we only found some examples at Vicenza, Bologna and Trieste and in slightly greater number in The Marches, even as far distant as Lecce. It is very doubtful if the Dalmatian paintings executed in the Venetian manner are the outcome of a Venetian influence; it is
to

seem

more than probable that they are the result of common circumstances producing in two separate districts a similar form of art. find no trace of an adhesion to the Venetian school except

We

in the

frescoes of S. Giacomo, near Venzone, and in the art of Battista da Vicenza. This painter, although of little merit, was

the only member of another centre who, in any way, contributed to the spreading of the Venetian style. In all the other regions

around the City of theLagunes we

of a purely Italian art
(-).

find nothing but productions

(')

There

is

mention liowever of a Guarnerius de Venitiis who

;

active in
(-)

Rome for Pope Urban V

this chapter

Croive

in 1369 was and Cavalcaselle, op. cit., 11, p. 187"-.

b}'

press I have read the interesting book F. Gilles de la Tourette, L'Orient et les peintres de Venise, Paris, 1924^ who, in a pleasant form, gives in the first fifty pages a very clever and
in the

While

was

original

review of Venetian painting

in the 14'h century.

CHAPTER

II.

THE PAINTERS OF PADUA. VERONA AND TREVISO.

There are certain peculiarities which unite the painters of Padua, Verona and Treviso. Ahnost all were independent of the Venetian school and influenced by the Giottesque manner and produced "tableaux de genre", not of very great narrative

power but full

of details taken from everyday

life.

Their art was

rather a popular one, not without some resemblance to certain frescoes executed on the other side of the Alps, The artistic connection between Padua and Verona did not

make

its

appearance

until after the activity of Altichiero

and

Avanzo.
Guariento, an artist of the generation after Giotto's, w^as an important figure in the history of painting of Padua (\).

We come across him for the first time in 1338, just thirty years
after Giotto's activity in

Padua, and
it

if

Giotto,

who

died in 1337,

did not return to that town, ever met the great Florentine.
that Giotto
fectl}^

not likely that this local artist There is no reason to believe, then,
is

familiar with the frescoes in the

was Guariento's master, but he was of course perArena chapel. A document

of 1350 in speaking of '*Guariento quondam Arpi" informs us as to his father's name. There are various records concerning him

1368 he painted the Coronation of the Virgin in the Hall of the Big Council in the Palazzo Ducale, Venice; his death must have occurred before September 1370, for at that time he is spoken of as deceased. In a document of 1378 there is still question of "quondam Gua-

between 1347 and 1365, while from 1365

until

riento".
L. Menin, Sulle pitture del Guariento, Padua, 1826. N. Petnicci, Biogafia degli artisti padovani, Padua, 1858. A- Sc/inivnn Guariento. Arch. Venet.^
(^)

XXXV,

1,

883. A.Moschetti,
in

Guariento

11 Museo Civico di Padova, Padua, 1903. L.Fiocco, Thieme-Becker, Kunstler Lexikon, Vol. XV, p. 172.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

The "Anonimo
antonio Michiel

11 1

informs us that the Cappella Maggiore of the Eremitani was painted by Guariento, "a Paduan, called by some, a Veronese". This author has the same doubt as to the origin of

Morelliano"

whose

real

name was Marc-

Fig. 54. Guariento,

Madonna. Gallery, Padua.

Photo Alinari

Avanzo. The "Anonimo", on Campagnola's authority (^), speaks of the collaboration of Avanzo and Guariento in the decoration of the Palazzo del Capitano del Popolo at Padua and attributes to the latter artist the twelve Cesars and the scenes from
their lives.

He

again repeats, after Campagnola, that Guariento

a savant

(')

Gerolamo Campagnola was

lather of the painter-engraver, Giulio

and notary in Padua and the Campagnola who was born in 1482.

12

THE PAINTERS OF PADUA, VERONA AND TREVISO.

decorated the Cappella Maggiore of the church of S. Agostino(\). Vasari, who upheld Guariento as an artist of some repute,
called

him Guariero to the list of works given by the "Anonimo", he added only the frescoes in the first cloister of the Eremitani
;

church.

The

oldest of Guariento's

works

that

have come down

to us

are very probabh" the panels from the ceiling of the chapel in the

Palazzo del Capitano del Popolo. This chapel was destroyed in 1769 and the decoration, in large part, is now conserved in the

Museum of Padua; the rest has been lost. Of the Old Testament scenes we find: (i) God the Father with Adam and Eve, (2) Isaac's
sacrifice, (3) the destruction of

Sodom,

{4)

the angel visiting

Abraham,

(5)

the

young men

in the furnace, (6) Judith

and

Holofernes and

by (7) some curiously shaped fragments,

Joseph sold

his brethren. There are besides

semi-circular, hexagonal or

octagonal, the most important of which are a half-length figure of the Virgin (fig. 54) and images of the four Evangelists. panel of the Saviour is of smaller dimensions.

Then

there are a great

is

many

panels of angels belonging to the

different hierarchies,

some

isolated,

some grouped,

the

most

curious of which
{fig. 55).

In

all,

a representation of the "celestial militia" there are twent^'-nine panels. These remains of a

in which painted ceiling form a link between the Paduan school and the Venetian paintGuariento^s other works are included

ers of the i4the century. In the hieratic spirit of the work, the somewhat rigid drawing, the juxtaposition of light and shade

and the richness of the costumes, there is evident a Byzantine influence, in opposition to which the types, faces and expressions are all purely Italian and obvious derivatives of Giotto's art. The decoration of the choir of the Eremitani church that the "Anonimo" mentions is probably of slightly later date. It is a fairly extensive work but I do not think that it is all from the same hand. Of the monochrome figures below, for example, there is only one that is of a qualit}' the Saviour with the crown of thorns equal to the master's; the technique is good and the figure full of

feeling.

The

the Saviour and the

(')

other representations, Christ carrying the Cross, Holy Women, the Descent into Hell and the

Th. Frunmel,

schr. zur Kunstgesch. etc..

Der Anonimo Morelliano (Marcanton Michieli QuellenNeue Folge. I, Wlen. 1888, pp. 26, 34 and 36.

THE PAINTERS OF PADUA, VERONA AND TRE VISO.

Resurrection are
left to
all

1 1

rather inferior

works and must have been

an assistant.
skilfully

Not much more

executed are the pictures of the seven

Fig. 55. Guariento, the Celestial Militia. Gallery, Padua.

Photo Alinari.

represented with two children pla3'ing, Minerva with two adolescents, Venus with a young man holding a sword and a 3'oung wife Jupiter protects a man and

ages of

man

(^).

The moon

is

women

of riper age the couple accompanying Mars devote themselves to material well-fare; when the same two are depicted
;

(^)

Rosiiii, op. cit.,

II,

p. 211.

IV

14

THE PAINTERS OF PADUA, VERONA AND TRE VISO.

Fig. 56. Guariento, the Saviour. Eremitani Church,

Padua.
Photo Anderson

with Mercury, the man is seen studying, the woman making herself a necklace; Saturn is represented with an aged woman

warming herself and a sick old man. The frescoes on the walls illustrating the story of SS. Augustine and Monica were so much repainted in 1589 that their actual
appearance only allows us
to

say that they really did belong to

THE PAINTERS OF PADUA, VERONA AND TREVISO.

15

the original decoration. The vaults are adorned with figures of the Saviour and the Apostles, the former in a mandorla carried

by angels and surthe latter seated

rounded by others,

thrones
angels

(fig. 56).

on monumental Lower down some

sented holding a doubt borrowed
of the Last Judgpainting comprises various medallions.

are

repre-

Cross, a motif no from a composition ment.The rest of the a row of saints and

Although the
ures below are of
cution, those

monochrome
to

fig-

rather inferior exea

above

much

higher standard of

some

traces of Bybut the drawing is almost all beautiful

sions

full

Giottesque

of feeling influ-

not yet prevailed and I think thereonly a short interval

ation

work. It is true that zantinism persist, f ne, the fa c es and their expresand inspiration. The ence however has over the Venetian fore that there is between this decori

and the panels

(fig,

now in

the Gallery,

At Bassano we
of Guariento's
similar in design to
Fig. 57. Guariento, Crucifix.

find a signed work 57). It is a crucifix,

those

that

Giotto

and his Florentine an example of which

himself adorns the
of the

Museum, Bassano.
Photo Alinari.

adherents painted, by the great master

Arena chapel. It was no doubt the prototype numerous crosses that are to be found in the various towns
is

of this region. In Guariento's, the Saviour

depicted nailed to

16

THE PAINTERS OF PADUA, VERONA AND TREVISO.

;

the Cross, the knees slightly bent, the head inclined the busts of the Saviour, the Virgin and St. John occupy the upper and lateral extremities. The foot of the Cross is embedded in a rock}'

eminence

to

one side of which the female donor kneels

is

in

prayer

while to the other

painted her coat of arms.

''

On

the lower ex-

tremity of the crucifix the name of the artist: Guarientii pinxif '' is inscribed and lower down: Emulafn'x Bona Maria Bzvoliiwrn

Helena inventrix cruets et clavor\ Sancxit hane ips pietate Bassan et oref p. la xpni Do Dor\ (Dominum Dominorum). As Signor L. Venturi remarks, this crucifix is more Giottesque, and for that reason probably of later date than the paintings in Padua. The type of the Saviour and the anatomical presentment
cannot be conceived without Giotto's precedent. The of the features of the surrounding figures is rather drawing vigorous and still retains something of the Byzantine archaism.
especiall}'

be found in an annex of the S. Francesco monastery at Bassano; it represents the Virgin worshipped by a knight in armour with SS. Antony of Padua, Sigismund and Andrew, and is surrounded by a beautiful frieze. There is here a second fresco of the Virgin which in its original state must have been as fine a work as the former, but it has suffered much from restoration. Two Apostles are depicted
ver}^ characteristic of
artist will

A fresco

our

to the sides of the principal figure (^). now come to the fresco that Guariento, shortly before his

We

death, painted in the Hall of the Big Council in the Palazzo Ducale, Venice (-). This room was decorated by order of the Doge Mario

Cornaro who was in office from 1365 until 1367, forMuratori has handed down to us the inscription w'hich existed before Tintoretto covered the composition with a representation of Paradise Marcus Cornarius Dux et Milles fecit fieri hoc o/'/zs". Sansovino,
:

^^

in his description of
in this

Venice of 1577, mentions Guariento's work room but was mistaken in saying that before this artist painted in colours, there was a monochrome decoration. The
(')

XIII, 1894, p. 114. G. 1905, p. 122.

(-)

F.Roherti, Reparazione di un aflfresco del Guariento, Arte e Storia, /o^o/n, AffVeschi del Guariento a Bassano, L' Arte,
Rosiiii, op.

cit., II,

p. 210. A. Moschetti,

II

paradiso del Guariento nel

Palazzo Ducale

di

Venezia^ L'Arte, VII, 1904,

etc.,

p. 396.

Cronaca dei restauri etc.

deir ufficio Regionale

Venezia, 1912,

p. 23.

THE PAINTERS OF PAUUA, VERONA AND TREVISO.

fact that the construction of this part of the palace

117

was not finish-

ed until 1362 makes it highl}^ improbable that it was decorated on two different occasions before 1367. The fresco which was
discovered in 1903 has been so destroA^ed the decoration of this
it

much
is

hall, that

spoiled by the fire that several have thought

monochrome

painting, but this

not so,

it

was

a fresco

most of which, however, have perished. The large that still remain show us the Virgin on an imposing fragments architectural throne (^) being crowned by the Saviour; a large number of figures arranged in regular groups are placed around
in colours

they are mostly angels of the different of seated Apostles. Above in the backmore Gothic arches are depicted. Guariento in the ground execution of this enormous fresco shows himself as an even
the central images;

hierarchies with a

row

faithful follower of the Giottesque style than in the crucifix Bassano. However, he never entirely got rid of a certain archaism, but of the Gothico-Byzantine formula he only retained

more
at

the Gothic elements, which, united with the Giottesque, result in a Gothico-Giottesque manner.

There

is

number

of works of the school of Guariento which

prove that in his day this artist was the centre of a group of painters. In Padua we find evidence of this in the church of the
Eremitani, where over the entry hangs a crucifix resembling that at Bassano it has even been attributed to Guariento himself
;

but

prefer to class

it

as the

work

of a pupil.

On

the right wall,

near the choir, there are three detached fragments of fresco painting, the most important of which represents the Coronation of the Virgin. It is the work of an artist slightly more influenced

by the Venetian school than Guariento ever was. Above the door of the "Salone" of Padua there is a fresco of the same subject which is also reminiscent of the master's manner (-).
monumental Gothic thrones which are frequently found in (') These Veronese works, are met with as early as the middle of the 14'h century in Bohemian painting e.g. the Annunciations at Hohenfurth and in the Museum of Prague {F. Burger, Die Deutsche Malerei, I, Berlin, 1913, pis. X XI) and the Madonna from Glatz in the Berlin Museum (Dehio, Geschichte der Deutsche Kunst, II. Berlin-Leipzig, 1921, p. 415).
(-)

A. Ventitri, op.

cit.,

V,

p. 927,

gives this painting to Guariento.

18

THE PAINTERS OF PADUA, VERONA AND TREYISO.

a rather

At Bassano

damaged

fresco of the Annunciation on

the facade of S. Francesco and a series of frescoes illustrating the legend of St. Antony, but of which only a part now remains,

monaster}' school, seem to me to and even somewhat feeble ones. In the be school productions former the Virgin is seen sitting on a throne with a canop}', a
in

one of the rooms

in the

lectern

placed close b}'; the angel kneels opposite her while centre a half-length figure of the Almighty appears in a medallion and a litde naked figure of the Infant Christ flies
is

above

in the

towards the Madonna. Traces of a knight, kneeling

are
still

in

adoration

visible.

A Madonna between two saints and two angels on the exterior

of the Cathedral and a crucifix inside the

belong

to Guariento's school

the latter

quality and might even be from the S. Francesco. painting of the marriage of St. Catherine in the

same building both of about the same same hand as the fresco in
is

one
is

Gallery only faintly recalls this manner it is a later work but in which the large architectural throne is depicted.
;

Much

finer

a crucifix

and more closely resembling the master's works on the entr}' wall of S. Zeno in Verona (fig. 58).

This panel is all the more important because, belonging without any doubt to Guariento's school, it forms a link between Padua and Verona before the appearance of Altichiero and

Avanzo. Maffei in speaking of this cross informs us that there were similar ones in the Crocifisso church and in St. Anastasia. I think that Guariento has been judged a little below his real artistic value, generalh' being considered onl}" a mediocre Giottesque painter. He was not only that. At an earl}" stage in his career Guariento may have been a member of the Venetian

Gothico-Byzantine tradition, although

have by him

the twenty-nine panels in the Museum of Padua

is

in the earliest

work we

evidence of this

somewhat

feeble, the

Gothic factor alone

being conserved; with this he united the peculiarities which resulted from Giotto's influence. Guariento was then an artist

(^)

G. Fogolari, op.

cit.,

p. 142. O.

Sin'n ascribes a picture of St. Ursula and

her companions in the Steinmayer collection to Guariento (Burlington Magazine, 1921, p. 169) but it is probably a Venetian work and seems to me of considerabl}' later date.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

19

of the transition, a Gothico-Giottesque, as was also Semitecolo short!}' after. The union of these two manners was ver}^ natural
in

Padua,

town

gates of Venice and Giotto left the most

just outside the within whose walls

from
important series of his hand,

frescoes

we have
little

Besides the

nucleus of anonym-

ous painters that

gathered around

Guariento and

Semitecolo with
deal presentl}',

whom we

shall

we

discover that the

riento's art

influence of
fairl}'

Gua-

was
out-

persistent,

The

strongly

Altichiero's figures

lined faces of as well as some

of his t3'pes are Guariento's art,

ation of the Virgin throne in the chapel

reminiscent of while the Coronand the form of the

of S.

Giorgio

in

Padua seem

have Guariento's Parato

been inspired by
dise in Venice, This
to

composition seems Vivarini and other

century, at least in of a subject is con-

have influenced

artists of the 15th as far as the choice

cerned.
I

will

even

say that

in

the
Fig. 58.

Cri velli shows in his

School of Gua-

severity of drawing features, there is a

resemblance

to

riento, Crucifix. S.

Zeno,

certain of Guasuch for instance as

in

riento's figures, those in the panels

Verona.
Photo Lotze.

more marked those in the Bassano crucifix. From a document of 1370. recording a difference between the town of Venice and Guariento's heirs, we gather that the painter

Padua or

even

I20

THE PAINTERS OF PADUA, VERONA AND TREVISO.

faithful to the conditions stipulated in the contract

had not been

for the fresco of the Council

Room, not having kept two assistants.

We are also informed that his heirs were poor, so the assumption
likewise, yet he was an esteemed artist and, out of economy, had advised the use of "azure
is

that he

must have been

d'Allemagne" instead of ultra-marine (MThe incorporation of Nicoletto Semitecolo into the Paduan school does not solely depend on the fact that the only work we have by him is to be found in the town of Padua, but that his style forces us to associate him closely with Guariento. The authentic documents concerning him prove that in 353 he was in Venice where, together with his father, Donato, also a painter, he acted as witness (-); that in 1367 he signed the panel in Padua and that in 1370 he had returned to Venice where he signed some paintings that Sansovino called "Storica dello Volto Santo" in the Centurione chapel near Sta. Maria dei Servi; the inscription was: ''MCCCLXX x Decenibrio Nicolo
J

Semitecolo'

(^).

other works on account of the signature have been attributed to Semitecolo; they date from 1351, 1371 and 1400; the

Some

preserved in the Accademia of Venice (no. 23), the other two in the Correr Museum, but the signatures of 1351 and 1400 have been considered apocrj^phal, while the panel of 1371^ signed: Nicolo Veneto", has nothing to do with our artist. In
first is
^^

1362 mention is made of a Nicolo Semitecolo, a priest, but it is not certain, hardly even probable, that it is the same person. Besides, there existed in Venice a patrician family of this name.

The only paintings by Nicoletto Semitecolo which have reached us are the six panels in the Chapter-house Library in Padua they represent the Trinity, the Madonna and four scenes from the life of St. Sebastian of the last four panels, the first
;
;

shows

the signature ''Nicholcto SimitccJwlo and the last the date: ''MCCCLXVII Adi
:

Da

In theTrinity the extended

Decembri". hands of the Almighty are covered

XV

Veiiexia inpese''*

(*)
('-)

L. Vent II n, op.
Tes/i, op.
cit.,

cit.,

p. 43.

samml., 1903,
(^)

p.

307 note 4. Litdivig in Jahrb. der K. Preus. Kunst28, dates tliis document by mistake from 1352.
p.
cit., I,

Cicogita, op.

p. 97.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

121

by those of Christ Who, seen in half-length figure, alive and with open eyes, constitutes a very curious exception to iconographical observances.

Fig. 59. Semitecolo, St. Sebastian before his Judge. Biblioteca Capitolare,

Padua.
Photo
Agos'.ini.

represented seated on the ground, nursing the Child Christ; the background is formed by three circles traced in the gold setting. In both pictures we are struck by the extreme
Virgin
is

The

sadness of the expressions, especially that on the face of the

Virgin.

122

THE PAINTERS OF PADUA, VERONA AND TREMSO.

of the four scenes from the
life

The first

of St. Sebastian shows

us the saint before the judges, Diocletian and Maximus who are seated in a hall, one end of which is adorned with a statuette
of a

The

plan's at the emperors' feet (fig. 59). judges towards a woman who kneels behind; close by stand two other hoi}' martyrs and further behind a group of soldiers.

pagan god

little

dog

saint turns

from

his

martyrdom, the naked saint is attached to a stake while from right and left soldiers shoot arrows at him, the emperors looking on from a balcony (fig. 60),
In the scene of his

The
death
;

following picture shows us how the saint is cudgelled to the emperors are still present but the background has
faithful friends

changed. Lastly we see the saint entombed by his

(fig. 61).

Here the background is formed by two large buildings, the interiors of which are seen by the simple means of the suppression of a wall. These panels may have been painted at both
sides because at the back of the picture of the mart3Tdom traces of two figures and the name Daniel still remain visible.
I

do not think that

we

possess an}' other works by this artistic

about

whom

there

is

a considerable diversity of opinion.

As
;

colourist but not as designer Lanzi connected him with Giotto Signor L. Venturi looks upon him as a pupil of Maestro Paolo's,

while Cavalcaselle finds him

artists,

little

different

from other

\'

enetian

noting

all

the

same

his aftinity with Guariento, as

does

also Signor Testi, who lays much stress on this point. Personally I find few Venetian elements in his painting, which reveals on

the other hand much in common with Guariento's art, and still more perhaps with Giotto's, since Byzantinism is almost entirely absent. There is a certain amount of Gothicism, but Semitecolo's paintings belong, before all, to a popular narrative form of art, as did Giotto's before him. Action is highly important and
is

represented

vigour.

The

of tragedy and realism, expressed with great proportions of his figures are different and in this
full

Semitecolo

is

very

much

inferior to Giotto

and

his

immediate

in the Oratorio dei Lucchesi have been attributed to him (') The frescoes without any reason, v. Testi, op. cit., p. 316. 5<';r;/60;/, Venetian Painting in America, p. 4, speaks of a Madonna in the Piatt collection, Englewood, which he judges to be rather in Semitecolo's manner.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

123

followers. Highly important however is his study of architecture and perspective. If it be true that Maestro Paolo and his sons, in

the painted cover of the Pala d'Oro and the panel of Stuttgart, manifest a certain interest in architectural surroundings and

background, their effort is only a rudimentary introduction to whatSemitecolo achieved. In the first and fourth scenes from the

Fig. 60. Semitecolo, the

Mart3Tdom of St. Sebastian.

Padua.

Biblioteca Capitolare,
Photo Agostini.

life

of St. Sebastian, the perspective of the buildings gives a very

real sense of depth to the site of the event; the latter especially reveals the artist's taste for architectural studies, for here two

separate edifices are depicted at different angles. It is true that the manner in which he represents these buildings in the background, while the incidents really take place in their interior,
is

somewhat

archaic, but

an archaism sometimes met with

in

Giotto's works.

124

THE PAINTERS OF PADUA, VERONA AND TREVISO.

It seems to me beyond doubt, however, that Altichiero and Avanzo, in whose paintings architecture plays such an important part, were inspired on this point by Semitecolo. He, therefore,

cannot be assigned an entirely insignificant part in the progress of art, having created, as it were, the most important element in the school of painting of Padua.

Apart from the productions of the schools of Florence and Siena, the paintings of Altichiero (\) and Avanzo (^) are the most
beautiful of the Trecento. Unfortunate!}^ we possess but little information concerning them, although the conjectures which

can be made are,

not genuine, not far from the truth. artists are found in Padua; they principal are the frescoes in the chapel of S. Felice in the basilica of S. Anif

The

works of both

tonio,

and those

in the

chapel of S. Giorgio near by and attached

to this church.

came fromVerona. Gerolamo Campagnola in a letter philosopher Leonico Timeo, informs us that he was born at Zevio('^), a little village near the town, where another important artist, Stefano da Zevio, was also born; Moschini tells us that his father's name was Domenico Documents of 1369,
Altichiero
to the
('').

which he is mentioned as ''Altecherio condam ser Dominici de Ferabobus Verone" or some pintore such simular name, confirm his Veronese origin and his father's
in

1379, 1382 and 1384,

name Whether or not Altichiero really belonged

("*).

to the artistic centre

a question to which we shall return later, but the fact remains that he has always been designated as Veronese.

of V^erona

is

Before Vasari, Michele Savonarola (circa 1440), Biondo da Forli

P. Scliiibriiig, Altichiero u seine Sciiule, Leipzig, 1898, p. 142. The Same, Thieme-Becker, Kiinstler Lexikon, I. (') Schubring, Altichiero, passim. 77?*' S<7w;^, in Thieme-Becker, Kiinstler Lexikon, II, p. 270. Gero/a, Alcuni considerazione intorno Avanzo, Padua,
(')

in

1909.
('')

V.

{*)

p. 634, notes t and 4. G. Moschini, Delia origine etc. della pittura padovana, Padua, 1826,

Vasari ed. Milanesi,

III,

p. 385,

notes

2 and

p. 9.
(')

These documents which were

bj'

Moschini have been collated

p. 150-

in part published by Gonzafi and G. Gerola, Madonna Verona, II, 1908,

THE PAINTERS OF PADUA, VERONA AND TREVISO.

(circa 1450)

125

and Marin Sanudo (1483} have all done so (^). It has been thought that Altichiero was S3'nonymous with Alighieri and that the painter must have been related to Dante whose famil}' went and settled in Verona.

As was

the case for

many

other painters of Northern Italy,

Fig. 61. Semitecolo, the

Entombment

of St. Sebastian. Biblioteca Capitolare,

Photo Agostini.

Padua.

Vasari gathered most of his information concerning Altichiero from Campagnola's letter. He tells us that he was an habitual visitor at the palace of the Scala, the ruling family in Verona, at whose court gathered an important intellectual centre. He decorated a hall in their palace with scenes from the wars of Jerusalem in which he depicted the portraits of illustrious conQuoted by Schubring,
op.
p. 142.

(^)

cit.,

126

THE PAINTERS OF PADUA, VERONA AND TREVISO.

temporaries such as Petrarch and members oftheScala family (M. The order was probably given b3" Can Signorio who, about 1364, added a large reception room to the Scala palace. Sanudo,

towards the end of the 15th century, sang the praises of the paintings found here, but at the beginning of the i8th century, no trace of them was left(-). Avanzo helped Altichiero in this enterprise and accompanied him to Padua where he adorned the
chapel of S. Giorgio with frescoes. Here Vasari in his account makes two mistakes firstly in stating that the decoration of the
:

chapel
this

was ordered by
it

that a third painter of the

the Carrara, and secondly in mentioning name oVSebefo" also collaborated in

work; but

was no other than

Altichiero himself

whom

Campagnola

qualifies as from "Zebato", the Latin form of Zevio,

as Lanzi has already remarked.

It seems nevertheless to have been Francis I of Carrara, who was instrumental in bringing Altichiero and Avanzo to Padua, for he called them there to decorate his palace. According to

Savonarola the paintings represented Jugurtha taken prisoner and the triumph of Marius after Petrarch's "de viris illustribus" ('). From a payment made to Altichiero for the frescoes in the S. Felice chapel we know that he worked there in 1379. Vasari tells
us that the "three" artists returned to Verona where they executed some marriage scenes for Count Serenghi (*).

The arrival of Altichiero in Padua must have taken place at the very latest about 1370, for Dotto, whose tomb he adorned, died that year, while the fresco on the sepulchre of Federigo Lavelongo in the church of S. Antonio must date from 1373;

Jahrbuch der Kunstsamml. d. Allerh. Kaiserh., believes that certain paintings of Cangrande, Mastino and Cansignorio, which originally adorned the corridor between the Pitti and the Uffizi Galleries but were afterwards transferred to the collection of the
(')

/. voii Schlosser, in the

p. 145,

XVI,

Archduke Ferdinand of Austria, might have been copies of these

(^)

frescoes.

Vasari

ed. Milanesi, p. 633, notes 2

3.

(^) J. von Schlosser, op. cit.. believes the miniatures in a Petrarch in the Darmstadt Library are inspired by these frescoes, but considers them of much later date and showing familiarity with Pisanello's art. (*) Milanesi thinks this must be a mistake and that the name was Serego. This is probably more exact, as a family of this name which I believe is of Veronese origin, still exist's.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

even
if

127

cannot be sure that the latter is by Altichiero himself, it was at least executed by an artist directly inspired by him. It has often been falsely affirmed that Altichiero's name figures in
the matriculation
list

we

of the painters* corporation of 1382, a roll

which was only begun in 1441 (^). We find it, however, in a Paduan document of the 29111 September 1384 (-). In 1390 he must have returned to Verona again, for the fresco on the tomb of Federigo Cavallo, who died that year, in the church ofSta. Anastasia, is without any doubt by him (^). As for Avanzo, it has been repeatedly demonstrated that Vasari and, before him, Savonarola were both mistaken in identifying him with Jacopo Avanzi of Bologna with whom he has
nothing
in common. Nor has he anything in common with Jacopo daVerona who, in 1397, worked in the church of S. Michele in Padua ^) and, as we shall see later, in connection with his signature, it is not even certain that he was called Jacopo. If Vasari's version be true, we have already come across him working in collaboration with Altichiero in the Scala palace and the same
(

author informs us that according to Campagnola he painted above these frescoes two "triumphs" which were admired by

Mantegna. The "AnonimoMorelliano"statesthat Avanzo was the author of the frescoes in Padua that Savonarola gives to Altichiero {'') and that together with Guariento he adorned the chapel in the

(')

(-j
('')

Tesfi, op. cit., I, p. 285 note. A. Gloria, Monumenti del' Universita di Padova, II, p. 176. Signor Gerola has already observed that Signor Testi, in mentioning

the

document of 1377 referring

to the painter, repeats

a printer's error

appearing in Selvatico's book; the document is that of 1379. Signor Testi erroneously cites Altichiero as taking part in the contract that Avanzo made
in 1372.
(^)

I.Biadego,\\ pittore Jacopo

daVerona

dipinti di S. Felice^ S. Giorgio

e S. Michele a

Padova, Treviso, 1906.

The "Anonimo" gives rather a detailed description and tells us that {'") according to Campagnola the frescoes in the Room of the Giants, representing the capture of Jugurtha and the triumph of Marius on the left, were by
Avanzo. and those of the Cesars and their exploits on the right by Guariento, while Andrea Rizzo believes them to be by Altichiero and Ottaviano Bressano. Among the figures were the portraits of Petrarch and Lombardo. The nobles of Padua were depicted on a little well or fountain (?j. The

128

THE PAINTERS OF PADUA, VERONA AND TREVISO.

those by palace of the Capitano del Popolo, parts of which are preserved in the Galler}^ of Padua. The" AnonGuariento

to Avanzo part of the mural decoration and admires his work there even more chapel than Altichiero's. The same authorit}' calls him a Paduan and Altichiero a Veronese (M. The name of Avanzo is frequentl}'

imoMorelliano" ascribes
in the S. Felice

cited in these

pages

(-).

The document
makes
it

of 1379, to

which

have previously referred,

we owe the greater of the frescoes in the S, Felice chapel, the second to the part right in the basilica of S. Antonio. As we are elsewhere informed
almost certain that
it is

to Altichiero

that he
that he

was
is

the chief artist in Padua,

we

can take

it

for granted

the author of the best of the frescoes while the inferior

examples can be qualified as school productions. In 1372, Bonifazio Lupi, Marquis of Soragna, born at Padua and podesta of Florence, made the contract with the architect
Andriolo, a Venetian, for the construction of the chapel. An inscription on the facade shows the date 1376. Bonifazio died in

1389 and was buried in this chapel. construction cover the 3^ears 1372
"

1382

The accounts concerning the

(^),

but the only entry

Anonimo" further continues the description: "In the last small room towards the chancellor's house at the upper end of the room of Thebe are the frescoes in chiaroscuro, representing the teats of arms of the Carrara's, the battle
arrays etc, from the hand of....

The room
.
.

of

Thebe which contains

the

by whom seems also to have history of Thebe is from the hand of been the history' of the Spoleteani in the Council Room of Venice which has
. .

since been overpainted by Titian. He was good at portraying horses but in the rest was not successful". 77/. Friiiiiuel, Der Anonimo Morelliano, p. 34.
(') In speaking of the S. Felice chapel, the "Anonimo" is rather hesitating and says it was painted by "Jacopo Davanzo, Padoan ouverVeronese, ouver come dicono alcuni bolognese e da Altichiero Veronese" but when dealing with the fresco in the chapel of S. Giorgio he tells us that it was "depinta da Jacomo Davanzo padoano e da Altichiero Veronese come scrive il Campagnola" and he again calls him Paduan in connection with the decoration of the

chapel in the Palace of the Capitano del Popolo,

6,

v. T/i.

Frimmel, op.

cit.,

pp.

34 and
(')

36.
cit.,

Biadego, op.

reproduces
di S.

many

other examples.
di

C) Gonzati,

La Basilica
p. 135.

Antonio

Padua,
etc.

II,

Padua, 1852, doc.

CII.

They are

also found in Gnalandi,

Memorie

risguardanti le Belle Arte, VI,

Bologna, 1845,

THE PAINTERS OF PADUA, VERONA AND TREVISO.

in connection with the mural decoration
is
is

129
it

the one in

which

mentioned that Akichiero

in the

is

paid 792 ducats for paintings that

he executed
in

which the document

chapel and the sacristy (/). From the manner is worded, we can conclude that it refers

to the settlement of ever^^thing owing to the painter at that moment, but on the other hand, as this record, together with one
for the construction,

about the pa^anent of sculpture, comes after the list of expenses and as before the next entry concerning

the amount spent on liturgical instruments, the scribe has left nine pages unused, it is easy to imagine that they were left for similar expenditures and that consequently the decoration was

not yet finished

when Altichiero

received the recorded payment.

;

This, however, is not of great importance much more so is the fact that the document enables us to place Altichiero's activity here about the year 1379. The frescoes were restored
in 177 1
(-).

chapel of S. Felice, which was originially dedicated to James as may be gathered from the inscription on the facade and the subject of the frescoes, gives one the impression that it

The

St.

a separate sanctuary although it is annexed to the church ot S. Antonio. It has a fa9ade of five arches, adorned above with
is

five statues in

The

vault

is

Gothic tabernacles, very like that of a church. decorated with twelve medallions, four containing

the S3"mbols of the Evangelists, four the figures of prophets and four the Fathers of the Church. These figures are depicted in quite a new manner, in profile and seen in motion instead of

the archaic motionless images represented full face. In the groins of the vault as well as in the borders separating the two rows of frescoes, half-length figures of saints are portrayed. On the
left

wall are seen the separate figures of the Annunciation, each

in a little tabernacle.

Eight lunettes in the upper part of the chapel are occupied with the story of St. James according to the Golden Legend.
(') Gtialandi, op. cit p. 145: Ancora dado al maestro Altichiero per ogni raxon chaveva a fare con Mess. Bonifatio cussi nel depingere la cappella de San Antonio como per la sacrestia como appare nel libro del ducati sette,
.
. .

cento nonantadui,
{-)

d.

VIIc.

LXXXXII.
to

Boudiiii, in his

Guide

lamente restaurate"
IV

in 1771 b}-

Padua, relates that these frescoes "furono belFrancesco Zannoni and Antonio Tentori.

I30

THE PAINTERS OF PADUA, VERONA AND TREYISO.

first,

In the

three different

moments

are united

the Magician

Hermogenes sending forth his disciple to dispute with St. James, the disputation itself and Hermogenes ordering the demons to
bring him St. James and his disciple. The three incidents are united as
if

formmg one scene

in

large building seen in section and composed of a central nave, behind which we see the apse, and two lateral aisles. The second
lunette

shows St. James ordering the demons in his town to bring him Hermogenes who is so surprised at this power greater than

is converted and baptised. The architectural of this scene resembles that of the previous fresco background but is even more complicated. The baptism takes place in the

his

own

that he

interior of a building. The third scene is different

because
is

in

it

we

see the walls of a

city James being led prisoner. Groups of excited people, children and noblemen in beautiful costumes are
St.

towards which

represented. The priests are depicted kneeling in adoration before the saint. To the right we see the decapitation of St. James and Hermogenes, the one having already taken place, the other

awaiting his turn. The fourth scene shows us the transport of the saint's body to Spain, the vessel miraculously guided by an angel; two of the
faithful followers

asking the Countess Lupa, who is seen entering her castle, for a piece of ground in which to bury St. James. They are made prisoner but in the fifth lunette we see them being

set free

by an angel, the countess witnessing the miracle from the heights of the castle. Until now architecture has been given an important part in the portrayal of this narrative, but in the sixth scene it is
replaced by a landscape here is illustrated the story of the two knights who are sent forth to capture the escaped prison;

ers,

into the river

and while crossing a bridge it gives way and they fall and are drowned. Then follows, in the seventh the miracle of the savage bulls which become quiet picture, and submissive on being yoked to the hearse in which the saint's body is being conveyed. This incident takes place in the court-yard of the castle and again there is a great displa}^ of architecture which seems here of finer execution than in the
other paintings.
In the eighth

scene a building divides the

THE PAINTERS OF PADUA, VERONA AND TREVISO.

baptism of the countess,
the

131

ceremony

whom the miracle has converted, from of the consecration of the castle to the veneration

of the saint, which event takes place amidst a large assembly of people.

Besides these eight scenes from the life of the saint, three other incidents, not recorded in the Golden Legend, are illustrated.

Fig. 62. Altichiero, the Battle of Clavigo.

The Chapel

of S. Felice. S. Antonio,
Photo Anderson.

Padua.

They adorn
desist

the

left

of Asturias in a

dream receiving

wall of the chapel and represent Ranieri I a message from St. James to

from the barbarous habit of delivering each year one hundred young girls to the Arabs; the monarch enthroned communicating the vision to his assembled councillors and finally the Arabs defeated in battle outside the walls of the city of Clavigo (fig. 62). In this last scene the buildings of the town form a beautiful background to the calm and in some cases rather

132

THE PAINTERS OF PADUA, VERONA AND TREVISO.

Fig. 63. Altichiero. part of the Crucifixion. The S. Antonio, Padua.

Chapel of S.

Felice,

Photo Anderson.

motionless warriors, over

the saint
1^).

whom

hovers the protecting figure

of

order of events in the legendary version is slighth' different but (') The obviously the painter imagined the story as he has depicted it in these
frescoes.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

133

Fig. 64. Altichiero, part of the Crucifixion. Tiie

Chapel of S. Felice,
Photo Anderson.

S.

Antonio, Padua.

On
64)
is

the wall opposite the entrance the Crucifixion (figs. 63 and represented but the altar is placed so near the wall that
is

is hidden from view. The Saviour surrounded by ten angels flying in the air two soldiers, one raising the sponge towards Christ, stand at the side of the Cross, at the foot of which kneel two women, A group of soldiers and gesticulating Jews are placed on the right while

the centre of the composition

on the Cross

134

THE PAINTERS OF PADUA, VERONA AND T R E\lSO.

from the opposite side approach three persons, probably father, mother and son, and doubtless the donor and his family. Further

away

to the left

we

see a large group of people,

the fainting Virgin tended

by her

faithful

among them friends, and some

women weeping and gesticulating in

There
is

a very realistic manner. and going of people who seem to coming question one another most naturally. Some mounted soldiers are depicted behind and the background is formed by a beautiful
a great

group

cluster of buildings, very like that in the foregoing battle scene. On the other side there are fewer people. Here the principal is composed of the soldiers gambling for Christ's clothes
;

some other

figures

mounted and on
is

while a crenellated castle

seen on

foot are represented behind a mountain to the right of

the background. The two tombs on this same wall are adorned, with a picture of the Resurrection, the founder's the one the other with the Pieta.

On

the right wall near the

windows

the Virgin in majesty

is

represented, seated on aver}- ornate throne adorned with figures of angels, between SS. James and Catherine who present the

donor and his wife, kneeling beside their respective protectors. This fresco is very damaged while the figure of St. Christopher that formed its pendant has entirely disappeared.
Schubring
(^)

executed by four different

believes that the decoration of this chapel was artists, the first of whom he holds

the responsible for the first four and sixth lunettes and perhaps the other three which, however, he is of opinion were design of Batde of painted by a second artist the third artist executed the Clavigo and the fourth the Crucifixion, the scenes in which King
;

Ranieri figures and the last mentioned votive fresco. I see no reason for admitting the co-operation of so many artists
in the
I

execution of the dozen or so frescoes that adorn this chapel. think that there were only two, a master and an assistant, and

that the former painted the Crucifixion, the story of King Ranieri, the fresincluding the Battle of Clavigo, the votive Madonna and

coes above the tombs which consequently were prepared before the death of the persons for whom they were intended. It is true that the batde-scene is somewhat difierent from the others but I

(')

Sr/iiil>ri)ig,

op.

cit., p.

36.

THE PAINTERS OF PADUA, \T.RONA AND TREVISO.

135

attribute this to the retouching which it has undergone and which has deprived it of its original character without giving it another. And we have only to compare the architecture in the background of this picture with that depicted on the left of the Crucifixion to convince ourselves that the two works are by but one artist. The lunettes and accessory figures in the vaults and elsew'here were left to the helper whose brush-strokes are a litde heavier and whose figures, although not lacking spirit, are somewhat more vulgar. With the exception of the fourth and sixth
lunettes, this subordinate artist was left quite free in his architect-

ural depictions.

The principal painter was

doubtless Altichiero

whom we shall

find active in the chapel of S. Giorgio, but the second artist cannot be identified with Avanzo who has left us a signed work
in this same chapel and thus disposes of the hypothesis that Avanzo collaborated with Altichiero in the decoration of the

S. Felice chapel.

The construction of the chapel of S. Giorgio was also ordered by a member of the Soragna famih'. According to an inscription on the facade, it was founded in 1377 by Raimundino, the brother
of Bonifazio, but, as may be gathered from a commemorative stone inside the chapel, he died two years later. In 1384 his brother obtained permission to complete the work. At Raimun-

was alread}' finished because an monument, which for a long time was thought to be the tomb of St. Antony, was erected in the interior. The frescoes were at one time v^'hite-washed and were not
dino's death, the construction

enormous

architectural

brought
It is

to light until 1837

(^).

quite possible that the mural decoration was not started until after the founder's death. If such be the case, it must have

worked

been Bonifazio Lupi who asked the same painter who had for him on the previous occasion, to undertake the adornment of this chapel; this time, however, he brought another collaborator.

The

plan of the decoration

is

as follows

the chapel

is

divided

broadwise into three vaults each one containing

E. Foerster, Die

five medallions

(')

Wandgemalde der S. Georgenkapelle

in

Padua, Kunst-

blatt,

1838 and Berlin, 1841.

136

THE PAINTERS OF PADUA, VERONA AND TREVISO.

almost effaced
;

one can still distinguish the symbols of the Evangelists, prophets, the Fathers ofthe Church and in the centre the Almighty, the Redeemer and the Virgin. A frieze of forty-four medallions divides the vaults from the walls, while a number of half-length figures surrounds the windows. Two rows of paintings,

now

each of four divisions, occupy the lateral walls.

On

the

left^

above, we see two scenes from the life of St. George while a votive painting, the donor and his family kneeling before the Virgin, occupies the two other compartments; below all four
scenes illustrate other incidents from the legend of St. George. The frescoes on the opposite wall show, above, scenes from the
life

of St. Catherine and below, from that of St. Lucy. On the entrance wall we see high up the Annunciation, at a lower level
the Adoration of the Shepherds and the Adoration ofthe Magi, and below, already separated by the upper part of the door-way,
the Flight into Egypt and the Presentation in the Temple. The altar-wall is adorned with the Coronation of the Virgin above

and below with the Crucifixion.

Everyone who has studied the question is of opinion that the who worked in the S. Felice chapel was also active here, but no one agrees which part of the decoration should be ascribed to him and which to the collaborating master (^). The question is difficult and complicated for in comparing these frescoes, knowing at the same time that they are by two different artists, we must admit that one is the alter ego ofthe other. Yet, it is beyond doubt that two painters took part in this mural decoration, the resemblance of part of which to the best
artist

frescoes in the S.Felice chapel determines the presence of one, who is certainly Altichiero, while the signature of the other

Avanzo
(^)

has been read below one

of the frescoes in this

Vasari,

who speaks

of a fresco ofthe Last Supper in this chapel, simply

says that the

upper part was by Avanzo and the lower frescoes by Altichiero.

;

For other opinions, v. reiiftui, op. cit., V, p. 986 .SV/'//Z)r///^, op. cit., p. 66. Selvaiico, in a Guide to Padua of 1848, professes to have read under the fresco of the baptism of King Sevio an inscription which would point to the completion of an undertaking and from which Sc/mhring, op. cit., p. 52, infers that from that moment we can admit the presence of a third artist. Later
Schiibring, in Thieme-Becker, Kiinstler Lexikon,lI, p. 270, attributes, part ot the frescoes to this unknown painter. For the attribution of some ofthe pain-

tmgs,

V. also /. Schlosser,

Oberitalienische Trecentisten, Leipzig (1921).

Fig. 65. Altichiero, the

Coronation of the Virgin.

St.

George's Chapel. Padua.

Photo Anderson.

138

THE PAINTERS OF PADUA, VERONA AND TREVISO.

however some
faint differences to

Coronation of the Virgin (fig. 65) in which the Virgin and the Saviour are seated on a throne resembling a Gothic church and are surrounded by large groups of angelic musicians, the two scenes from the life of St. George in the upper row, as well as the fresco in which the founder and his famil}' adore the Virgin, and three of the paintings below. In the first fresco, we see St, George killing the dragon just outside the gate of a cit}' over the crenellated walls of which the king and his suite look on
to ascribe to Altichiero the
;

sanctuaiy. There are discovered which lead

be

me

the rather ungainly figure of the princess is half hidden behind the saint's horse (fig. 661. The baptism of King Sevio forms the

takes place in a spot surrounded by magnificent buildings, among which a great many people are depicted. The next scene illustrates St. George
subject of the following fresco;
it

drinking a cup of poison without receiving an}' harm thereb}' a miracle that resulted in the conversion of the magician who had prepared the potion. The incident occurs in the court;

yard of an imposing palace, from the windows of which man\' persons look down at the saint and the surrounding mob. Altichiero's
this

manner
in

and break in the which the saint had been brought by force to adore them. The picture which separates these last two frescoes and which represents St. George mart^Ted on the wheel is decidedh' b}' the other artist who worked here, and one wonders if the scene at either side might not also be from this hand, especially as Altichiero's manner is again very evident in the last fresco. This one represents the
row,
fall

temple

a building always in the samic style

here less evident, as also which the statues of pagan gods

is

in the third

scene of

to

decapitation of St. George who is seen kneeling in front of a row of soldiers a town is depicted on the left of the landscape which forms the background to the scene.
;

On

below the

the opposite wall, Avanzo's signature was discovered last scene from the legend of St. Lucy. However, as

the purport of the inscription is unknown, we cannot be sure that it was onl}' this fresco that the artist signed on the contrary it seems to me highl}^ probable that the inscription bore reference
;

to the artist's entire activit}' in the chapel. The representations from the life of St. Catherine, above,

seem

THE PAINTERS OF PADUA, VERONA AND TREMSO.

lliliiiiiliiix.Mii|iiiLi

139

iiiqwf

Fig. 66. Altichiero, St.

George

killing the dragon. St. George's Chapel,

Padua.
Photo Anderson.

to be again

from the hand of Altichiero but

am

inclined to

admit here of Avanzo.

also, not the collaboration,

but rather the assistance

The first scene, representing St. Catherine's refusal to sacrifice to the heathen idols, is full of movement, for the Christians do not perceive the princess's disdain until the}', themselves, out of
fear

have bent

to adore.

The

painting

is

badly damaged as

is

I40
also

THE PAINTERS OF PADUA, VERONA AND TREVISO.

the

the saint following one in which three moments with the philosophers, their preparation for martyrconversing were united. In both frescoes^ dom and their death by fire

Fig. 67. Altichiero, the Decapitation of St. Catherine. St. George's

ChapeL

Padua.
Photo Anderson.

however, fragments of important pieces of achitecture are still visible. The next scene is in a less ruined condition and shows us how the wheel on which the saint was about to be tortured breaks and falls on her oppressors. Many people looking from the windows of a curious-shaped building are seen drawing back

THE PAINTERS OF PADUA, VERONA AND TREVISO.

in fright.

141

The hand

of Altichiero

scene of the saint's decapitation

again very obvious in the (fig. 67) which takes place outis
;

side the gate of a city and before a group of soldiers against the rocky landscape on the right we see two angels carrying away

the saint's soul

and higher up another two apparentl}' close

(fig.

her

coffin.

The

fresco of the Crucifixion

68)

above the

altar is almost

Fig. 68. Altichiero, a detail of the Crucifixion. St.

George's Chapel, Padua.

Photo Anderson.

certainl}' also

by Altichiero. The two criminals are represented one of the angels flying around carries away the soul of the one who repented. Below the Cross many soldiers on foot and on horseback intermingle with the faithful,
at the sides of Christ
;

among whom

the fainting Virgin has almost fallen to the ground.

Some

of the figures seem to have been copied from the composition of this subject in the S. Felice chapel.

The five
Virgin
in

scenes on the entrance wall are of simple composition

figures. In the

and comprise but few

Annunciation
flies.

we

see the

her room, towards which the angel

The Adoration

142

THE PAINTERS OF PADUA, VERONA AND TREVISO.

;

of the Shepherds (fig. 69) takes place in a rocky landscape the Virgin with the Child lying on her knee sits on the threshold of a little wooden hut built against the rocks; St. Joseph stands

outside leaning his elbow on the side of the cabin, while the shepherds approach from the left; they are depicted a second

Fig 69. Altichiero, the Adoration of the Shepherds. Padua.

St.

George's Chapel,
Photo Anderson.

time, in the distance receiving the angel's

is

message. This fresco

very characteristic of Altichiero's manner. The Adoration of the Magi occurs on the

same

spot, seen

however at another angle. Angels are now depicted b}' the Virgin's side before the Infant Christ kneels one of the kings while the others stand behind their servants in exotic costumes
; ;

are looking after the animals.

The

Flight into

distinguish

somewhat damaged, but one can still Joseph leading the ass in a somewhat deserted landEgypt
is

THE PAINTERS OF PADUA, VERONA AND TREVISO.

143

scape while the servant has stopped behind to quench his thirst at a spring. A town is represented high up in the mountains. The Presentation in the Temple (fig. 70) is placed in the
interior of a

very elaborate Gothic cathedral. The parents with companion approach from the left towards the priest who
;

receives the Infant from His Mother's arms

on the other side the

Fig. 70. Altichiero. the Presentation in the

Temple.

St.

George's Chapel,
Photo Anderson.

Padua.

prophetess

Anna

is

seen indicating the principal group to three

women. Avanzo

probabl}^ helped Altichiero in the execution of several of these frescoes. It is likely that we also owe to Avanzo the

decorative part, such as the figures in the vault, in the frieze and around the windows, as well as the four scenes from the life of
St.

Lucy, and, as the opposite wall

said before, the

in front

martyrdom of St. George on

;

(fig. 71).

This scene

is

shown

of a Gothic palace

two angels

144

THE PAINTERS OF PADUA, VERONA AND TREVISO..

descend and destro}" with their swords the wheel to which the was about to be attached the torturers are terror-stricken while the people who had gathered to witness the event draw back in fear. Within the building we see, on the left, the baptism of the magician who had prepared the poisoned drink and on the right the saint appearing for the second time before KingDacian,
saint
;

the

moment

after the

martyrdom.

Fig. 71.

Avanzo, the Martyrdom of St. George.

St.

George's Chapel, Padua.

Photo Anderson.

The
by

series

from the

life

of St.

Lucy begins with

the mart3T led

soldiers before her Judge (fig. 72). The saint is conducted into the small court-3'ard of a Gothic building in the loggia ot which are seated the judge and members

of his

staff.

The second

.scene

shows us

St.

Lucy standing immo-

oxen, dragging with all their force and with much persuasion from the herdsmen, are unable to move her (fig.73 and plate II). The miracle takes place in a crowded street
bile despite the fact that six

which the Gothic houses on one side form the background. Then follows the martyrdom of St, Lucy in which we see her
of

^H

THE PAINTERS OF PADUA, VERONA AND TREVISO.

tortured
b}' fire, in

145

different parts of
this

boiling oil and stabbed with daggers, in three one building (fig. 74). The central division of fresco shows us an interesting stud}' of the nude. The last

Fig. 72.

Avanzo,

St. Luc}-

before her Judge. St George's Chapel, Padua.

Photo Anderson.

fresco depicts the saint's funeral

in the

portico of a beautiful

represented lying on her bier surrounded by priests and faithful friends; to the left, through a window of the church, we see St. Luc}" receiving the Last Sacrament (fig. 75). It was underneath this fresco that the famous signature of

Gothic church she

is

IV

10

146

THE PAINTERS OE PADUA, VERONA AND TREVISO.

Fig. 73.

Avanzo. a Miracle of St.

Lucn^'s. St.

George's Chapel, Padua.

Photo Ander.son.^

Avanzo was
in

inscribed. have to place our trust in those who, former days, were able to decipher the inscription, for all that remains now is some vague trace of lettering, which can be interpreted in almost any manner. The first to read the signature was Foerster who made it out " to be ''AvdJitus Ve and thinking the first name might
:

We

THE PAINTERS OE PADUA, VERONA AND TREVISO.

147

Fig. 74.

Avanzo, the Martyrdom of

Padua.

St.

Lucy.

St.

George's' Chapel,
Photo Anderson,

perhaps have been Avantiis he completed the inscription as

^^
.

Jocohiis de Avantiis J^eronensts" After that. Marquis Selvatico in the 1842 and 1846 editions of his guide to Padua relates that he discovered the name

Jacobus but

in

1869 he denies

this,

saying that the signature

148

THE PAINTERS OF PADUA, \'ERONA AND TREVISO.

^7v^^>:^v>>>>>^^

g^X'^^Jg^vX'^>K

Fig. 75.

Avanzo, the Funeral of St. Lucy.

St.

George's Chapel. Padua.

Photo Anderson*

found there \Ya.s:"Ai'aficiiis Ve In 1852 Gonzati covered the following two-lined inscription ix (?) Avancius hoc ps pinxit ms nov .... ma me (-).
:

"

(^)

dis-

(^)

Gonsati, op.

cit

I,

p. 282,

affirms that the

name was

written in red, over^^/loc

laid in black.
(")

Schiibring, op.

cit.,

p. 67,

completes

this last line as:

to

optts pinxit

mense Noveiiibris

aiiiiiia

niea" which

seems

me

rather incoherent.

THE PALNTERS OF PADUA, VERONA AND TREVISO.

From
all this

149

can come to the conclusion that the name inscribed was a Latin form ofAvanzo,andSchubring's statement that there was no room in the inscription for other words
excludes Foerster's hypothesis regarding the prenomen Jacobus; with this also falls through the interpretation oi Avantiis for the

we

form necessitates the existence of a prenomen. It seems to me that the only reason Vasari, the "Anonimo Morelliano", Foerster and Selvatico had for wishing to place the name Jacobus before that oi Avanzo and for changing, on account of this, the second name of d'Avanso or Davanzo, was only caused b}^ their conviction that the signature was that
second word, since
this

of theBolognese painter, Avanzi, All the old writers who give the

who really had

name

this

prenomen.

who was active in Padua who call him Bolognese. We have

believe that our artist's forename

of Jacobus to the painter are, for the greater part, also those

consequently no reason to
of the painter,

Whether

the Ve... that was seen after the

was Jacobus. name

can be interpreted as Veroitensis or not is a question which has given rise to a certain amount of unfruitful controversy between Bernasconi and Lauderchi, who, at the same time, tried to throw
light on the problem which of the two painters was the master and which the assistant (^). Although we cannot be certain about it, the documents concerning the S. Felice chapel, nevertheless, lead us to suppose that Altichiero was the principal artist employed here and the author of the best frescoes a comparison forces us to ascribe
;

some

him a considerable number of the paintings in the S. Giorgio chapel, and just those which are superior to that part of the decoration near which Avanzo's signature was found.
to

think, however, that all the frescoes of the latter chapel belong to the art of Altichiero who must have directed the whole enterprise but who found in Avanzo a faithful and skilled helper
I

who way

yielded to his guidance and inspiration, much in the same as Lippo Memmi did to Simone Martini, and whose only

shortcoming, probabh% w^as his lack of originality. The variety of opinion about which of the different frescoes
C.

(')

XIV e XV

Bernasconi, Studi sopra la storia della pittura italiana dei secoli e della scuola pittorica Veronese Verona, 1864, pp. 35, 165 and 179.

150

THE PAINTERS OF PADUA, VERONA AND TREVISO.

to the

should be attributed
in itself to

one and which

to the other suffices

artists

demonstrate to what extent the manners of the two resemble one another; however comparing Altichiero's

painting, as we know it from the frescoes in the S. Felice chapel, with that w^hich, in the oratory of S. Giorgio, we believe to be from the other hand, I should saj'that the fundamental difference lies in a soberness and concentration found in the former's works

and not

in the latter's, not only in the

compositions but also in the

figures and the

faces. Especially in the portra3'al of the features, Altichiero obtains a beaut}' and refinement w^anting in the art of

faces are less expressive and less fine, whose proportions are less perfect and whose drawing is a httle heavier. The t^'pes however are the same in both cases and in their general

Avanzo whose

tendencies the two artists offer no variet}' of manner. There are only two other works, both frescoes, one in Padua, the other in Verona, that I think should be attributed to Altichiero.

The former is

the fresco above Dotto's tomb in the chapel to the of the choir in the Eremitani church; the principal part right represents the Coronation of the Virgin who with the Saviour is

depicted sitting on a large monumental throne. A kneeling knight presented b}' a saint and two other figures are seen to either side while eight medallions with saints' busts fine the arch, above which is represented the Annunciation; in one spandrel we see the Virgin sitting in a loggia while in the other is the kneeling
figure of the angel. Four somewhat effaced figures of saints are and I think depicted around the sepulchre. I am of opinion

few can doubt

Coronation

it

that this fresco

is

by the same

artist as the

Giorgio chapel. in Verona adorns the chapel of the Cavalli in St. Anastasia is more important (fig. 76) (0- The scene famil}' is placed in a Gothic hall at one end of which the Virgin is seated

in the S.

The

fresco

which

on a canopied throne surrounded b}- angels. The Child Jesus, bending forward on His Mother's knee, stretches out His hands to the first of the three Cavalli who, one behind the other, each accompanied b}' his holy protector, kneel before Him. The attitude of the Child, the knights and saints in costumes of the period,
C. Cipolla,

(')

Ricerche storiche intorno

alia chiesa di S.

Anastasia, L'Arte,

1914, p. 413-

THE PAINTERS OF PADUA, VERONA AND TREVISO.

151

Fig. 76. Altichiero.

Madonna and

adorers. Cavalli Chapel, St. Anastasia,

Photo Alinan.

Verona.

who

the eloquent gestures of the latter, as well as the pose of the angel has raised the curtain dividing the site of the event from

the rest of the hall,

all

give to this fresco the intimac}^ of a "scene

de genre".

152

THE PAINTERS OF PADUA, VERONA AND TREVISO.

most

Some of the figures in this picture are among the beautiful that Altichiero ever depicted. Federigo Cavalh,
is

who
was

buried here, died in 1390, and executed shortly after his death.

in all probability the fresco

One

of the figures mentioned by the

"Anonimo"

in the

Giant's

Hall of the Palazzo del Capitano delPopolo, Padua, still remains visible. It is a very damaged and considerably restored image of

Petrarch at his desk and is found in a room which nowadays forms part of the University Library. It seems quite probable that this is a work from the hand of Altichiero which, besides, would confirm the information furnished by Savonarola that the artist decorated the Carrara palace in Padua (M. Altichiero dominated the school of painting of the end of the

Padua as well as in Verona. In the former city some individual adherents of slightly later date, such as Giusto di Menabuoi and Jacopo da Verona, but besides their productions, there are a number of anonymous paintings
14th century in

Altichiero had

in

which

his direct influence

is

manifest.

The

artist

whom
is

think

with the master,

the

we should associate most closely one who decorated the tomb of Federigo

died in 1373 and was buried in the church of Lavellongo S. Antonio. Here the Virgin is represented seated on a globe,

who

surrounded by six angels some of

whom indicate the knight, stretched on the ground while others completely mailed, apparently the same but depictpresent to the Virgin a knight ed a second time kneeling in adoration.
who
is

Altichiero's influence

seems

to

have been

less direct

on

th*e

executed some isolated figures of saints and the painter Madonna and Child between two saints in a chapel the one
to the right of St.

who

Antony's

in the basilica of S. Antonio.

In the cloister, the Bolfaro tomb, constructed

between 1382 and

1390, is, apart from the beautiful sculptures, adorned with a fresco of the Coronation of the Virgin, which, although somewhat repainted, shows some of the characteristics of Altichiero's art.

In the corridor leading from the church to the cloister, the sepulchre of Bolzanello and Niccolo da Vigonza of about 1380

V.

Signor Moschetti's attribution to Guariento seems to A. Moschetti, Padova, Bergamo, 1912, p. 62.

me

incorrect,

Fig. 77

School of Altichiero, the Coronation of the Virgin. Museum. Padua. Photo 1st. .Art. Gi-af.

154
is

THE PAINTERS OF PADUA, \'ERONA AND TREVISO.

;

here she

also decorated with a painting of the Coronation of the Virgin is depicted sitting on an architectural throne amidst

man}' saints and surromided by a series of medallions. The work has obviousl}' been inspired b}^ Altichiero. Other works belonging to Altichiero's school are found in the
Eremitani church. In the chapel to the
left

of the choir there are

of isolated figures of saints as well as a Madonna with a devotee on a tomb of 1381 all are considerably damaged but nevertheless the st3de, in which Altichiero's influence is

some fragments

evident, can

still

be recognized
still

(\).

Besides the decoration of

Dotto's tomb, there

exist in the chapel to the right

some

remnants of mural decoration. A ver}' damaged detached fresco representing the Coronation of the Virgin amidst angels making music and offering flowers, and surrounded b}' a border of medallions, is preserved in the

town

galler}- (fig. 77). It is the

work
it

of a ver}'

chiero's. In the

same

galler}' we

find a

representing the head of a saint; but is of little importance.

pupil of Altiof another fresco fragment belongs to the same school

good

Of the
mates
ion

to Altichiero's
in the

paintings in Verona, the one that most closely approximanner is a detached fresco of the Crucifix-

now

town

galler}- (no. 513, fig. 78),

but originally in the

cloister of the Trinita church.

The

attribution to the master

himself that we find in the catalogue, is not entirel}- without foundation, especially if we consider the present restored and repainted condition of the work. However, I think it more prudas a school production but by a pupil whose style shows a strong resemblance to the master's. Fifteen angels fly around the Crucified, while below, large groups of people,

ent to

classif}'

it

some on horseback,

are

massed around the Cross among them

;

are to be noted the Magdalene clinging to the foot of the Cross and the Virgin fainting in the arms of her companions.

Some

Sta. Felicita,

other fragments of fresco painting from the church of now in the same museum (nos. 519 38, fig. 79) are

also attributed to Altichiero in the catalogue. Again his inspiration is very clear but the author of these was manifestl}' not so

(^)

Sc/nibriiio; op.

cit.,

p. 86, is

of opinion that the isolated figures have a

pronounced Florentine character.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

155

closely connected with the master as the foregoing. The greater part of these remnants are heads of isolated saints, but there is

Madonna with some half-length figures which no doubt once formed part of a scene. Above two of the entrances to the church of S. Fermo, we find a representation of the Crucifixion the one in the lunette over
also a
;

Fig. 78

School of Alticliiero, the Crucifixion. Museum, Verona.

Photo Lotze.

we

the lateral door has been rightl}' ascribed to Turone with whom shall deal later on the other belongs to the school that we
;

have

under discussion. This work is considerably To the right of the Cross are depicted four saints and repainted. to the left five, one of whom seems to be the holy protector of
at present

the donor, a knight clad in a coat of mail

(fig.

who

kneels at this side

80).

Another work belonging to Altichiero's school is a fresco of 1397 on the left wall of the church of S. Zeno; it was executed
for Pietro Paolo dei Capelli

whom we

see kneeling with other

156

THE PAL\TERS OF PADUA, VERONA AND TREVISO.

Fig. 79.

School of Altichiero, fresco fragments. Museum, Verona.

Photo Lotze.

monks

before "the Virgin enthroned and escorted by saints.

More

closely analogous to Altichiero's own works is a fresco of the Madonna with two saints and a child kneeling in adoration, in the church of S. Stefano.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

157

Fig. 80. School of Altichiero, the Crucifixion. S.

Fermo, Verona.
Photo Brogi.

158

THE PAINTERS OE PADUA, VERONA AND TREVISO.

lunette over the

The

tomb of theBevilaqua family

in the Pelle-

grini chapel of St.Anastasia is adorned with an important fresco, but it is of slightly later date and might have been executed

even after 1400. It shows us the Virgin on a monumental throne around which fly four angels; she is escorted by five saints while to either side of the steps of the throne kneels a knight; the one

accompanied by his little son towards whom the Child Jesus, leaning over His Mother's arm, eagerly stretches out His hand (fig. 81). It is a beautiful painting and, although more evolved, can still be ranked as a production of Altichiero's
on the right
is

school Q).
In the Cavalli chapel of the same church, we find, besides the fine fresco by Altichiero himself, another by a faithful adherent,

representing St. Eligio working in his smithy

(^).

We cannot really classify Altichiero and Avanzo as true Giottesque

artists,

even though

their art

was

in all

probabihty based
also deserves a

on

Giotto's,

whose Paduan

series of frescoes

was always under

their eye and whose reported visit to certain amount of consideration.

Verona

produced a popular narrative art, and his ample majestic figures show much resemblance to those of the great Florentine. The differences however are many and of
Altichiero, hke Giotto,

great importance. His frescoes, besides showing a slight dissimilarity of iconography, do not portray, before everything else, the psychological side of the event, but rather tend to form
beautiful pictures of extensive
ally

comprising numerous

and elaborate composition, generfigures, and reproducing the impres-

sion of a

moment

rather than dramatic action.

The

latter are

less expressive of tragic action

is

than

in Giotto^s art,

but there

a greater diversity of type which gives a very individual character to his works. As Schubring remarks, it is the be-

ginning of portrait painting.

Some
(*)

of his frescoes

show us

the genuine "scenes de genre"

238,

C. Cipolla, op. cit. 1914, p. 402. Crowe and Cavalcaselle, op. cit., Ill, p. mention a fresco of Altichiero's school in a palace in the Piazza dei Signori of which I can find no trace.
(2)

Mediii,

La leggenda profana

di S. Eligio e la

sua iconografica Atti del

799.

R.

Istit.

Venet.

di Scien. Lett, e Arte,

LXX, 1910 11, p.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

159

Fig. 81.

Evolved follower of Altichiero, Madonna,

St.

saints

and adorers.
Photo Lotze.

Anastasia, Verona.

peculiar to more northern countries (0; they are characterized by the abundance of detail, the natural attitudes of those taking
part, the faithful reproduction of

contemporary costumes, arms and other instruments, the depiction of dogs in spaces not other(')

Although

it

must be admitted

that the

examples

we find in Germanic

countries are of slightly later date.

i6o

THE PAINTERS OF PADUA, VERONA AND TREVISO.

The

wise occupied, and, above all, by the richness of architecture. last mentioned is an element that entirel}- separates the

artist

from the Giottesque

the

tradition.
full

Altichiero and

Avanzo show us compositions

did not provide

of figures,

and

if

moment represented
it

sufficient material,

then the

artists united several incidents

is

on one

picture. Giotto
in

rarel}' did this, but

more commonl}' met with

Sienese

painting. Moreover, the sense of beaut}' and the minute treatment, especiall}' of the features, but of other details as well, are

factors

attention

whose origin must be looked for in Siena, where more was also paid to architectural backgrounds.
is ver}'

The

architecture itself
it

different to that

which we

find

in Sienese painting;

fulfils

positions in

which
it

it is

quite another function in the combut little less important than the figures

unites to form a complete image. The artist's taste for architecture is abundantl}' displa3-ed in the great diversit}' of buildings he depicts in his works there

with which

are even instances where, according to the text, the architecture should not var}' as in the different events in the Countess
that the painter shows Lupa's castle in the S. Felice chapel us buildings dissimilar one from the other. Venetian architecture

was

imitated in Verona, but the probability is that man}' of Altichiero's beautiful motifs were freely copied from buildings he had seen in Venice as for the style and manner in which they
;

are emplo3'ed, both are quite different from an3'thing we find in the Florentine school. Still, certain details seem to have been

borrowed from Giottesque

artists; thus in the fresco of

King

Ranieri taking counsel, in the Presentation in the Temple and the central part of the martyrdom of St. Luc}', there is a loggia

with a low wall, very similar to that which the so-called Maso shows us in his frescoes in Sta. Croce, Florence; the balcony

from which the judge looks down

at the saint's torture in the last

of these scenes, or in the miracle of the six oxen seems to be

another feature adopted from Florentine art. The painter obtains some remarkable effects of perspective which, however, is not
alwa^'S absolutel}' exact this is markedl}' noticeable in the first lunette of the S. Felice chapel where the angle that the aisles
;

form with the apse is ver}' peculiar. A comparison of the architectural backgrounds of Altichiero

THE PAINTERS OF PADUA, VERONA AND TREVISO.

and Avanzo with those
is

i6i

sufficient to

that Semitecolo shows in his four panels convince us that it was here our artists borrowed

their ideas, motifs

sor's, the

and technique. In

their art, as in their precur-

marked perspective of the backgrounds gives a greater

depth to their pictures and adds to the field of action. The architectural backgrounds in the Presentation in the Temple and the death of St. Lucy are but more finished renderings of what we
find in Semitecolo's

and
the

entombment of St. Sebastian; Altichiero however place their figures more skilful!}* in companion interior of the buildings and not before them as the earher
his

artist did.

There has been a great deal of controversy about the origin of Altichiero and Avanzo's art and whether its foundations were
laid in

Verona or Padua

(^).

From documentar}* evidence we gath-

er that Altichiero

Veronese and Avanzo, Paduan. Certainl}* as a link between Giotto and the Giottesque and Altichiero and Avanzo, Padua possessed the masters Guariento and Semitecolo whose influence on our artists was very great I would even say that in Altichiero's types and technique,
in all probability
;

was

there are certain features strongly reminiscent of Guariento's art. Guariento's Coronation of the Virgin in Venice seems to have inspired Altichiero in his representation of this subject in
the S. Giorgio chapel, while the imposing architectural throne he depicts therein is clearl}' the model adopted b}* i\ltichiero

and Avanzo.

On

the other hand, prior to this,

Verona had produced no

artists of great skill,

anyway

not one of sufficient force for us to

look upon him as the master of Altichiero and Avanzo, and I wonder what painters Messrs A. Venturi and Testi had in mind

our artists were Veronese masters of a previous generation. spired by

for once they agree in thinking that
I

when

in-

incHned to admit, therefore, that circumstances in Padua were more favourable to the formation of this art; Giotto, Guariento

am

and Semitecolo are not in themselves however sufiicient it, and apart from our artists' extraordinary personal I think that we are forced to admit an talents, acquaintance with
to explain

(1) Regarding this question, v. /. I'on Sc/dosser, Ein Veronesisches Bilderbuch u. die hofische Kunst des XIV Jahrh., Jahrb. der Kunsth. Samml. d. AUerh. Kaiserhauses. XVI.

IV

II

i62

THE PAINTERS OF PADUA, VERONA AND TRE VISO.

the Sienese school and a fairly strong influence from the North, where, though the extant instances are of slightly later date,

"scenes de genre" had already probably

in

German mural

decoration,

made their appearance and where illustrations from the

lives of

noblemen and other secular representations were very much in vogue. This was especially the case in South Germany and Tyrol where the frescoes in the castles of Runkelstein and Lichtenberg are the best known examples of this branch of art
in the 14th
I

century
find in

(/).

do not

our

artists' style

much connection with

the

Lombards or with Antonio Veneziano, for the spirit of their art is much more modern and of a much higher aesthetic level. The
two nude
demonstrate the
introduced.
figures in the S. Giorgio chapel are alone sufficient to new artistic conceptions that these painters

The

frescoes of Altichiero and Avanzo are the finest manifest-

ation of the artistic

movement which

existed at that

moment

in

Verona, Padua and Treviso and in which we might even include the painted tombs, that I have already mentioned, in the church of Sta. Corona in Vicenza. It is a movement in which elements from Florence, Siena and perhaps also from Germany unite and
the greatest Italian painter of the the genius of Altichiero outside Tuscany made of this composite art a 14th century

fairly independent school. The type of Madonna on the imposing architectural throne which they seem to have borrowed

new and

from Guariento, spread throughout Northern by means of Nelli, even into Umbria.
Padua's most capable
artists,

Italy,

Emilia and,,

after Altichiero
(-).

and Avanzo,

was Giusto Menabuoi

great problem in one, however, that I do not think very diflicult to solve connection with this painter is whether it was he or Antonio and

or "da Padova"

The

(') H. Janitscheck, Gesch. d. Deut. Malerei, Berlin, 1890, p. 198. O. Doering^ Deutschlands Mittelalterl. Kunstdenkmaler als Geschichtsquelle, Leipz., 1910. p. 328. Wolfniaiin 11 W^o^r/^rt;?;/, Die Malerei desMittelalt. bearbeitet von M. Bernath. Leipz., 1916, p. 208. /. von Schlosser, Die Wandgemalde aus Schloss Lichtenberg in Tirol, Vienna, 1916. F. Bilrger, Die Deutsche

Malerei,
(^)

11,

p. 232.

J.

von Schlosser,
d.

Giusto"'s

Fresken

in

Padua, Jahrb. der Kunsthist.

Samml.

Allerh. Kaiserh., 1896.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

163

Giovanni daPadova who executed the frescoes in the Baptistery of their native town. Giusto was the son of Giovanni di Menabuoi of Florence (^),

and his name appears in the roll of painters of this city in 1387. He was made a citizen of Padua during the life of Francesco Carrara (') We know that a Madonna of 1363 from his hand
existed in Milan (') and there is a signed triptych of 1367 in the National Gallery, London, while from hearsay we learn that he to the right in the Eremitani decorated St. Augustine's chapel constructed in 1370 and destroyed in 1610. which was church

not ascribe to him the frescoes in the chapel Luca Belludi on the left of the choir of S. Antonio which was built in 1382, we have no mention of him until 1400, the date inscribed on the tombstone of his two sons. A statement made by the "Anonimo"* has given rise to some

Then,

if

we do

of the Blessed

confusion with regard to this artist's works, for this writer, generally very accurate, informs us that above the door leading to the cloister of the Baptistery, which contains this painter's

most extensive production, the signature: ''Opus Joaniiis et Antonii di Padua" was inscribed, and comparing these frescoes with those in the chapel of the Blessed Luca Belludi, he discovers such a striking resemblance that he ascribes them all to the same hand. Although this declaration, and above all the precision with which he asserts it, are of some importance, all the same I do not
think that the statement can be exact. Savonarola, who, asSignor Moschetti remarks (^), was born before Giusto's death, says
in his description

of

Padua

that

it

was

this artist

who

executed

the Baptistery frescoes as well as those of the Blessed Luca's chapel. Campagnola, Rizzo and Vasari are all of the same opinion.

but Rizzo calls (') Campagnola affirms that Giusto too was Florentine, him Paduan the inscription on his sons' tomb ran " fiUi quondam
:
;

Magistn
(-)
(')

quifnit de Florentia'\ Bandolesi, Pitture di Padova, etc., Padua, 1795, p. 281. Croive and Cavalcaselle, p. 240. The picture belonged to a Dr. Fasi and
Jitsti pictoris

according to Cavalcaselle bore a strong resemblance to Gaddi's works. The signature was:" Justus pinxit Hoc opus fecit fieri Dona Soror ixotta,fillia qdain Dni Simonis de Tersago MCCCLXIII mesis Martit".
{*}

A. Moschetti, Antonio da Padova, in Thieme-Becker, Kiinstler Lexikon,

II,

p. 4.

i64

THE PAINTERS OF PADUA, VERONA AND TREVISO.

Moschini has since expounded the hypothesis that Giusto, with whom he associates Altichiero, painted the external decoration of the Baptistery, long since disappeared, while Antonio and Giovanni should be held responsible for that of the interior (^j,
but nowada3's the contrary is more freely admitted. Moschini himself in later 3'ears seems to have changed his mind about this
question. In any case
I

feel

sure that the frescoes in the interior of the

Baptistery are b}^ the same hand that executed the tript3'ch in the National Gallery, consequently b}' Giusto da Padova. In

Antonio and Giovanni da Padova disappear from our horizon, for there is not one other work that can be assigned to them, and the inscription recorded b}' the "Anonimo" must have been in connection with some other activity, either the frescoes on the outside or even some architectural work, since, although there is no lack of painters of the name of Antonio in
admitting
this,

Padua

(-),

there

is

nothing to prove that

this inscription

bears

reference to a pictorial decoration. It is but natural that the triptych in the National Galler}^, London (no. 701, fig. 82) (') has all the appearances of a Florentine

work

for

it

prior to his settling in

probably dates from that period of the artist's career Padua. It is true that the Coronation of

the Virgin
it is

was the favourite subject of North Italian painters but also a composition well represented in the Florentine school. Daddi shows it to us in his triptych now in Berlin, and Giusto's
London seems

to have been inspired, not only in the but also in technique and sentiment, by general arrangement Daddi's art. In the centre we see a group of saints around the

painting in

in the older artist's work, while in the wings are the and Crucifixion with a figure of the Annunciation above either scene, as in all the tript3'chs b}' Daddi and his followers. In the sweetness of expression and beaut}' of form, a similar degree of Sienese influence is manifest. The Gothic throne fol-

throne as
Nativit}'

{^)

G. Moschini, Delia origine

etc.

della pittura padovana, Padua, 1826,

pp. II
('^)

and

21.
cit.

A. Moschetti, op.

This picture was the propert}- of Prince Ludwig von Oettingen Wallerstein but afterwards passed into the collection of Albert, Prince
(^)

Consort.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

165

lows a Florentine model, but one, however, which does not appear in the group of works with which we have compared the picture; Giusto on account of his late date cannot have been one
of Daddi's
is:
is

own

pupils.

The

date

we
"

see at the foot of the picture

the signature: inscribed on the back.

MCCCLXVII ;

Justus pinxit

in

Archa"

(?)

jj^jiiirliiHim'

iiii'i'^

i '"

'

i' i

iiii . ii

.Jii r 'Wi
i

ii

.ri i..itfnntlin<M^ij !itiin

i

ii

?i<

ir

iy> ,

Fig. 82. Giusto da

Padova, Triptych, 1367. National Gallery, London.

of a mid-wife

curious iconographical detail in the Nativity is the presence who receives the Child from His Mother's arms

while another waits near the bath.

The

external surface of the

wings

adorned with three rows of scenes illustrating the story of the Virgin; the}' are: Joachim driven from the Temple, the angel appearing to Joachim, the Meeting at the Golden Gate, the Nativity of the Virgin Mary, her Presentation in the Temple and
is

her Marriage. All the scenes display the qualities of the best

i66

THE PAINTERS OF PADUA, VERONA AND TREVISO.

;

works of Daddi's school

corresponds BaroncelH chapel.
to

in

many

that

of

Taddeo Gaddi's decoration

instances the iconography' in the

considerable lapse of time must certainl}' have passed between the execution of this tript^xh a work undoubtedly in Florence and that of the frescoes in the Baptistery painted

of Padua.
activity in

We

know

nothing concerning the date of Giusto's

Padua except that the frescoes in the chapel of the Eremitani church were made shortly after 1370 and when he is mentioned in 1387 as being in Florence, he must have returned
;

for a certain time to the city of his birth. The fact that he is named after Padua and not after Florence makes it very probable

that he passed the greater part of his life in the former cit}'. As I shall point out later, Giusto was well acquainted with Paduan art

when he

painted the Baptistery frescoes, and for this reason we must admit that he lived many years in Padua before making them.
In spite of fairly extensive restorations, the decoration of the

Baptistery of Padua remains one of the most important series of frescoes of the Italian Trecento that we possess.
of paintings is very great. On the left wall (fig. 83), opposite the apse we see three rows, eachof three scenes: the Nativity; the Adoration of the Magi; the Presentation in the

The number

Temple
the

the call of the

to the

first

two Apostles, SS. Peter and Andrew;

summons

Apostle Matthew,

who

is

seen sitting at the

receipt of customs (a scene very rarel}' represented); the Marriage at Cana; the Prayer in the Olive Garden; the Betra3'al of

Judas; and Christ before two of His Judges, one of whom, Caiaphas, is seen rending his robe. On the end wall we find, above, the Presentation of the Virgin in the Temple, the Annunciation and the Visitation, while, on the next row, the fresco

between the scenes of the Massacre of the Innocents and the 5'oung Saviour teaching in the Temple imitates a framed altarpiece, the principal figures of which, the enthroned Virgin and six saints, are painted in a niche; two of the saints, SS. John the Evangelist and John the Baptist present the kneeling donor,
Fina Buzzaccherina. In the upper part of this painting there are man}' angels and the H0I3' Ghost in the form of a dove. The frame is adorned with four figures of saints and the pinnacles with half-length figures of the Saviour and four angels. Below

THE PAINTERS OF PADUA, VERONA AND TREVISO.

167

Fig.83. Giusto da Padova, Scenes

from the Life of Christ. Baptistery, Padua.

Photo
Alinari.

there is an enormous, rather ugly figure of St. John the Baptist which, without an}' reason, has sometimes been ascribed to another hand there are two flying angels at the sides while
;

numerous devotees kneel

this

at his feet.

The two other

frescoes on

row show the Entry into Jerusalem and the Last Supper. The other lateral wall is dedicated principally to St. John the

i68

THE PAINTERS OF PADUA, VERONA AND TREVISO.

On
the

Baptist.

uppermost

tier

we

see Zacharias in the

Temple

the Nativity of St. John, and Zacharias inscribing the name of his new-born son; below follow the meeting of St. John with the Saviour, the Baptism, St. John in prison, and Christ curing several sick people simultaneously, while on the lowest row are the

Dance

of Salome, the beheading of St. John with the head

offered to Salome's mother, and the Resurrection of a dead

man

on a bier

(the

young man

of Jair).

above the arches leading to the apse we find an important representation of the Crucifixion with the three crosses (fig. 84). multitude of people is gathered
In the centre of the fourth wall,

below,

many

of them on horseback

in the

foreground

we

see

the fainting Virgin on one side and on the other the soldiers casting lots for Our Lord's cloak some angels fly around the
;

above which the sun and the moon are depicted on either side of a pelican in its nest feeding its young. To the left we see above, the Flight into Eg3^pt and lower, the Transfiguration; two scenes which form the continuation to those already found at this level on the first wall. To the right the Descent into Limbo and the Holy Women at the Empty Sepulchre are depicted one above the other. On the wall to the right and left of the apse further events are represented on the left we find the Bearing of the Cross over which is seen Pilate washing his hands the painter has connected the two scenes b}' showing one of Pilate's suite leaning over the separating border and looking down at the procession on the road to Calvary. The wall on the other side is occupied by a painting of
central cross
;
:

the Ascension.
principal scene of the apse itself is that on the end wall representing the Saviour in majesty within an aureole, holding the Holy Lamb on His knee; at His feet are the symbols of the

The

Evangelists and around him the celestial hierarchies. Numerous small scenes from the Apocolypse adorn the other walls and the window embrasures. Busts of saints are depicted on the intrados
of the various arches.

The cupola

of the chapel

is

also very richly decorated

(fig.

85).

In each of the pendentives

represented an Evangelist seated at his desk between two half-length figures of saints with his symbol in a medallion below. Then a long series of scenes from the Old
is

THE PAINTERS OF PADUA, VERONA AND TREVISO.

169

Fig. 84. Giusto

da Padova, the Crucifixion. Baptisteiy, Padua.

Photo Alinaii.

Testament beginning witli the Creation, forms, as it were, a circular frame around the vault, the decoration of which is composed of a central medallion containing the Saviour, in the midst of cherubim, surrounded by hundreds of figures of angels and saints arranged in five regular circles which, at one place, are interrupted by the image of the Virgin Orante, crowned and standing in an aureole which is surrounded by angelic musicians. Lastly we find in the apse an important altar-piece, the colours

70

THE PAINTERS OF PADUA, \'ERON A AND TREMSO.

of which, however, are rather sombre. The centre is occupied by a figure of the Madonna, to either side of whom are six scenes

arranged in two rows, some of them illustrating the stor}' of St. John the Baptist. The terminals show the Baptism of Christ, w^hole and half-length figures of saints and St. Francis receiving the stigmata; the Pieta and other figures of saints are represented

on the

predella. hi attempting later

on

to

determine to what
shall

artistic

current

Giusto Menabuoi belongs, ation the characteristics of this

all

we

have to take into considerenormous pictorial monument;

attention
at
is

the

same

should

like to

draw

the present
It

moment

to the fact that this artist's

iconography

very different
artist

from that which Giotto followed

in his frescoes in Florence.

would be useless

to point out ever}' occasion

on which our

diverges from this tradition; a comparison of their respective works will convince anyone of the truth of this statement. The question w^hether or not Giusto Menabuoi also painted the frescoes in the chapel of Beato Luca Belludi in the church of S. Antonio cannot be answered with certainty. The}' were so

completely repainted in 1786 that a

impossible. The general

critical

study

is

nowadays
figures,

aspect and the proportions of the

this attribution.

however, do not contradict

The
Philips

chapel

was constructed by order

after St.

of Naimiero and

Man-

fredino dei Conti, and in 1382 consecrated to the Apostles SS.

Antony's companion, Beato Luca Belludi, was buried here, the chapel took his name. In the two lunettes on the left wall are represented St. Philip dominating the demon who, by his noxious efiluvium, had killed three of the saint's disciples their resuscitation and also the

and James;

lunette St. Philip's crucisaint preaching in Asia. fixion is depicted: among the figures, several members of the dei Conti family are portrayed. On the same wall we find a

Below

the

first

representation of St. Antony appearing to Beato Luca and informing him of the deliverance of the town of Padua, a very

important view of which is seen in the painting. The altar wall is adorned with an image of the Madonna to whom saints present some members of the dei Conti family, who
are depicted kneeling in adoration. fis:ures of the Annunciation.

Above

this

we

see the

two

THE PAINTERS OF PADUA, VERONA AND TREVISO.

171

Fig. 85. Giusto da Padova, Vault. Baptistery, Padua.

Photo Alinari.

The frescoes on the right wall illustrate the stor}' of St. James. The lunettes show the Redeemer appearing to him and the saint thrown down b}" the Pharisees lower down we see him delivering one of the faithful from a tower in which he was imprisoned,
;

and giving

his clothes to a pilgrim.

His mart3Tdom

is

depicted

172

THE PAINTERS OF PADUA, VERONA AND TREVISO.

;

on the entry wall he is first stoned and then beaten to death. The altar wall on this side is given up to Beato Luca Belludi here we see the faithful praying at his tomb and imploring his
:

aid while at the

same time

the Saviour

is

shown appearing

to

him.

Numerous

half-length figures of saints are also found on

is

not very pleasing, it seems probable that the attribution to Giusto one, moreover is correct. made by the almost contemporary Savonarola

the walls of the chapel. Although now the entire decoration

discover Giusto's hand in two figures of the Madonna in nursing the Child, which are placed in niches near the arch
the

We

Giusto's

Arena chapel Madonna

(fig.

86)
it is

{^).

Comparing these

in the Baptistery,

no doubt can

figures with exist as to

their authenticity, but

curious that the artist should have

to the painted two identical representations, one as pendant

other, in this

little

chapel.

fairly exactly the pictorial contents theS. Agostino chapel to the right of the nave intheEremitani of church. On one side were depicted the liberal arts with the men who excelled therein; on the other the vices, also with their

The "Anonimo" records

human

St. Augustine as well as the titles of the saint's

representatives. Celebrated students of the religion of works also formed

part of the decoration. It was, as this author inform us, painted by "Gmsfo Padoaiio" or as some call him ^'Fiorentino\ Vasari's

makes no description is very similar to the "Anonimo's", only he mention of St. Augustine's adherents but adds that the representatives of the vices are seen in the depth of Hell.

made somewhat later to the "Anonimo's" text informs us that the chapel was founded in 1370 by Tebaldo di Cortellieri, a Paduan whose portrait, with an inscription, adorned
addition
the wall to the right of the altar. The frescoes were probably destroyed

An

when

alterations

were

made to the chapel in 1610, but Professor A.Venturi has discovered in a book of drawings in the Print Cabinet in Rome what he
believes to be Giusto's
(1)
('-)

own

sketches for this

work (-). However,

Le

A. Moschetti, The Scrovegni Chapel, Florence, 1907, p. 52. A. Venttiri, 11 libro di Giusto per la cappella degli Eremitani in Padova, Gallerie Nazionali italiane, IV, 1899. The Same, II libro dei disegni di

Giusto, idem, V, 1902.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

173

Fig. 86. Giusto

da Padova, Madonna. Arena Chapel, Padua.

Photo Alinari.

these drawings appear to be of later date, probabl}' of the beginning of the 15th centur}', as Herr von Schlosser remarks (^).
(^) J. von Schlosser, Zur Kentniss der Kunstlerecher Ueberlieferung im Spateren Mittelalter, Jahrb.der Kunsthist.Samnil.des Allerh.Kaiserh.,XXIII^ 1903. Professor y4.Vf'/////n'5 answer to this appeared in L Arte^ 1903, p. 79.

T74

THE PAINTERS OF PADUA, VERONA AND TREVISO.

Nevertheless, this does not diminish the importance of these beautiful designs nor does it make it improbable that they are

ofGiusto's frescoes, but I do not think we can look upon them as the sketches from which Giusto worked, or even very exact copies of this artist's frescoes the
faithful copies
;

more or less

from Giusto's. There exist some style other similar collections of designs Q) and Herr von Schlosser has published some drawings that he himself discovered, but
is

later

and quite

different

these

show

less

connection with Giusto's manner than those

from Rome, which, as far as the fragmentary remains allow us to judge, seem to have been directly inspired by the paintings.

The

series of frescoes in the

Paduan Baptistery is consequently

Giusto's
art,

the onl}^

work by which we can judge

National Gallery
is

since the

a production of the period when the painter still belonged to the Florentine school, and the frescoes in the chapel of Beato Luca Belludi have undergone triptych in the

too

much

restoration.

Giusto's artistic evolution seems to have been fairly logical and simple; an artist without great originality, he was Florentine
in

Florence and Paduan in Padua, for the decoration of the

Baptistery is obviously the work of a painter who was strongly influenced by Altichiero and Avanzo (-). There are too few Christological scenes by the latter artists to enable us to make a
detailed iconographical comparison, but one would certainly say that the compositions of the Crucifixion and Presentation in the

Temple were

inspired by Altichiero's examples. All the features which constitute the difference

between the

(')

In

another chapter

we

shall deal with the

Bolognese miniatures

of the second half of the 14'h centur}-, preserved at Chantilly, illustrating the same subjects. L. Dores, La canzone delle Virtue delle scienze di Bartolommeo di Bartolo da Bologna, Bergamo, 1904. F. Filippini, Bolletino

d'Arte del Ministero della Pubbl.

Istr.,

191

1,

p. 60. /.

von Schlosser, Ein

Veronesisches Bilderbuch

publishes some profane miniatures which, show analogies with in certain details especially the costumes Paduan art of the second half of the 14'*^ century but which however seem to belong to a later period and probably date from after the

etc.,

year 1400.
(-)

am

Cavalcaselle speaks of his connection with the Lorenzetti but of this unable to find any trace.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

175

types in Giusto's triptych of 1367 and in his work in Padua seem to be due to Altichero's influence. The types of his figures although especially, are no longer Giottesque but reproduce
imperfectly
specific

the delicate sweetness, the graceful forms and the

drapery of Altichiero and Avanzo; the faces too are frequently modelled on those we find in the frescoes of these two artists, and, as in their works, each scene gives the impression of a moment, rather than a picture full of dramatic action after Giotto's manner. Nevertheless Giusto was not so skilful a draughtsman, nor did he possess such fine aesthetic conceptions
as his

two predecessors.
chief characteristic of

Paduan painting hes in the importance given to architecture, as well as the manner in which the artist uses it as a setting to his figures. Even Florentine artists of the end of the 14th century, such as Agnolo Gaddi and Spinello
Aretino only used architecture as an ornamental background to their pictures, depicting a building of little importance with no

The

depth and often isolated and incongruous as is sometimes the case in Giotto's works. From this standpoint Giusto belongs
entirely to the

Paduan school;
in the

his frescoes of Jesus at the

age of

Temple, the Marriage at Cana, the Last Supper and many other scenes are depicted taking place in spacious halls of an excellent perspective such as we never find
twelve teaching
in

contemporary Florentine painting. That special style of architecture that Altichiero favoured so much is exemplified in the church which forms the background to Giusto's fresco of the Call of St. Matthew. Our artist displays likewise the same taste for decorative detail, especially mosaic ornaments, and even shows us certain characteristics peculiar
de genre", as for example the little dog in the Marriage at Cana, which we find earlier in one of Altichiero's paintings. All this leads us to believe that when Giusto went to Padua he
to "scenes

followed the school then

of its distinguished decorative merits,

in favour there, but never became one members. His works, however, possess great his colours are warm and bright and he

obtains

some

clever relief effects

his

and shade, but

his figures lack

drawing is charm while the general

a strong opposition of light often faulty and on that account

by

effect of his

work

is

provincial.

176

THE PAINTERS OF PADUA, VERONA AND TREVISO.

frescoes in the chapel of S. Michele, now dedicated to the Virgin ofLourdes, in Padua, are of ver}' inferior quality; their chief interest lies in an inscription over the door, giving the date

The

1397, the name of the founder, a certain Bartolommeo de Bobis, and the artist's signature: ''pinxit qiicm gemiit Jacobus

nese

Verona figiiras" {^). Here we have another example of a Veroartist working in Padua, the first being Altichiero. Jacopo was born in 1355 and he died after 1442. In 1404, he worked in Verona for the Carrara family; his sons Lamberto (137599) and Battista (1385 circa 1464) were both painters in Verona. The frescoes that he has left in Padua deserve but a short description. They represent the Nativity, the Adoration of the Magi with the journe}' in the background and other details, such as the movement of the horses and the elaborate landscape, which divert one's attention from the main image some of the figures
;

may

well be portraits of members of the founder's family. Above the arches w^e see the Annunciation, the Archangel Michael, and

the Expulsion from Sodom, and on the other wall the Death of the Virgin (fig. 87) and the Descent of the H0I3' Ghost; in the entry is found the Ascension as well as some fragments of other
scenes, while the sacrist}' contains a fresco of the amidst saints, worshipped by the donor.

Madonna
same

These frescoes belong

to Altichiero's school for the

reasons as did Giusto's; the facial t^-pes and proportions of the figures betray the same source of inspiration; some of the frescoes, as for for architectural perspective as

example the Annunciation, display the artist's taste it was conceived by Altichiero and Avanzo, while it is especially in this same fresco that we note these intimate details which make of a picture a "scene de

The four figures, obviousl}' portraits, seen in the right of the Death of the Virgin, are treated in that same realistic angle
genre''.

Schiibring, Altichiero, p. 121. F//^ S(7;f', in Thieme-Becker. Kiinstler Lexikon, II, p. 270. G. Biadego, II pittore Jacopo da Verona, Treviso, 1906. Croive and Cavalcaselle, op. cit., p. 237, believes this artist to be Avanzo who
(")

at his time,

was

still

known under
in
left to

the

name

of Jacopo^ and that their

inferioritj' to the frescoes

the S. Giorgio chapel can be explained

pupils.

by

the fact that in part they were

THE PAINTERS OF PADUA, VERONA AND TREVISO.

177

Fig. 87.

jacopo da Verona, the Death of the Virgin, 1397. Padua.

S. Michele,

Photo Alinari.

IV

12

178

THE PAINTERS OF PADUA, VERONA AND TREVISO.

constitutes one of the features of Altichiero's art

manner which
and

his companion's.

With
figures

these frescoes we
it

come

to the

end of 14th century painting

in Padua, since

a pillar

two very damaged of St. Antony in the choir of his church, a Madonna on to the left of the Beato Luca's chapel and some other
is

useless to dwell on the

fragments of even less importance. Five figures of saints in cloister of S. Antonio are of grisaille in the chapel of the first more interest than these isolated remnants.

Schubring is of opinion that Padua did not really possess a genuine school of painting; he remarks that the number of outside artists was very great and informs us that of the eighteen painters mentioned by Moschini as active in Padua between 1382 and T400, only three were natives of the town (^). that Schubring's first statement is correct. I do not think Padua did not possess an important school whose Although influence w^as wide spread, it produced all the same a group of artists who had their own local peculiarities and who were
united one with another.

hope, indeed, I have succeeded in demonstrating, that a connection exists between Guariento's art and that of Altichiero and Avanzo, and that to Altichiero we can link Giusto and
I

Jacopo da Verona.
of painting
is

feature of great significance for this centre the architectural perspective it is an element that seems to have begun with Semitecolo and one which we also find in Treviso, but not in Verona which, apart from being the
;

native city of Altichiero and Jacopo da Verona, had no connection with

Padua.

of paintings in the 14th cenof those belonging to Altichiero's tury (^),but with the exception school, they are of mediocre quality and in no way sufficient to

Verona produced

a large

number

Anonimo" mentions a "Marino pittore" who painted in tempera (1) The the altar-piece in the chapel that Tebaldo di Costellieri had constructed in "Bertolino del 1370 in the Eremitani church and which Giusto decorated. was active in Padua in ]382. Moschini, Pittura di Brescia"
"

quondam Jacopo
in

Padova,
(-)

p. 9.

G. Biachgo, Verona, Bergamo^ 1914. P- 74-

THE PAINTERS OF PADUA, VERONA AND TREVISO.

explain in
is

179

Padua the appearance of

this great artist

who, however,
to us only

preceded by several worthy painters. A certain number of Veronese painters are

known

by name; they are Poja (1298), Gerardo (1311), Daniel (1354) (^), Antonius pictor and Bartholomeus pictor quondam magistri Nicolai (1367) (-); others, some of whose works have survived are Maestro Cicogna or Cigogna (1300 1336), Turone (1360), Giacomo da Riva (1379 1423) Martino (1396 after 1409), Boninsegna de Clocego, active from 1407 until 1429, whose signature Maffei found in theSalerna chapel of the church of St. Anastasia
i'^),

and Jacopo da Verona with

is

whom we

have just been

dealing.

Consequently, Maestro Cigogna

ter of the 14th century,

the earliest Veronese painto us,

whose works have come down

as an artist of but
little

and

these

works reveal him

importance

(^).

The

oldest production that we have from his

hand is the decora-

tion of the

church of S. Martino

at Corrubio,

near Verona.

On the

figures of saints and rather a curious allegorical representation, in which the souls of the faithful seem to be sailing in boats. The name of the artist and the date, 1300,
right wall
find

we

some

are inscribed

('').

He adorned

cifixion. In the interior of the

the facade with a scene of the Cruchurch some other paintings includ-

(')

p. 510)
(-)

This painter signed an altar-piece that Maffei (Verona saw at the "Padri del Oratorio".

Ilkistrata, III,

Maffei, op. cit.. Ill, p. 148 and Bernasconi, op. cit., p. 14. Maffeisigsan ot a picture at S. Pier di Castello signed: "Xic/iolansfilinsmagisiri Petri pictor pin. X it hoc opus Veneciis". He believed him to be a contemporary

speaks

of Giotto's. tioned in

It

\2,6-i

was

ma}' be that the Bartholomeus Magistri Nicolai the son of this Venetian.

who

is

men-

fresco of the early 14th century in this chapel has. without any (^) A reason, been ascribed to him and this has led people to believe that an artist of that name also existed in the 14'^ century. C. Cipolla, II pittore Boninsegna,

Archiv. Venet.,

XLV,

1882. p. 213. G. Gcrola,

1st.

II

pittore B. etc. e la famiglia di

1910. The

Martino, Atti del R.

Veneto

di Scienze,

XIX,

Same, Thieme-

Becker, Kiinstler Lexikon, IV, p. 300. Cipolla, op. cit., L'Arte, 1915, p. 162. (^) L. Simeoui, Maestro Cicogna, Madonna Verona, I, 1907, p. 214. P. M. Tua, Per un elenco delle opera pittoriche della scuola Veronese prima di
Paolo,
{=)

Madonna Verona, 1912, p. 104. Biadego, op. cit., p. 76. "Anno Domini MCCC indicione XIII Xpletum fiiit hoc opus per me ntagistrant Cigognam die Martie{?) nltimo Madii ad honorem Dei et Beate
tata'\

Marie

i8o

THE PAINTERS OE PADUA, \'ERONA AND TREVISO.

ing a Madonna, saints, a Coronation of the Virgin and a figure of St. Martin on horseback, might perhaps also be assigned to
this artist.

Cazzano he painted an allegorical similar to the one at Corrubio, a Madonna, St. Martin fresco, very and other figures; a fragment of the signature: "C/. a pinxit"
. .

In the church of S. Felice at

and the date, 1322, are still visible. We find his name, for the third time, under a fragmentary fresco, originally in the Palazzo Comunale of Verona, now in the town gallery (1090). The inscription XI' C begins "MCC .piiixif'' etc which has been com:
.

pleted as

''MCCLXXl/I Cigogna pinxif\-hvi\.\.o'mt\.h\ss^tms

unlikely since the original date might sooner have been either 1315 or 1325. The style of the painting makes it very probable
that the

In an}' case

did form part of Cigogna's signature. Cigogna is not very significant for the developreal]}'

ment of Veronese painting:

of Verona.

his coarse provincial Byzantinism derives sooner from Venice and he had no adherents in the city

Some contemporary

frescoes in the church of S.

Fermo

dis-

play quite a different artistic movement. Above the arches of the chapels to the sides of the apse are depicted the Adoration of the

Magi and the Coronation of the Virgin, while over the chancel arch we see the figures ot the prior Daniel Gusmerio and Guglielmo di Castelbarco holding the model of the church. This
very different from the rest of the decoration in this part of the church and are all doubtless by the same hand (^). The compositions of the scenes at the sides show a Giottesque simplicity the forms too are somewhat archaic and the technique rudimentary. On looking closelv at these frescoes we find them to be rather damaged (-), although seen from a

group of paintings

is

is not visible. The two kneeling figures are very specimens of early portrait painting. Faces and expressions are both full of individuality and the artist has by no means

distance this
fine

flattered his subjects.

Behind the figure of Guglielmo

di Castel-

(')

G. Gerola,

II

ritratto di

Guglielmo

di

Castelbarco in S.

Fermo di Verona,
chiesa di S.

Madonna Verona, I, 1907, p. 86. A. Da Lisca, Studi Fermo Maggiore di Verona, Verona, 1909, p. 46.
(')

etc. sulla

Idem.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

barco
is

i8i

depicted his family coat oi arms, a lion

drawn

in a

very

characteristic manner, while behind the prior is an inscription which has been deciphered as: ''Mil/e Tccente qiiatitordxt' which
is

that these

evidently meant to be 1314. This year coincides with the dates two persons had certain works carried out in the
di

church; moreover Guglielmo

Castelbarco died

The

frescoes in S.

Altichiero and his adherents excepted can painting which be said to constitute an elementar}- Giottesque school. Dated
works are very
rare.

Fermo may be

in 1320. said to initiate Veronese

The
were

battle scenes

which we

in all probability

find at Castelbarco, near Verona, executed shortly after 1319; they belong

to a different style of painting, being rather archaic in appearance but expressive all the same. They might be classified in the group of Tyrolese works, for Italian features are entirely absent (^).

other pictures of but slightly later date than the frescoes in S. Fermo offer us further examples of very individual portraits.
first of these is kept in the Rosario chapel in St. Anastasia and represents Martino Scaliger and Taddea da Carrara, whom he married in T327, in adoration before the Virgin who is escorted by S.S. Dominic and Peter the Martyr. The second picture which is preserved in the church of Sta. Maria Antiqua shows the Madonna again adored by Martino Scaliger, who in this instance, is accompanied by Alberto Scaliger. Both are important works not only on account of the crude realism of the portraits but also because they furnish us with the earliest examples of these devotional pictures which afterwards became so frequent, and of which Altichiero has left us a spec-

Two

The

imen.

Of the rather ordinary and traditional painters who were inspired by Giotto's manner and to whom we owe the greater part of the Veronese frescoes of about the middle of the 14th cenname of one, Turone, has come down to us from his hand we possess a signed and dated altar-piece (figs. 331 and 332), originally in the Sta. Trinita convent, now in the town galtury, the
;

(')

Verhandl. des

7<="

Internat. Kunsthist.

Kongresses

in Innsbruck, 1902,

P- 77-

i82

THE PAINTERS OF PADUA, \'ERONA AND TREMSO.

:

The inscription runs Turone was really Veronese

leiy.

''Hopiie
is

Turoui

MCCCLX". That

established almost without doubt

by the presence of other works from his hand in this cit}' and also by the fact that we find members of this name in the town council in 1405 and in 1435. The principal panel of this polyptych shows the Trinity: God the Father sitting on a throne holds in front of Him the Cross to

Fig. 88.

Turone,

Pol3'pt3'ch, 1360.

Museum, Verona.
Photo Lotze.

attached, the dove being placed on the latter's nimbus. Date and signature are inscribed on the pedestal

w^hich the Saviour

is

Zeno and John

of the throne. Within the arcades formed by the frame, the saints the Baptist on the left, and Peter and Paul on
the right, are represented, each holding his emblem. St. Paul
is

apparentl}' depicted about to draw his sword from its scabbard. Eight medallions in the elaborate framework contain busts of

the Evangelists and four angels, all winged the two lateral terminals are adorned with half-length figures of SS. Catherine and
;

Lucy and

the

much

larger central one with a representation of

the Coronation of theX'irgin

who, contrary

to

whatwegeneralh'

THE PAINTERS OF PADUA, VERONA AND TREMSO,

183

Fig. 89. Detail of

fig.

88.

Photo Lotze.

find in Venetian painting,

is depicted kneeling before the Saviour, while around the throne are placed nine angels. Besides some rather unusual iconographical details, it will be

noted that Turone

not one of the most purely Giottesque of the Veronese painters. In the work of this rather mediocre artist
is

we
(/)

discover certain traces of suavity, reminiscent of Siena

Cavalcaselle remarks
a

{^).

connection with

Ottaviano Nelli and the

followers of Taddeo di Bartolo.

i84

THE PAINTERS OF PADUA, VERONA AND TREVISO.

The

sturdy, sometimes even heavy proportions, however, are borrowed from Giotto. The drawing, especially of the drapery the figures of the Coronation are rather is hard and rigid
;

coarsely executed. Cavalcaselle was the

fixion over the entrance

first to

attribute to

Turone

the Cruci(fig. 90),

in the

church of S. Fermo

an

is

which is now generally admitted (\). The composition crowded. Eight angels, dramatically expressing their grief, fly around the Crucified groups of horsemen are seen to either side of the Cross while the foreground is occupied by the faithful and the Jews. In this fresco the artist has made a great display of realistic expression which in many instances is exaggerated. Comparing the faces with those in the pol3"ptych, particularly the bearded old men seen full-face in the fresco with the St. Peter
attribution
;

of the altar-piece, any doubt as to the accuracy of the attribution disappears, although the fresco is of better quality and does not

show the
I

clums}' drawing that we remarked in the panel painting. do not think, however, that Cavalcaselle was right in finding the hand of the same artist in some of the frescoes in the Cavalli
in St.

chapel
In

Anastasia.

Verona there is a tradition of another panel signed by Turone that represented the Saviour arising from His tomb between the Virgin and St. John but the work has apparently
;

since migrated to Russia (-). Turone was about the best of the traditional

artists

who

adorned the churches of Verona

temperament

his

Crucifixion

is

he lacked neither spirit nor full of life and expression

but he was not a good draughtsman. His productions possess little artistic value, their great shortcoming being their want of
refinement.
the other painters whose dates are known to us bring us at once to about the end of the 14th century, I think it better to

As

is the only one who contradicts this opinion; (1) Schubring. op. cit.. p. 89, he believes that this work is introductory to Altichiero's composition in the S. FeHce chapel, Padua, and finds much connection between the two paint-

ings.

p. 146, first
(-)

incomprehensible. Maff'ei. Verona Ilkistrata, III, Giotto, then by Cimabue G. Trccca, Catalogo della Pinacoteca comunale di Verona, Bergamo,
this is quite
it

To me

thought that

was by

912. p. 22.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

185

Fig. 90. Turone, the Crucifixion. S.

Fermo Maggiore, Verona.

Photo Alinari.

mention here the works which seem

date but
;

to

be of considerably^ earlier

enumeration, since we are myself with paintings about which we possess no information dealing
I

must

limit

to a short

i86

THE PAINTERS OF PADUA, \TRONA AND TREVISO.

Fig. 91.

Veronese School, two Madonnas and

S.

saints, 1^^^ century.

Photo Lotze.

Zeno, Verona.

whatsoever. Votive pictures seem to have been ver\' much in vogue in Verona just then, because this group is uniquel}' comprised of such works, the different churches.
isolated frescoes adorning the walls of On the whole they manifest a strong adherall

ence to the Giottesque tradition, thus giving a resemblance of

THE PAINTERS OF PADUA, VERONA AND TREVISO.

187

Fig. 92.

Veronese School, Madonna,

14th centniy- S.

Zeno^ Verona.
Photo Lotze.

i88

THE PAINTER S OF PADUA, VERONA AND TRE VISO.

truth to Vasari's statement that Giotto himself visited Verona,

where he worked

for the

piece for the church of S. large number of these votive paintings are preserved in the church of S. Zeno, It would be useless to describe them in detail

Scahger family and painted an Francesco (^).

altar-

and I shall briefly mention only the more important. There are several representations of the Virgin seated on a

Fig. 93.

Veronese School, Madonna and holy Bishop, S. Zeno, Verona.

14^*1

century.
Photo Lotze

simple throne, sometimes escorted by two saints, sometimes with the kneeling donors but sometimes also alone (figs. 91 93). The
finest

and most Giottesque fresco was undoubtedly that of Our Lord crucified, with eight angels flying around Him, two saints at either side and St. Mary Magdalene, behind whom the donor kneels in adoration. This painting, which unhappily is badly
(')

L. Simeoni,

to classify a certain

La basilica di number

S.
ot

Zeno a Verona, Verona.

these frescoes as the

1909, has

attempted
artist

work of one

him, would have been Boninsegna, but by mistake he has this master's activity in the second half of the 14''^ century. placed

who, according

to

THE PAINTERS OF PADUA, VERONA AND TREVISO.

damaged, adorns the apse;
of
it

189

is

of a

much higher standard

work than

the other votive frescoes found throughout the

all

church.

Of

more rudimentar}' execution, but

the

same

clearh' in-

Fig. 94.

Veronese School, Madonna

the Angel,
i4'i>

della Misericordia

and

St.

Tobias with
Photo Lotze.

centuiy. S. Zeno",

Verona.

spired by Giotto,

is a Madonna "della Misericordia", who, with her out-spread mantle, covers the figures of the adorers kneeling at her feet. The adjacent painting of Tobias led by the angel is

a work from the same hand (fig. 94). A figure of St. Sigismund with a devotee kneeling at his feet is also fairly Giottesque in

appearance
tine's

(fig. is

95); but a freer rendering of the great Floren-

manner

seen

in a fresco of

St.

George slaying the

I90

THE PAINTERS OF PADUA, VERONA AND TREVISO.

(fig. 96),

dragon before a very apathetic princess

and

in

some

paintings illustrating the legend of St. Nicholas (fig. 97). Near the figure of St. Sigismund, we find a representation of

Christ crucified between the Virgin on one side, and St. John and Mary Magdalene on the other; below this, St. George is depicted

Fig. 95.

Veronese School, the Crucifixion and

S.

saints,

jj[^^

century.
Photo Lotze.

Zeno, Verona.

between two holy bishops before one of whom probably St. Zeno kneels a devotee (fig. 95). Both these works are by the same inferior artist and are the poorest paintings found in the
church.

The tower

of S.

Zeno

is

also decorated

here the frescoes are

rather primitive in appearance and probably date from the first half of the 14th century. They are of a certain importance on

THE PAINTERS OF PADUA, VERONA AND TREVISO.

191

account of the fact that they are evidently profane paintings,

apparently representing a festive procession. The frescoes in the church of St. Anastasia
(/)

are on the

whole of better

quality. pillars are adorned with what were once beautiful figures but are now greatly ruined. Two good

The

Fig. 96.

Veronese School, St George slaying the dragon, S. Zeno, Verona

in the Cavalli

14th century.
Photo Lotze.

Giottesque frescoes are found

the

chapel; one

shows

"della Misericordia", covering the kneeling adorers with her cloak, between a holy bishop and a saint (fig. 98); the other and more feeble represents, on the entrance wall, the

Madonna

Madonna

figures of saints

on a simple throne attended by four full-length (fig. 99). We find besides in this church the important composition of the Virgin enthroned between saints
sitting
(')

C. Cipolla, op.

cit.

192

THE PAINTERS OF PADUA, \^ERONA AND TREMSO.

Fig. 97.

Veronese School, Scenes from the legend of St. Nicholas,

14"^^

centnry. S. Zeno, Verona.

Photo Lotze.

THE PAINTERS OE PADUA. VERONA AND TREVISO.

193

and worshipped by a knight that I mentioned as being frequently attributed to Boninsegna (^); isolated figures of saints of good
execution; an Evangelist with a devotee; the Saviour arising from His tomb between four saints and a Baptism of Christ
;

painted

in a

somewhat

different st3'le

and repainted. Other

less

important paintings of the same period are scattered on the walls of the church.

Also

in S.

Fermo,

we

find

some

frescoes of the 14th century

Fig. 98.

Veronese School, Madonna

St.

della Misericordia, 14'^ century. Photo Lotze. Anastasia. Verona.

are

made under a Giottesque influence. On the entrance wall there some legendary illustrations, among which the most important is a representation of the martyrdom of the Franciscan monks at Ceuta, a fresco of 1327 showing five monks put to death before the sultan. In the transept there was a long cycle of
scenes from the
life

of St.

Francis;

we

can

still

recognize the

saint giving his cloak to the poor nobleman, the Bishop of Assisi covering him with his mantle, the confirmation of the rules of the

order and the vision of St. Francis borne to heaven

Biadego, Verona,
IV
p. 10 1.

in a chariot;

13

194

THE PAINTERS OF PADUA, VERONA AND TREVISO.

the other paintings have been effaced. In the opposite transept there remains but one scene, which represents the foundation of a religious order: naked figures are seen kneeling before a pope

who, escorted by
habits.

ecclesiastical dignitaries,

hands them monastic

The arch which separates the transept from the nave is adorned with medallions containing human figures. In the vault of the apse we find the symbols of the Evangelists, and lower down a figure
of the

Saviour between the Virgin and

the

St.

John.

Among

large

number

of frescoes which have been

detached and brought to the Pinacoteca, there are also some which might be styled Giottesque, but they are of but litde
importance.

Belonging
In a niche in

to this early period of

Veronese painting, MafTei

{^}

further mentions

some other works which have since disappeared. the church of St. Agnese he found some repainted

frescoes with the date 1329.

The church
to St.

of S. Pietro Martire,

which was formerly dedicated

George, contained several

representations of the latter saint, in one instance worshipped by some knights, one of whom died in 1355, an indication that
this fresco

must have been of earlier

date.

In
in
in

comparison with the large number of frescoes that we find this group, there are relatively few panel paintings executed this style. The picture showing most connection with Giottesis

an altar-piece, considerably repainted, in the Gallery (no. 356), originating.from the church of Sta. Caterina. It represents, in the centre, the marriage of St. Catherine (fig. 100). The Child standing on His Mother's knee bends forward towards

que art

kneels to the right of the Madonna's throne; two angels hover in mid-air, each holding a crown above the saint's head. To the sides against an ornamental gold backSt.

Catherine

who

ground, we see SS. Rusticus, Martin and Lucy to the left, and SS. Zeno and Fermo to the right. The picture is executed with care and possesses a certain amount of merit; form and type

have obviously been inspired by Giotto's art. The throne is halfway between the older simpler model and those of a more complicated pattern that we shall find in later works.
(')

Ma/jTei, op. cit., p. 147.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

195

picture and one in which reminiscences of Giottesque art are clearly evident, is that in which thirty small scenes relate the story of the Bible from the Creation to the Last

A very interesting

Judgment, as well as some scenes illustrative of the life of the Virgin. This panel also comes from the convent of Sta. Caterina,

Fig. 99.

Veronese School, Madonna and

St.

saints, 14th century.

Photo Lotze.

Anastasia, Verona.

but

preserved in the Gallery (no. 362). It has been attributed to both Taddeo di Bartolo and Altichiero, but to me it
is

now

seems a provincial manifestation of Giotto's bability Veronese {^).

(^)

art

and

in all pro-

der

As such it has been pubHshed by H. Semper, Kin Bildtafel vom Anfang XIV Jahrh. in Museo Civico zu Verona, Madonna Verona, I, 1907, p. 124.
this is a picture of the
I

That

probable,

think

its

actual date

beginning of the 14'h century is highly immust be somewhere near 1350.

196

THE PAINTERS OF PADUA, VERONA AND TREVISO.

In the Pinacoteca

we

find

still

little

tript3"ch (no. 256)

showing the Crucifixion between SS. Peter and Paul and

the figures of the

Annunciation.
p

The

form and composition of the panel are

>

again Florentine
but
a
'/s

it

is

doubtless

V e r o n e s e production; in it we
discover some
traces of Gothicism

a
X

which

in later

years

constitute the great

i-i

characteristic of such masters as Stefano da Zevio. In the North, Guariento and his adherents had helped to

(U

spread

the

o o

model of the Giottesque crucifix and

in

CU

Verona several
to

examples are

be

>
6 o

CJ

found.
alread}'

We

have

mentioned

the one in S. Zeno;

two

others, but ol
later date,

slighth'

are preserved in the

Pinacoteca, the one

(no. 257) is insignif-

icant, the

other (no.

857)

which comes

THE PAINTERS OF PADUA, VERONA AND TREVISO.

from the church of S. Silvestro
reveals to a greater degree
tradition.
its
is

197

of

more

artistic

value and

connection with the Giottesque

in the sacristy of

There

is still

another specimen

SS.

Celso but it is repainted and unimportant. two of the numerous artists to whom we owe paintings Onl}' of the end of the 14th century have been identified they are Giacomo da Riva and Martino. The former ^) is mentioned on several occasions; his name is found in documents of 1374, 1375, 1386, 1392, 1400, 1409, 1413

Nazaro

and 1416, while

we know

that he died

in,

or before 14 18.

Part of a fresco representing the Madonna seated on a simple throne nursing the Child is preserved in the church of S.Stefano.
left his name and the date, 1388, in the following "Mille Trecento otanta otto fu impenta per Messer inscription: Giacomo da Riva.'' Beauty and refinement are wanting in this

The

artist

has

painting,
its

which

is

executed

in a

manner

that forces us to rank

author

among

the feebler artists of the city. This fresco

however allows us to ascribe to the painter another picture of the Madonna in the same church, although with some hesitation. Here the damaged painting shows us the Virgin surrounded by
a mandorla, the Child bending towards an adorer who is accompanied by SS. John the Baptist and James. On account of its resemblance to the authentic work, we can with more certainty
attribute to

Giacomo another

fresco of the

Madonna, nursing

the Child, on the wall to the right of the entrance of the church of S. Zeno.

Martino, on the other hand, reveals himself as an artist a good step ahead of the traditionalistic painters of the previous generation. Cavalcaselle makes a mistake in calling him Altichiero's

contemporary. Not only does the one painting we have from his hand date very probably from 1396, since it adorns the pulpit executed that same year by Antonio da Mestre, but there are
divers later records of his existence. In the tax register of 1409 he is spoken of as ''magister Martinus pictor quondam Antonii\

while during that same year

we

find

him receiving a certain

in Verona nel secolo XIV, (^) P. Sgulinero, Giacomo da Riva, pittore Archiv. Stor. per Triest, I'Istria e il Trentino, IV, 1889, p. 159. G. Biadego, Un ignoto pittore Trecentista a Verona, Bolletino del Ministero della Pubbl.
Istr.,

i9ii,p. 173.

198

THE PAINTERS OF PADUA, VERONA AND TREVISO.

are informed that in i4iohe lived in the"Contrada He died in 1413, and in 1418 his son, also a paintmentioned as '^ Zeno pictor quondam magistri Martini' (^).
close to

pa3'ment;
di
er, is

we

Pontepietro".

The fresco,
tini',

which we

find the signature

''opus

Mar-

adorns the right wall of the church of S. Fermo

it

(fig. loi).

and two incidents from the histor}' of Elijah and below the four Doctors of the Church, each sitting on an elaborate throne before a desk surrounded by other very ornate pieces of furniture and fragments of architecture. The centre of the fresco has been destroyed b}' the addition of a pillar, while of the frame, only the part on the right hand side has been preserved. It comprises a long series of medallions containing busts of prophets with two heads seen in profile between each. Martino must have been a fairl}' capable painter; the execution of the faces and other details is finel}' treated, the variet}- of expression and type very remarkable but I do not agree with Herr Schubring in finding a very definite connection with Alti-

Above,

shows

the Crucifixion

chiero. I share his opinion, however, in believing that Martino's art formed, to a certain degree, the introduction to that of Stefano

da Zevio (-). His types betra}- a knowledge of Tommaso da Modena's frescoes in Treviso. The number of frescoes which date from this later stage in the development of Veronese painting and which show those Gothic elements that dominated the art of Stefano da Zevio, is
very considerable. The imposing architectural throne, whose introduction into Veronese painting can be accounted for by Altichiero's influence, is frequentl}' seen in these productions in
;

the

numerous representations of the Madonna the throne more complicated and not alwa^'s in the best of taste.

is still

The church
left

of St. Anastasia

is full

of these frescoes.

On

the

wall we see, besides the less important figures of saints, three figures of the Madonna (fig. 102) and in the last chapel to the left
(^)

Wandgemalde

cit., p. 214. R. von Eitelberg, Ueber einige neu entdeckte Verona, Mittheil. der K.K. Central Comiss. zur Erforshung der Baudenkmaler, II, 1857, P- 201. G. Gcroln, 11 pittore Boninsegna, p. 414. G. Biadego, Verona, p. 98. noticed the connection between the two (-) masters. ScJuthring, Altichiero, p. 125, ascribes to Martino a picture of the Madonna with SS. Zeno, James and Apollonia in the Gallery of Verona.

Bernasconi, op.
in

THE PAINTERS OE PADUA, VERONA AND TREMSO.

199

Fig 10 1. Martino da Verona, St. Hieronymus and other figures.

S.

Fermo, Verona.

Photo Lotze.

of the choir three others, some of them accompanied b}' saints and adorers. In the same chapel, we also find a representation ot

two saints and other large figures of saints back of a tomb. In the Cavalli chapel the Madonna, before whom kneels the recently deceased knight, is depicted on a low seat surrounded b}' numerous angels. The type of the latter, as well as the attitude of the Virgin, shows a decided resemblance
the Saviour between
at the

200
to

THE PAINTERS OF PADUA, VERONA AND TREVISO.

shall find in Stefano

what we

da Zevio's painting. In the

adjacent Pellegrini chapel, besides the Madonna and saint that I classed as a production of Altichiero's school, there is another
fresco of the end of the 14th century showing the enthroned fresco on the exterior of the church, over the entrance, Virgin.

represents SS. Dominic and Zeno recommending some monks and other persons to the Holy Trinity. The church of S. Zeno conserves in the choir a fragment of a
late

14th century fresco of

the titular

saint sitting

an enormous bishop doubtless on an elaborate throne with his hand

raised in blessing.

Two fragmentary frescoes of the Madonna are found in the church of Sta. Maria della Scala; both show thrones that are almost edifices. The one in which St. Antony Abbot is depicted seems to be by the same artist as the Madonna surrounded by
angels in the Cavalli chapel
(\).

As

panel

painting in this
in the

manner may be

cited that represent-

Pinacoteca (no. 124) of Verona. In all the foregoing works we can discover traces of Gothicism which, in the 15th century, reached its summit.
ing St.

Mamaso

The
limit

insufficiency of artistic personahties has forced me to my description of Veronese pictorial works of the 14th

(^)

The
:

following

14'''

century paintings

in

Verona might also be men-

figures in a lunette over the entry to S. Fermo ; half-length figures of saints on the principal beams of the same church; in the Baptister}', a votive Madonna and some other paintings, the most impor-

tioned a

Madonna and other

is the repainted fresco in the right apse showing the Saviour in majesty above and the Virgin lower do wm; in St. Eufemia, over the entry, an almost effaced fresco of an enthroned bishop; several fragments from this church are now in the Pinacoteca (Nos. 565,567 570). Some unimportant remnants are found in S. Giovanni in Valle and in the crypt of the same church. A fresco of the Saviour in benediction in the lunette over the entry of SS. Siro e Libera is not without merit and already shows some resemblance to the works of Stefano da Zevio. Still another fresco in the Pina-

tant of which

is interesting only on account of the subject the enthroned Virgin, some saints and a person crucified, probabh' St. Wilgefortis {E. Fea, Madonna Verona, V, 1911, p. 36). In the vicinity of Verona there are also some 14'^ century paintings at S. Felice, at Cazzano, where,
:

coteca of Verona (No. 545)

besides those by Cicogna,

the

we find among them a fine Giottesque fresco 01 Lord on the Cross between the Virgin and St. John (Simeo/i/, op. cit.) and in the Pieve of Tregnagno (C. Cipolla. Madonna Verona, V, 1911, p. 186).

THE PAINTERS OF PADUA, VERONA AND TREVISO.

201

Fig. 102

Veronese School, Madonna and St. Anastasia, Verona.

saints,

about 1400.
Photo Lotze

mere enumeration. Apart from Altichiero and his were none but very mediocre artists. What I have said, however,is enough to show the existence ot two consecutive styles which are easily differentiated the first very simple, dominated by somewhat rudimentary reminiscences of Giotto's art the second more elaborate and approximating the flowery Gothic that flourished in Verona during the first
centur}^ to a

pupils there

202

THE PAINTERS OF PADUA, \TRONA AND TREVISO.

half of the 15th centur}'. Although the architectural thrones of the latter group seem to have been borrowed from Altichiero's

works,

do not think that

this artist, outside the little

group

of his genuine adherents, exercised any influence in Verona.

frescoes ofCollalto nearConigliano have sometimes been classed among the works of the Veronese school, but, as will

The

be demonstrated later on, they belong to the school of Rimini. In the frescoes detached from the church of Sta. Margarita of Treviso and now in the Gallery of that town, the influence of Altichiero prevails over the Giottesque. Signor L. Bailo (0, to whom we owe the conservation of these important paintings, and Herr von Schlosser both think it possible that they are

works

who, church of S. Niccolo of the same town

b}'

Tommaso

da Modena

1352, painted but at the same time

in

in the

much importance to their similarit}' to the art of Avanzo (-). Personally, I do not find sufiicient resemblance between Tommaso's art and this cycle of frescoes
they attach
Altichiero and
to attribute this decoration to

theModenese
(i)

artist.

His influence,

however,

is

apparent

in the

design of the faces.

the representation of St. Ursula

The

series

commences with

between four companions and with two devotees kneeling at her feet. It is a fresco in which the figures are lacking in grace and the faces rather ugly. (2) The first incident taken from the saint's legend shows the pagan king of the Anglo-Saxons sending two ambassadors to request St. Ursula's hand in marriage for his son. (3) We then see him delivering a letter to the saint's father (fig.
103); (4)

followed

b}'

her travelling companions she bids farewell

L. Bailo, Relazione degli aftreschi salvati nella demolita chiesa di Sta. Margarita, Treviso, 1883. Tlie Same, in Bolletino del Museo Trivigiano,
(')

Sept., 1886.

Tommaso da Modena u. die altere Malerei in Treviso, der Kunsthist. Samml. d. Allerh. Kaiserh., XIX, Wien, 1898, p. 240 Jahrbuch and also in his small book recentl}- published, Oberitalische Trecentisten, Leipzig, 1921, p. 7. Caz^alcaselle accepts this attribution to Tommaso, so also
('^)

J. volt Schlosser,

l^eiitiiri who discovers in them an influence of the Bohemian do not know any earlier Bohemian paintings which show even a distant connection with these frescoes. Schiibriiig, Altichiero, p. 97, is

do

Tesfi

and

school.

of opinion that thej- are later in date, executed probably- after 1400.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

203

to her father and on the same fresco we find represented how she obtained her future husband's consent to be baptised. Then follow (5) the baptism (fig. 104); (6) her vo3^age on the Rhine in

which she and her companions are seen

of Cologne; (7) St. Ursula in

Rome

sailing towards the cit}^ visiting the Pope; (8) the

Fig. 103.

Scene from the legend of

St.

Ursula,

1370 '80. Museum, Treviso.

Photo Garatti.

Pope dreaming

that he

is

martyred together with the

saint; (9) in

in spite of the cardinals' protests her suite leaves Rome; (11) back in

a consistory he divests himself of his pontifical insignia (fig. 105) and (10) with the saint and

Cologne

the}'

prepare themthe

selves for their

martyrdom and

(12) they are

all killed b}'

Huns.

As to

the actual artistic value of these frescoes the painter in

204

THE PAINTERS OF PADUA, VERONA AND TREVISO.

no way equals Altichiero, nor do his figures possess that serene beauty of expression, feature and proportion, of the forms in the decoration of the two Paduan chapels. The Treviso master was a narrator of true Giottesque tendency; he emphasizes the details

Fig. 104.

Scene from the legend of St. Ursula, 1370

-'80.

Museum, Treviso.
Photo Garatti,

of his recital, his figures are very intent and the action dominates the composition and artistic attributes of the picture. However,

the great care with which every detail is depicted is a charming trait of this artist's. In the two scenes showing the ambassadors

and
is

in the one in which the saint prepares for her departure, there a remarkable subtlety of attitude and expression. The ren-

THE PAINTERS OF PADUA, VERONA AND TREVISO.

205

dering of the cardinals' disapproval of the Pope's action is a chef d'oeuvre of psychology. The scene of the massacre is an agitated
conflict, perfectly presented.

The

artist

was

also inspired

by profane

painting, with the

Fig. 105.

Scene from the legend of St. Ursula, 1370 '80. Museum, Treviso.
Photo Garatti.

result that his frescoes

have the aspect of "scenes de genre". The details of the costumes, the courtiers whose figures fill up the corners of the pictures, and the intimate, yet worldly and irreligious appearance of these frescoes, lead us to classify them with
this

group of works.
;

perspective of some of the buildings is reminiscent of Altichiero the church that gives depth to the scene of the

The

2o6

THE PAINTERS OF PADUA, VERONA AND TREVISO.

baptism, for example, is very similar to the buildings in the frescoes of the St. George chapel or rather to the Giottesque manner in which Semitecolo presents his edifices as a back-

ground rather than encompassing his figures. Some of the other backgrounds are also depicted sooner after Giotto's manner; for instance the loggia before which St. Ursula's father receives the letter, or again the room seen in section showing at the same
farewell.

time part of the facade, in the fresco representing the saint's The way in which the painter, in the first illustration

of the saint's legend, shows us the king's throne, isolated and without the addition of any accessories or architecture, is also

very Giottesque, while certain figures such as the saint and her four companions in the first fresco, the saint and the figure to the in the scene of the father reading the her mother? right

letter,

and several figures

result of the

in St. Ursula's farewell are of

(^).

broad

robust proportions, obviously inspired by Giotto

that although the spirit of his art and the technique of his perspective betray a certain connection between the master of Treviso and Altichiero's school,
is

The

above comparison

we

cannot, without considerable reservation, place him in this group, since we find in his works just as important features

borrowed from the Giottesque tradition. This cycle of frescoes from the life of St. Ursula dates from about 1370 1380, that is to say almost contemporary with Altichiero's activity, but the work of the master of Treviso is less perfect and slightly more

archaic than this great painter's art.

cast a glance at the art of miniature painting and of design in Padua and Verona during the 14th century, we discover that it was again in the former of these two cities that the artistic
If

we

development was the greater. Schubring (^) speaks of a codex with illustrations from the Old Testament that he found in the Library of Rovigo; it is written in Venetian dialect and he is of opinion that the work is Paduan of about 1350. He finds that the artist's compositions and his pronounced taste for architecture though slightly

different in type are reminiscent of Altichiero's

art,

while the

(')

Schubring, op.

cit.,

p. 94.

THE PAINTERS OF PADUA, VERONA AND TREVISO.

207

In cpipb.inu TxnniTii^

TnuunfiTo
Fig. 106.

mt
2"^^

The Adoration

of the Magi, Veronese Miniature,

half of the
Photo Lotze.

14th century.

BibHoteca Capitolare, Verona.

intimacy and care of detail are characteristic of "scenes de genre". If the date and school to which Schubring assignes these miniatures be correct, then we would have in them a sort of
introduction to that art which shortly afterwards developed under the guidance of Altichiero and Avanzo; however they

seem of later date and have been more justly ascribed

years of the 14th century
(')

to the last

(').

H.

J.

Hermann, Jahrb. der Kunsthist. Samml des

Allerh. Kaiser-

hauses, XXI, p. 123.

2o8

THE PAINTERS OF PADUA, VERONA AND TREVISO.

The fancy for profane paintings, in which we observe a decided fondness for chivahy, resulted in several collections of dra wrings
were inspired by existing paintings. The Liber de principibns Carrariensibus et gestis eormn of Pietro Paolo Vergerio in the Museum of Padua (\) contains portraits of the princes of the house of Carrara, which were probably painted h'om those that Guariento made in their palace and which are mentioned b}' the "Anonimo Morelliano".
which
in all probabilit}'

in a

An3^how we can be certain that the portrait we find of Petrarch codex in the Darmstadt Library', dating from the last 3"ears

(-), is copied from the fresco representing the which was originally in the Giants' Hall. As both great poet works are extant, there can be litde doubt about their quasiidentity though naturally we must not forget the present ruined

of the 14th century

condition of the fresco.

same group of drawings copied from paintings, I think Rome, that Signer Venturi thought might have been sketches for Giusto da Padova's frescoes in the Erimetani church. This, if true, would
the
also belong those in the National Gallery,

To

explain the later date of the drawings, which, the beginning of the i5tli centur}' (^).

think,

belong to
art in

We find no Verona where

trace of this worldly

and rather unusual

the Giottesque tradition also dominated this form of painting. Some antiphonaries in the Chapter Librar}' show illuminations which prove that the art of miniature-making was

well represented in this town (fig. 106) but these examples do not possess many, points in common with the Veronese school of
painting.
./

(') Lazznrini, Libri di Francesco Novello da Carrara, Atti e Mem. della R. Ace. di Scienze, Lett, ed Arti in Padova, XVIII, p. i. Schlosser believes these illustrations to be (^) As I have said before-, von

of later date and influenced by Pisanello.

() In the article previousl}^ cited in Jahrb. der Kunsthist. Samml., XXIII, von Schlosser attributes to the Veronese school of miniature painting some illuminations in a little book in the Hofmuseum,Vienna, that he believed had been made for the Cerrati famil}^ of Verona. Venturi (L'Arte, 1904, p. 79) assigns them to a German artist. P. Fo^srcr, Pittura e miniatura nellaLombardia, p. 338^ is of opinion that they are productions of the Milanese school of the end of the 14^'! century and I think this is the correct attribution.

CHAPTER

III.

PAINTING

IN

LOMBARDY AND PIEDMONT.

find in

numerous paintings of the 14th century- that we Lombard}' (^), there is a certain number that can be grouped together on account of the predominating influence of Giovanni da Milano apart from these works we discover a

Among

the

prolonged persistence of 13th centur}' art, a little group of Giottesque paintings this influence spread from Verona and man}' productions of towards the end of the 14th century a local art which does not seem to belong to any of these categories. In all districts a little distant from one of the important artistic centres, we find evidence of the existence of a similar
fairl}'

provincial

art.

Further, about the year 1400, we note in Lombard}' the budding of Gothic painting whose great development was an international movement, being represented in Verona in the person of Stefano da Zevio. Although this movement started some years before the 15th century in Lombard}', Giovanni de Grassi being

mentioned as early as 1389, century and I shall treat it in

its its

florescence took place in the 15th

The
art

entirety when I reach that period. persistence of the Byzantine tradition after Giottesque
into Lombard}', is rather curious and proves by side of two different tendencies. After the
districts, the

had penetrated

the existence side

infiltration of

elements of Giotto's art into other

(1)

Almost

all

the material that

is in

any way useful

for our

knowledge of

Lombardy has been treated by Signor P. Toesca in his excellent book: La pittura e la miniatura nella Lombardia, Milan, 1912. This book was rather superficially criticized by Betty Kiirth in Kunstgesch. Anzeigen, to which Signor Toesca replied in L'Arte, 1913, p. 136.
14'h century art in

V. Constantini, La pittura lombarda, Milan, 1922, p. 75 et seq., makes a brief mention of 14'^ century works without giving any data or new ideas.
IV

14

2IO

PAINTING IN LOMBARDY AND PIEDMONT.

were fairly soon replaced, but in Lombardy we even up to about the middle of the 14th century, works still executed in the style of the 13^1. The most important series of frescoes painted in the manner of the previous century is the one that decorates the castle of Angera, on the south shore of the Lago Maggiore Q). Besides some purely ornamental frescoes which adorn other parts of the building, we find, in the large hall, extensive mural paintings, the principal representations of which are the battles between the archbishop, Otto Visconti, after whom the hall is named, and Napoleon della Torre and his adherents. The original plan of the decoration included a rich ornamentation of the vault and lower parts of the walls. As an arch
archaic forms
find,

divides the side walls into

two
;

different parts, there are conse-

quently six separate surfaces

the lunettes above contain representations of the planets, while below in each space there are two scenes illustrating the war-like bishop's campaigns; each of the six

compartments

is

enclosed

in a frieze in

which are depicted

here and there other astronomical images. The decoration is considerably damaged, and in some places, especially on the
east wall, the frescoes have entirely disappeared. The subjects and spirit of this work lend themselves to a

comparison with the frescoes of Castelbarco, but

comparison

in

making

this

are here dealing with the manifestation of quite another artistic tendency. Just these details

we

discover that

we

which, at Castelbarco seemed to be of

German

origin, are at

Italian. The style of drawing is still strongly reminiscent of the Byzantine tradition but the colours and sense of realism that we notice throughout these representations, are

Angera thoroughly

already characteristic of a newer art. As for the date of this cycle of paintings, Signor Toesca has pointed out that it must be after 1314, the year that the castle

was definitely taken by the Visconti, but it is probable that the ornamentation was started forthwith because it certainly dates from the first quarter of the 14th century (-). Executed very much
Angera e la sua rocca etc., Milan, 1904. Toesra, op. cit., p. 157. not between 1342 and 1354 by order of the archbishop, Giovanni II Visconti as Beltrami, op. cit., p. 15, says.
(*)

Z-.i^fZ/rrr//?/,

(-)

And

PAINTING IN LOMBARDY AND PIEDMONT.

in the

21

style are the almost contemporary frescoes in the vaults of the church of S. Bassiano at Lodi Vecchio (^). The

same

decoration of the vaults

oxen-drivers
since this
in
is (-);

was ordered by

the association of
in

the frescoes

were probably executed

1323

the date

we

find in the inscription of a statue in rehef

the interior of the church, representing a

man on horseback

leading two oxen: ''MCCCXXIII Paraticmn Boateriormii fecit fieri hoc ccluni'' (sic) ('). Moreover it was probably the donors'

occupation that led the painter to depict on one ofthe four vaults, heavily laden waggons drawn b}' two oxen and each driven by a man. The other vaults show the four symbols ofthe EvangeHsts
107), and four medalHons containing the Doctors of the Church, while the fourth one is only adorned with a painted design without any figures. This decoration is of a certain importance since it furnishes us with a second example of painting
(fig.

of the

first
is

drawing Other paintings of

quarter of the 14th century, in which, at least the dominated b}' the archaic B3"zantine tradition.
this period in

which the same Byzantine

characteristics are equally evident are to be found at Lodi. On a pillar in the church of S. Francesco, there is a rigid representation of the

Baptism of Christ before

Whom

the water rises in a

Near the tomb of Antonio Fissiraga very primitive who died in 1327 there are two other paintings. One of them, which is but little superior in quality to the frescoes in S. Bassiano, shows the nobleman stretched on his deathbed, two choristers swinging censers and numerous clerics standingbehind("). The archaism ofthe design is evident in the mannerism of the
(^).

manner

example the shape of the dead man's beard. The stiffness ofthe composition, with the row of stereotyped monks, is surprising at such a late date. The figures of SS. Clement and
details, as for

(')

D.Sant' Ambrogio, Lodi Vecchio San Bassiano, Milan,

Really those

1895. Toesca,

op. cit.,p. 155.

{-)
('')

who

undertake any transport with their oxen.

the

Sanf Ambrogio, op. cit., p. 28 pi. XX. This date coincides perfectly with decision which was taken in 1321 to carry out some restoration to the
cit.,

church, op.
('')

p. 31.
cit., p.

Toesca, op.

173.

(^)

Idem,

p. 182.

212

PAINTING
in the

IN

LOMBARDY AND PIEDMONT.

the

Helen
the

same church might be paintings from

(^).

hand of

same

artist

is

The second fresco which we find over the tomb of Fissiraga, by a much more skilful artist and one who is not any
(-).

later

architectural canopy the crowned Virgin is depicted holding the Child Who bends towards an old man who is kneeling before Him holding a model of the church; behind him are seen a holy bishop and St. Francis. The somewhat remarkable

Under an

artist

who

painted this fresco belongs to a transition stage be-

tween the B3^zantine style and Giottesque art. From the former he borrowed his facial types and his schematic execution, but the robust proportions of the figures and the triangles on the baldachin one adorned with a relief of St. George killing the are essentiall}' Giottesque elements. I would even say dragon that the marked perspective of the above mentioned baldachin is superior to what we generally find in Giotto's own works. Signor Toesca has justl}' ascribed to the same master another it is even more painting of the Virgin and Child in this church Giottesque than the foregoing work. In the Baptistery of Varese, a fragment of a composition, similar to the one on the Fissiraga tomb, shows the Madonna under an almost identical canopy

(')

with St. John the Baptist who, as before,

is

of rather Byzantine

appearance

(^). I

think from this artist's hand are also a

Madonna

a fragment of which alone remains close to the previous fresco, and a Virgin and Child with two adorers, all half-length figures, in the lunette over the entry (^).
"della Misericordia",

Some
in

other frescoes of this period, which are less Byzantine technique but more primitive in execution, have been trans-

ported from the convent of Sta. Margherita in Como to the Broletto of the same town C^). The scenes depicted are taken from
the legend of SS. Liberata and Faustina.

(1)

Toesca, p. 185.

(-)
(^)
(^) (5)
(*')

Idem, op. cit., Idem, p. 184.

p. 183, pi. VIII.

Idem, op. cit., Idem, p. 186.

p. 185.

Carotti, L'Arte, XI, 1908, p. 143. Toesca, op.

cit.,

p. 175.

PAINTING IN LOMBARDY AND PIEDMONT.

213

Fig 107. The Symbols of the Evangelists, 1323. S. Bassano, Lodi Vecchio.

The artist has retained the childish compositions, the stiff forms and fragmentary architecture of 13th century art, but feehng and expression belong to the 14^11 century and. together

214

PAINTING IN LOMBARD Y AND PIEDMONT.

with some of the physical proportions, seem to be the result of a knowledge of Giottesque works.
In

Milan

itself

we

find several

examples of the persistence of the

13th century manner. The most important of them is the mural decoration of an annex to the "Monastero Maggiore", behind S. Maurizio (^). On account of certain technical details an earlier date than the middle of the 14th centur}' cannot be assigned to

these paintings. They show a long series of figures of saints, each one enclosed in an arch the row is broken by a represent;

ation of the Saviour on the Cross

John. It is a work of little artistic execution the archaism is ver}' pronounced.

;

between the Virgin and St. importance and of a crude

of S. Marco preserves some fragments of fresco from which we are able to gather that the original painting decoration comprised an image of the Madonna and two rows of saints, one above the other (-). Some of the better conserved figures have beautiful heads but the}' are designed in the conventional Byzantine manner with prominent and rather hard features. A crucifix in the church of S. Kusturgo is probabl}' still a late
13th century- production; the body of Christ shows, to a certain extent, the curve we find in crucifixes of this period. The full-

The tower

length figures of the X^irgin and St. John depicted at the ends of the cross-bar, and the angel enclosed in a medallion at the summit again exemplif}' the continuity of the older style ot
painting
(^).

The orator}' some frescoes

as in
all

of Sta. Maria, near Voghera atPontasso, contains

the

works mentioned

of the beginning of the 14th centur}' (^), which, until now, prove the persistence

of the Byzantine tradition in Lombard}' in the early 14th century, by the side of and sometimes even intermingling with the new

tendencies about to develop.

A
1330.
(^)

fresh impetus appears in

According

to Vasari, Giotto

Lombard painting shortly after was called to Milan by Azzo

Maurizio
al

U.Nebbia, Note intorno

alia chiesa di S.
1,

Monastero Mag-

giore,
(-)

Rassegna d'Arte, XI, 191

p. 13.

(^)
(*)

Toesca, op. cit., p. 175. V. Vol. I, p. 318. V. Ccrioli, L'oratorio di S.Maria del Pontasso, Riv. di Scien. Stor., 1908.

PAINTING

IN

LOMBARDY AND PIEDMONT.

215

Visconti after his consent, in 1334, to become architect of the Cathedral of Florence; we have no absolute proof of the truth of
this statement,

and

still

less that the artist

ever went to Milan.

What makes
of

Azzo

the story highly improbable is that the construction Visconti^s palace was begun after 1339, consequentl}'
is

after Giotto's death. It

interesting to note that this prince

had

certain frescoes executed there, illustrating episodes from the

Fig. ic8.

The Adoration

of the Magi, fresco, circa 1350. S. Abondio,

Como.

Punic war and a series of heroes, beginning with Hercules, a subject very frequently repeated in later centuries, and he included in it portraits of himself and of Cangrande della Scala. It is one of the oldest examples that we know of humanistic
representations
(').

paintings, in which the dominating element is the Giottesque, are of an earlier date than the master's hypothetical sojourn in Milan. Moreover we have already observed
first

The

Lombard

(^)

V.

Schlosser, op.

cit

p. 178.

2i6

PAINTING

IN

LOMBARDY AND PIEDMONT.

a certain Giottesque influence in the work of the anonymous painter who decorated the tomb of Fissiraga who died in 1327.

The most
later

and

is

extensive cycle of Giottesque paintings is somewhat almost entirely free of Byzantine elements. It adorns

the apse of the church of S. Abondio at Como (}). The conch contains the somewhat repainted figures of the Saviour, St. Peter, the Virgin, the Baptist and St. Paul, Then follow, in six rows

intersected

by the windows, twenty scenes illustrating the Life of Christ from the Annunciation until the Entombment (figs. 108 and 109). The frieze below and at the sides shows half-length

figures of prophets and saints; the different scenes are separated by a border adorned with medallions containing heads and

chimera.

These paintings, which seem to be from more than one hand, are not of good quality; they are evidently the production of some
provincial local artists who had only a limited knowledge of Giotto's art, and did not even follow his iconography. Nevertheless the simplicity of composition, together with the forceful depiction of dramatic action, the facial types and expressions,

and the construction of the forms point to a Florentine inspiration. A similar manifestation of the Giottesque influence is found in
a fresco in the Broletto of

Como

it

represents a

young man

wearing a crown of flowers receiving an inscription from a

skeleton.

was transported from Sta. Margherita, belongs

dency
(-).

painting of a saint, also in the Broletto whence it to the same ten-

The
little

other traces of Giottesque art in this region are of but

importance.

In the archiepiscopal palace in Milan,

however, there are some

fragments of what once must have been very fine paintings of the Giottesque school; they probabl}' formed part of a scene of the Massacre of the Innocents and doubtless belonged to the
decoration that
1354I

we owe

to

Bishop Giovanni
is

V'^isconti

(1342
Reminis-

whose coat of arms

represented close

by

(^).

cences exist of a painting showing him in adoration before the

(')

Toesco- op. Toesca, op.

cit.,

p. 190. p. 196. p. 208.

(^)
(^)

cit

Toesca, op.

cit.,

PAINTING IN LOMBARDY AND PIEDMONT.

"

217

Virgin, whilst, the Anonimo"' speaks of frescoes, still resplendent in his day by very old masters (^).

Besides the older paintings in the tovv^er of S. Marco, there are some figures of saints of about the middle of the 14th century. The Giottesque inspiration is evident but the work is very

mediocre

(-).

Fig log.

The Presentation
S.

in the Temple, fresco, circa 1350. Abondio, Como.

More genuinely Giottesque and

slightl}' earlier in

date

is

large fresco in the church of S. Michele at Monza, that Signor Toesca is of opinion represents the saints praying for the faithful

on All Saints' Day, as the Golden Legend describes

in

connection

(M Anoiiiino Morelliatio, p. 54, "In la corte archiepiscopale le pitture a fresco che risplendono fin hoggidi come spechii furono di man de maestri vecchissimi".
('^)

Toesca, op.

cit.,

p. 210.

2 18

PAINTING IN LOMBARDY AND PIEDMONT.

with this feast (ij. The fresco shows St. Peter enthroned as Pope and before him about twenty saints are depicted. The figures are well proportioned, majestic and imposing, and the faces are beautiful. It is one of the finest Lombard paintings belonging to
the Giottesque school.

Not

an}' inferior

is

tree of St.

Bonaventura

the fragmentary fresco representing the in the church of Sta. Maria Maggiore,

no). At the foot of the tree, we see the Virgin, St. Francis and St. Clare to the left, St. John and two Franciscan

Bergamo
monks

(fig.

to the right
is

and

St.

Bonaventura kneeling

in the

centre

near him

placed the kneeling figure of the donor who, accordto the later inscription, which is no doubt a true copy of the ing original, was a certain Guido di Suardi, while the date of execution
is given as 1347. The scenes in medallions between the lower branches that have not been destroyed, illustrate the beginning

of the story of Christ. This master

artist

was an excellent Giottesque but his design is a little harder and his figures slightly longer than Giotto's Florentine followers show us in their
(-).

works
find

Close by, in the monaster}^ of S.Francesco atVimercate(-'),

we

some paintings of minor importance, belonging, however, to the same artistic movement and dated 1354. The persistence of the Giottesque tradition in the second half
is manifest in a fine fresco of a half-length of the Virgin with the Child standing on her knee, in the figure church of S. Agostino, Cremona [^).
(^) Toesca, p. 212. D. SaiifAiiihrogio, who dates it from about 1400, has interpreted it as a representation of a votive mass II grandioso dipinto di una messa votiva nella chiesa di S. Michele di Monza, Rassegna d'Arte, 1907,
:

of the 14th century

p. 62.

The most important painter in Bergamo between 1363 and 1403 was Nova TassiyWite dei pittori Bergam., 1,1776 p. 2, read the name as Paxino or Pecino). I do not know for what reason some fragments of fres(-)

Pierino de

coes in the campanile of Sta. Maria Maggiore have been attributed to him. There also existed a Michele diRonco diMilano, v. Croive and Cavalcaselle,
op.
cit.,

p. 253.

(') (|)

Toesca, op. cit., p. 213. Cremonese painter called Polidoro Casella Idem, p. 266.

was

active

in 1354.

Cavalcaselle, op. cit., p. 255. large Madonna with the donor dated 1370 in the they believe is a possible work of this artist.

Crowe and

These authors mention a

Cremona Cathedral

that

PAINTING IN LOMBARDY AND PIEDMONT.

219

Fig.

no. The Tree of St. Bonaventura^ Bergamo.

i347- Sta. Maria Maggiore,

Photo
1st.

Art. Graf.

220

PAINTING IN LOMBARDY AND PIEDMONT.

church of S. Francesco of Lodi

In the left aisle of the

we

find

a fairly long cycle of scenes from the life of a holy bishop {^), evidently a work of the second half of the 14th century; the

general appearance of the figures, as well as the animated action and simplicity of composition, may be looked upon as derived

from Giotto's art of which, however,

festation.

it is

but a provincial mani-

The group of painters, in which Giovanni da Milano was the most prominent figure, cannot be explained by a simple evolution of Giottesque elements, the earliest trace of which we find in Lombardy in the first quarter of the 14th century. Giovanni da Milano, who constitutes such an obvious hnk between Lombardy, his native country, and Florence, where we find him active who had fellow artists of the same origin so closely connected with him that their works have been attributed to him yet who, on the other hand, seems to be in his proper place among the
;

is only a factor in the artistic movement that be called the Lombardo-Florentine. Consequently the painmay ters who worked in Viboldone, Mocchirolo and Lentate in the second half of the 14th century were not late Giottesque artists, but may be considered to a certain extent as forming a colony

Florentine painters,

of the contemporary school of Florentine painting. In what way this close connection between Lombard

and

not very clear, for GioFlorentine painters vanni da Milano's migration to Florence, where he is mentioned in 1350, and where he took up his residence, does not explain
is

was brought about

how

bard

marked Florentine influence dominated a group of Lomartists, more especially as this influence is to be observed prior to the above mentioned date. I think we must assign Giovanni's choice of home to the renown that Florence had attained
a

in his native country.

Even

the Bergamo fresco ofi347

shows such a Florentine form

of the evolution of Giottesque art that we may suppose its maker to have been familiarwith works of Giotto's immediate followers.

A series of frescoes in the church ofCastelS.Pietro,nearBalerna

in the
(M
(-)

region ofComo,is excuted in the same style (-). The church

cit.,

Toesca, op. Toesca, op.

p. 266, p. 188.

note

i.

cit..

PAINTING IN LOMBARDY AND PIEDMONT.

was
built in

221

ately after.

1343 and in all probability was decorated immediBesides some half-length figures of saints in medallions

on the

walls,

we

diction enclosed in an aureole

see in the apse an image of the Saviour in beneand surrounded by the symbols of

the Evangelists; lower

down are depicted the summons to SS. Peter and Andrew, the capture of St. Peter (?), his crucifixion then follow the Annunciation, a figure of the Madonna, and over
;

the door the Navicella.

This master was not one of the good artists o'f the group with which we are at present dealing. His drawing is somewhat clumsy and his colours without any charm, but nevertheless he is not
entire!}^

and

offers us
its

devoid of interest, since his work can be called Florentine, an example of that stage in this school after the
great founder and before Giovanni da Milano went On account of certain Lombard features that Gioto

death of

to Florence.

vanni brought with him

Tuscan}^

it

may be

inferred that he

was

active in his native country while resident there. For the artist, Giovanni da Milano(^), we have records that allow

us to follow his activities from 1350 until 1369 (-). It is more than probable that we can identify Giovanni da Milano with Johannus
Jacobi da Como whose name is found in the first of these 3'ears in the list of foreign artists then working in Florence, all the more

so as

when Giovanni da Milano

is

matriculated in 1363 in the "arte

mentioned as being the son of Jacopo di Guido. From the tax register it appears that at the end of the same year he lived in the quarter of S. Pier Maggiore, and that he possessed some property in the region of Ripoli, while in 1365, he signed the picture now in the Accademia of Florence but originally in the church of S. Gerolamo, representing the dead Christ surrounded by the Virgin, St John and the Magdalene. The same year he contracted for the extant frescoes in the Rinuccini chapel of Sta. Croce, and in this document he is called "Johannes pictor de Kaverzaio" which certainl}' ma}' be taken to mean Caversago,
dei medici e speciale"he

(')

C.

p. 279.

W. Stiida, Fforentinischen Maler um

F. von Rimiohr, Italienische Forschungen (new ed.), Frankfort, 1920^ die Mitte des XIV Jahrhunderts,

Strasbourg, 1905,

W.

p. 28. O. Siren, Giottino, p. 53. Z'. T^ofSfc?, op. cit., p. 217. Siiida in Thieme-Becker^ Kiinstler-Lexikon, XIV, p. 127. J^asari-Milanesi, I, p. 584, note 2 p. 572. note 2; p. 584, note i. (^)
:

222

PAINTING IN LOMBARDY AND PIEDMONT.

a small village near Como. In 1366 he obtained for himself and his offspring the citizenship of Florence (^), and the last time we
find

him

is

among
(-).

the artists

whom Urban V employed

in the Galler}'

to

adorn

the Vatican

His name

is still

found on a polyptych
undated.

of Prato

which, however, Vasari furnishes us with the usual unreliable information concerning this artist; he relates that he worked with Taddeo
is

Gaddi and was so friendl}^ with him that at his death, Taddeo appointed Giovanni and Jacopo del Casentino the guardians of his sons, Agnolo and Giovanni, especially charging the former
with their
artistic instruction.

This

little

anecdote

is

far

from the

truth,

because not

onl}' at

death was Agnolo Gaddi of an age at which a guardian was no longer required, but also nothing in Giovanni's art
his father's

leads us to believe that he ever

worked with Taddeo. Consequently we need not dwell on Vasari's record of the works that our artist made in collaboration with his supposed master. He

mentions, however, the altar-piece of the Ognissanti church that von Rumohr saw there in the Gondi-Dini chapel, but that has
since been transported to the Uffizi, and attributes to him a panel on the Gherardo da Villamagna altar which must have borne the date 1364 (^), and a crucifix, a Madonna and St. Clare

and scenes from the history of the Virgin in Assisi (^). Vasari who, in a sentimental wa}^ likes the subjects of his writings to end their lives in the city of their origin, informs us

(')
(^)

An

Giornale Storico degli Archivi Toscani. II. 1858, p. 65. attempt, without any foundation, to identity Giovanni da Milano

with Giovanni de' Grassi, was made b}^ G. B. Calvi, Notizie sulla vita e sulle opera di principali architetti, scultori e pittori che fiorivano in Milano etc., I,
Milano, 1859, p. 85.
J^asari, who says Taddeo Gaddi died in 1350, tells us that Giovanni (^) executed this panel fourteen years after his master's death. Vasari does not even state in which church these paintings were to be [*)

found. Could

panels

it possibly be that the first part bore reference to the three of the end of the 13'^ century in Sta. Chiara (v. Vol. I, p. 339).

Voii Rimiohr was entirely mistaken in believing that the scenes from the Childhood of Christ were the frescoes in the transept of the Lower Church and in his acceptance of this attribution to Giovanni.

PAINTING IN LOMBARDY AND PIEDMONT.

223

Fig. III.

Giovanni da Milano, Joachim driven from the Temple, fresco, 1365.

Sta.Croce, Florence,
Photo
.\linari.

224

PAINTING IN LOMBARDY AND PIEDMONT.

where he executed man}' works

that Giovanni returned to Milan

before expiring.

The oldest and most important work that we have by Giovanni da Milano, and the one which is best documented, is the pard}^
repainted
cycle of frescoes in the Rinuccini chapel or choir of the sacrist}' of Sta. Croce, Florence (-); the entire decoration, however, is not from the master's own hand. In May of the same
(^)

year 1365

that the artist made the contract for the execution

of these paintings, we find him asking the Capitano of the Compagnia of Or San Michele, who had ordered them, for more time
in to finish them, which request is granted. Giovanni's iconography differs in many points from Giotto's. This is at once evident in the first fresco, Joachim driven from

which

the

Temple

(fig.

iii).

The main

action, although placed in the

centre of the picture, is dominated by the imposing architecture; the perspective is well shown and the building full of devout

persons.

The

angel's
to

message

to

Golden Gate are

very similar
the Baroncelli

illustrated in the next fresco.

Joachim and the Meeting at the The former is

Taddeo Gaddi's representation of this event in chapel of the same church, where, if it will be

remembered, it also formed half of a fresco. Joachim is seen lying on the mountain looking up at the angelic apparition, while below is depicted one of the shepherds with his flock of sheep. The scene on the right half, shows a good deal of correspondence to the examples by Giotto and Gaddi, particularly resembling those of the latter in its general disposition, as well as in the absence of that charming tenderness that Giotto expresses
in his

Paduan

cycle.

Giovanni,

like his

two predecessors,

re-

presents the servant, with pointed bonnet and satchel slung on a stick, following his master. Anna is accompanied by several

women, while
Sta. Croce.

the city behind

in

its

walls

is

another feature that

Giovanni depicts

common

with the other artist active in

is

The

Nativity of the Virgin

a charming,

homely scene and

Crowe and Cavalcaselle, op. cit., II, p. 187, note i. These paintings which Vasari assigned to Taddeo Gaddi, were ascribed to Giovanni da Milano b}- Crowe and Cavalcaselle, before any documents were found concerning them.
(1) (^)

PAINTING IN LOMBARDY AND PIEDMONT.

one
in

225

which Giovanni's characteristic drawing is very evident (fig. 1 12). Anna, sitting up in bed is seen washing her hands; three women at the bed side amuse the new-born Child Who has just been bathed, while a fourth accepts a gift from a neighbour who
stands in the door-way.
generally acknowledged that the two lowest frescoes on this wall the Presentation of the Virgin in the Temple and
It is

Fig. 112.

Giovanni da Milano, the Nativity of the Virgin,

Sta. Croce, Florence.

fresco, 1365.
Photo Broei.

her Betrothal
extent that

are not by Giovanni da Milano

(^).

In the former

the artist has followed Taddeo's composition, even to such an we might even call it a free copy. There are only a

few features reminiscent of Giovanni's art; he probably did not even provide the rough sketch but referred the artist to Taddeo's
example
in the Baroncelli chapel.

This

is

not the case for the

is

Betrothal in which the

moment

represented

when

Joseph,

guided by
I

the high-priest, places the ring on the Virgin's finger.

(')

find

no reason

to believe, as

Signor

ro^.^cfi

does, that the assistant

artist

was Giovanni

del Biondo.

IV

15

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PAINTING IN LOMBARDY AND PIEDMONT.

while the rejected suitors break their rods; the event is witnessed

by many persons.

The

In the lunette

story of Mary Magdalene is depicted on the opposite wall. we see the saint washing Christ's feet in the house

of the Pharisee. In the building, which is shown in section, Our Lord is represented seated at table with three other persons;

three domestics serve the food while Mary Magdalene kneels below and the seven devils are seen fleeing away. On the second row we see, in the house of the two sisters, the Magdalene sitting at the Saviour's feet, intent on what He says and Martha reproaching her with her idleness while several people look on; here too is depicted the Resurrection ofLazarus in quite

an unknown composition: Lazarus, supported by some friends climbs out of a large flat marble sarcophagus behind which are
the Saviour and the two imploring sisters other figures are seen to either side, those on the left apparently standing in the
;

gateway of the city, outside whose walls the incident occurs. The variation on the usual composition is not a happy one for the picture is clumsy and awkward with the exception ofLazarus,. Martha and Mary Magdalene, the figures are not at all characteristic of the master's work and we may conjecture that the greater
;

part of this fresco

was probably
at the

left to

an assistant. Nor are the

two
the
in

last

scenes by Giovanni's

Holy

Women

own hand. The first representing Empty Sepulchre shows the Maries

with

conversation with the three guardian angels and combined it is the Noli me tangere. The iconographical peculiarities
in the

of angels at the grave and the wall enclosing the garden in which both events are depicted. The other scene shows the miracle that we found in Mary Magdalene's

here consist

number

chapel in the Lower Church of Assisi the merchant returning by sea to Marseilles finding his wife alive on the island where he
;

her dead on the outward-bound journey. The finest part of this decoration is the painting of the vault where the imposing and grandiose figures of Our Lord and four prophets are repre-

had

left

sented in medallions, while the busts of the Twelve Apostles in the entrance arch are scarcely less beautiful.

Giovanni's request that he might be allowed to finish these frescoes at a later date than he had first stipulated, the fact that

important parts were

left to

assistants whose artistic capabilities,.

Fig. 113.

Giovanni da Milano, Pieta, 1365. Accademia, Florence.

Photo Brogi.

228

PAINTING IN LOMBARDY AND PIEDMONT.

a ven^ high standard, the great technical qualities of the work and, notwithstanding to which we shall return later, the inferiority of even the best

Giovanni must liave known were not of

parts of this decoration to the contemporary Pietainthe Accademia, all prove that for one reason or another, the enterprise was undertaken with but little enthusiasm on the part of the master.
the only two dated works not been executed in the same period of Giovanni's career, we should have been able to form a better idea of his artistic evolution. The panel ofthe dead Saviour

Had

with the Virgin, the Magdalene and St. John (fig. t 13), bears the inscription: "/o Govani da Melano depiusi qiicsta tavola i(n)

MCCCLXV'\').
documents of the one and the signature of the other we should certainl}' have considered these two works as productions of one artist executed in the same manner and

Even without

the

spirit,

but the technical qualities of this picture are so much finer that may be classed with the best Florentine panel paintings of the Trecento. His individual style which was evident in the
it

frescoes of the Rinuccini chapel, is here ver}' much more character to the work.

marked and gives

114)

shows, below the central panel, the signature: ^^Ego Johanes de Mediolano pinxi hoc opiis\T\\\'=> important altar-piece represents above, the enthroned Virgin in the centre with SS. Bernard and Catherine to the left and SS. Bartholomew and Barnabas to the right, each on a separate panel, the apex of which is adorned with a medallion
in the

The polyptych

Gallery of Prato

(fig.

Below each of the lateral saints a scene an event from his or her life; with the exception ofthe one from the legend of St. Bernard (to whom we see the Virgin
containing a bust.
illustrates

appearing) the incidents represented are those of the samts' mart3Tdoms. Under the broader central panel are the two figures
G. B. Calvi, op.cit., p. 90, doubtless refers to this work in speaking of a panel which he saw in the old convent of Sta. Caterina, signed: '^Gio da
(')

Milano" and dated 1365, representing the dead Christ seated on the ground, supported by two angels. This is all the more probable since von Riiniohr saw the picture now in the Accademia in this convent which was then a store-room of the Accademia. Herr Snida, Florentische Maler, p. 28, infers from Cahn's statement that there must have been a second panel bearing
the

same

date.

PAINTING IN LOMBARDY AND PIEDMONT.

22Q

of the Annunciation each framed in a separate arcade. On the predella we find six events from the Life of Christ the Nativity,
:

the Adoration of the Magi, the Presentation in the Temple, the

Fig. 114.

Giovanni da Milano, polyptych. Gallery, Prato.

Photo Brogi.

Prayer in the Garden of Gethsemane, the Betrayal of Judas and the Calvary The very refined execution and the artist's taste for ornamental detail, which is very striking, for example, in the mosaic decoration of the various thrones, serve to reveal the inferiority of the

230

PAINTING IN

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fresco cycle in the Rinuccini chapel where we certainly do not see Giovanni at his best. The exquisite calligraphic design of the

make figures, the minuteness of detail and the brilliant colouring of this picture a w^ork very superior to the artist's mural paintings.
In

comparing the two dated works of about 1363 and of 1365

with the signed altar-piece, we discover in the former productions an increased strength of design,especially in the form of the bod}' and of the features, so that we may safely assume the picture in Prato to be of earlier date. Herr Suida has propounded the theory that as the picture bears another inscription telling us thatFrate

Francesco was the donor, and that as it was originally in the church of the hospital of which Frate Francesco was rector in 1354, it may be taken for granted that the painting was executed about that time. An interval of about ten years between this

work and those mentioned above seems

rather too much

it

may

be possible, howev^er, that rectors were appointed for more than one year and that it is of somewhat later date. There are two other paintings that we can compare with Giovanni's dated works and that seem of contemporar}' or even
later execution.

The more important of them is a large part of a pol^^pt^xh which was transferred from the Ognissanti church to the Uffizi Gallery (fig. 115). We have now only five parts of the polyptych which must originall}' have comprised seven on account of the
lateral panels.

representation of the daj^s of the creation in the spandrels of the The central one no doubt showed an image of the

Madonna.

five principal parts that still exist are of saints they are SS. Catherine and represented two figures Lucy, Stephen and Lawrence, John the Baptist and Mark, Peter

On

each of the

shows

and Benedict, James and Gregory. Below each pair a small panel a group of about twelve figures of saints. Comparing
these figures with those in the foregoing works, we discover a broader and freer treatment than we found in either the mural

decoration or the Prato polyptych, a lack ofthat severe individual style which was so admirable in the Pieta of 1365, and a decided
increase of Gothicism in the drapery, most evident perhaps in the small figures but also to be observed in some of the others, in particular that of St. John the Baptist. The artist's excellence
in the

drawing of the features has

in

no wa}' diminished.

PAINTING IN LOMBARDY AND PIEDMONT.

231

Fig. 115.

Giovanni da Milano, part of the Ognissanti polyptych.

Uffizi,

Florence.

Photo Anderson.

232

PAINTING

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more marked

The Gothic element

is still

doubtless having formed part of an the National Gallery; the}' represent the seated figure of the Almighty, holding the globe and a key, the Virgin, and St John
pointing to the Madonna and holding a scroll with an inscription bearing reference to her; half-length figures of angels are seen
in

once in important altar-piece

in three

panels

the medallions of the terminals

(fig.

it6).

Innone of Giovanni

Fig. ii6.

Giovanni da Milano, God the Father, the Virgin and the Baptist.
National Gallery, London,
-

da Milano's other works do

.such refinement in the

we

find such beautiful

drapery and
inclined to

drawing of the

features.

am

look upon these panels as one of his late works, more especially as the smooth regular features are le.ss vigorously designed than
in his

other productions. now deal with those paintings which I think can be placed in that period of the artist's career that preceeded the one

We shall

in

which he executed the two dated works. In doing so I think it is best to work backwards so that we shall begin with tho.se that most closely approximate the year 1365.
that

Fig. 117.

Giovanni da Milano, Madonna.

Gallery, Strasbourg.

234

PAINTING IN LOMBARDY AND PIEDMONT.

the

Of about

same period

as the frescoes in the Rinuccini

chapel, consequent!}^ later than the Prato altar-piece, is, I believe, a picture which I venture, for the first time, to ascribe to Giovanni

not one of his most characteristic works. It is a half-length figure of the Virgin standing, holding the Child on her left arm, in the Galler}' of Strasbourg. half-length figure of the Saviour in a trefoil above bestows a blessing with one

da Milano, although

it is

hand and holds an open book in the other (fig. T17). A somewhat damaged fresco in the Carmine church, Florence the foregoing panel and (fig. 1 18), shows much connection with the Prato altar-piece, and although the quality of painting is less
good,
I

think

we might perhaps

include

it

with Giov^anni's

late

works

(^).

On
sits

a Gothic throne adorned with Cosmati mosaics, the Virgin

holding the Child Who bends towards a knight, kneeling in adoration to the left of the throne; a nun in similar attitude
his

forms

pendant on the

right.

Two

saints stand to either side,

those nearest the donors, SS. James and John the Evangelist(?) presenting them to the Virgin with a protecting gesture. The other two saints are SS. Anton}- Abbot and Barbara. On the

whole

not a very characteristic work of the master's and the question of its attribution must remain problematic. The same may be said of a polyptych in the sacristy of the
it is

same church, representing the enthroned Virgin with two angels in the centre, and two saints to either side, each on a separate panel (fig. 119). This painting, which is very often ascribed to Andrea da Firenze, shows much more connection with Giovanni's manner: the long-necked silhouette of the 3'oung deacon,
Leonard, to the left and the figure of St. John the Baptist are even very peculiar to the master's art, and the fine quality of the painting excludes the possibility of its being only a school work,

charming picture of a decidedly earlier date is the small triptych in the Accademia, Florence (fig. 120). It shows in the centre the Madonna seated on a cushion which, although placed at the height of a chair, does not seem to be supported by an}'thing; two miniature donors kneel in the left lower corner. On the left wing are four saints SS. Catherine, John the Baptist, and Antony Abbot and the angel Gabriel above; on Dorothy

Signer Toesca does not agree with

tliis

attribution.

PAINTING IN LOMBARDY AND PIEDMONT.

235

the right the figure of the Virgin Mar}' completes the representation of the Annunciation while below is depicted the Crucifixion

the Cross and four

John and Mar}' Magdalene at the foot of angels hovering around the Crucified. In the dispersed de Marquard collection, Florence, I remember
with the Madonna,
St.
little

Fig. 118.

Giovanni da Milano

(?),

Madonna and

Church, Florence.

saints. Cloister, Carmine Photo Anderson.

seeing, a small picture of the Madonna, similar in shape to the central panel of the triptych in the Accademia and showing a

strong resemblance
to the

in execution.

think

it

may

be attributed
the
his

same period in Giovanni's career. (^) Two other works by Giovanni da Milano do not display

fine technical qualities that

(')

we have

noticed until

now in

all

in

Rome, and

short time ago. I saw it again, for sale first in Florence and then a further examination only helped to confirm mj' first

impression.

Fig. 119.

Giovanni da Milano, polyptych. Carmine Church, Florence.

Photo Reali.

PAINTING

IN

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237

Fig. 120.

Giovanni da Milano, triptych. Accademia, Florence.

Photo Brogi.

productions; the}' are, however, so characteristic of the master that we can have little doubt as to their authenticity.

One

of them

which

think

is

going to be transferred from the

National Galler}' to the new museum in the Palazzo Venezia, is composed of eight small panels (fig. 121). In the centre the Virgin, sitting on a throne inlaid in marble, holds the Child standing on her knee two angels are placed at
;

Roman

238

PAINTING IN LOMBARDY AND PIEDMONT.

Above on
the
left

either side.

the Annunciation

is

seen taking

who

place in a room; a lectern separates the angel and the Virgin has just risen from her seat both pieces of furniture are again adorned with marble mosaics. The adjacent panel on the
;

right

shows

the Nativity

ter against a rock}'

which takes place under an open shelbackground; the Madonna, sitting on the

ground under the shelter, gazes at the Child Whom she holds in her arms the animals look over the top of the manger while
;

Joseph

sits

pensively nearby.

On

each of the panels at the sides

two saints are represented; to the left they are SS. Nicholas and Lawrence (?) and to the right SS. Julian
of the central one,

Hospitator and James.

The

the Virgin, St. John and the Lord's body under

three panels on the lowest row show the Crucifixion with two small angels; the mourning over
the

Cross; and SS. Margaret and

Catherine.

The figures do not display the forceful drawing and mannered form of Giovanni's later works but they are very graceful although somewhat flat. The second of these two works which we can be sure are from Giovanni's hand, is an Annunciation on two panels in the Pisa Gallery. It is even earlier than the previous picture and in
probability one of Giovanni's youthful productions. The kneeling angel is represented on one panel and on the other the
all

Virgin seated, holding a book in one hand and pressing the other to her bosom in a gesture of timidity. The drawing is rather

clumsy but the folds of the drapery are well depicted. The Virgin's head is very characteristic of Giovanni da Milano and iustifies our attribution to this master. Mr. Siren has ascribed to this artist a drawing in the Print Cabinet in Berlin representing the Crucifixion (i); the appearance of the drawing which in manner is reminiscent of the Pieta
of 1365,

upholds the attribution

(-).

(')

O. Siren,

Floreiitiner Trecento Zeichnungen, Jahrb.

der K. Preus.

own: Amsterdam, Lanz coll. Crucifixion with four figures under the Cross; Florence, Acton coll., small panel of the Madonna between two saints (?);
Loiidnn,

Kuiistsamml., 1906, p. 209. (-) I think the following works can be considered as the master's

Roger Fry

coll.,

the

wing of an

altar-piece

showing many

saints,

PAINTING

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239

Fig. 121.

Giovanni da Milano, the Virgin, saints and scenes from the Life of
Christ. Palazzo Venezia,

Rome.
Photo Anderson.

240

PAINTING IN LOMBARDY AND PIEDMONT.

There are mam- elements in Giovanni da Milano's painting that make us qualify him as a member of the Florentine school, but at the same time he retains man}' characteristics of the art of his native countrv which, however, as I have alread}' said, was very much dominated by Florence.
In the Florentine school, Giovanni should be classed with the group of Orcagnesque artists; his works nevertheless are
strongl}' reminiscent

the former he

ofDaddi's art and even of Giotto's. From certain Sienese peculiarities that mislead some writers into believing that Giovanni himself was influenced by the Sienese school. I do not find any reason to

borrowed

beheve
in

this,

while his connection with Daddi

is

very manifest
Florence,

the figures

of the triptych in the Accademia,

an attribution made by Mr. Siren. Modeiia, belonging to the advocate BergoUi. a Virgin and Child in an attitude of aftection, one third life size (Crowe and Cavalcaselle. op. cit.). Paris, Martin Le Roy coll., Pieta, the Virgin holding the dead body of Christ on her knee. P/f/7<7(y^//>/7m, Johnson coll.. the angel delivering St. Peter from prison (O. Siren, The Burlington Magazine, XIV, 1908-^9, p. 192 and accepted by Mr. Berenson in his catalogue of the collection p. 5). Whether an enthroned Madonna, originally in the Artaud de Montor collection and known from the reproduction in the catalogue, was really by Giovanni himself, is difficult to say. A considerable resemblance to the master's manner certainly existed (Suida, Florentinische Maler, pi. 27 attributes it to Giovanni). Many of the other attributions have
already been rightly protested against by Signer Toesca. 1 do not think any of the following works, although they all show his influence, are by Giovanni da Milano Arezso, Gallery (13), standing Madonna dated 1367
that
:

(Rassegna d'Arte, 1915, p 84; Salmi, Catal. della Pinac. comun. d'Arezzo, Citta di Castello, 1921, p. 19: influenced by Giov. da Milano). Berlin, Gallery, mourning over the Lord's bod}' under the Cross the form of the tomb, however, is identical with that in the fresco of the Resurrection of Lazarus
;

in the Rinuccini chapel. Cracow, Czatoryski Museum, Madonna between SS. Lawrence and Dorothy Giovanni's influence is manifest but the work is too inferior to be from the master's own hand (M. Logan Berenson, Dipinti italiani aCracovia, Rassegna d'Arte, 1915, p. i). Florence, Uffizi, Store-room
;

two female saints (Salmi, L'Arte, 1913. p. 210, note 5: Orcanesque, influenced by Giov. da Milano); Home Museum, St. Paul and the Baptist the outcome of the {75.76), (attrib. by Home to Giov. da Milano but sooner combined influences of this artist and of Andrea da Firenze). Neiv York,
(4696),

Metropolitan Museum, a lunette with the half-length figure of the Madonna and two adorers, apparently a school work (Siren, Giottino und seine Stellung in der Gleichzeitigen Florentinischen Malerei, Leipzig, 1908, p. 91); Historical .Society, Crucifixion, previously in the Artaud de Montor collec-

PAINTING IN LOMBARDY AND PIEDMONT.

especiall}' in those of the Crucifixion

241

on the right wing. On the other hand the plastic and other qualities of the Prato pol3'pt3'ch and the one from the Ognissanti church, now in the Uffizi, are
those of a genuine follower of Orcagna. Whether Giovanni da Milano became familiar with the Giot-/"] tesque style of painting in Lombardy or whether he studied it
in

Florence cannot be ascertained, but the fact remains that he

of his art to this tradition. The compositions are similar as well as the obvious desire to relate the narrative in

owes certain features

the most concise manner.

artist generally

It is

true that in

Lombard

painting the

surrounds the principal actors with a fairly large of persons, who, however, take no part in the proceednumber ings, which are depicted with Giottesque simplicity. The com-

tion (Suida, Florentinische Maler, pi. 25, ascribes it to Giovanni da Milano, P. Toesca. op. cit., p. 283, to the miniaturist Giovanni di Benedetto. In the

catalogue of the Artaud de Montor collection and in that of the Historical Society this picture is ascribed to Botticelli!). Parma, Gallery, nos. 427

and

433,

two panels each showing four

coll., (120),

Philadelphia, Johnson

Annunciation iBerenson

figures of saints; a school work. triptych, Nativity, Crucifixion, saints and in his Catal. of the collection calls it school of Alle-

gretto Nuzi). Prato, S. Domenico, lunette over the door on which is represented the Virgin between SS. Nicholas and Dominic (Crowe and Cavalcit., have attributed it to Giovanni and this has been generally accepted as correct but I think it is a school work). Rome, National Gallery, Coronation of the Virgin, considerably repainted (Siren. Monatsheft fur Kunstwissensch., 1908, p. 1122; Suida, op. cit., pi. 18 and Siren, Giottino, p. 91). I do not agree with this attribution and find the picture shows more connection with Nardo di Clone (v. Vol. Ill, p. 490'); Vatican Gallery, no. 62

caselle. op.

a triptych with the Crucifixion and scenes from the Passion; nos. 93 95, the meal in the house of the Pharisee, the Crucifixion and Noli me tangere; no. 79, the Ascension (Siren, Giottino, p.92; later the same writer, Alcuni

note aggiuntive a quadri primitivi nella Galleria Vaticana, L'Arte, 1921, p.59, retracts the attribution to Giovanni of the former pictures but maintains that of the Ascension (Toesca, op. cit., p. 226 notes 2 3, makes a mistake in stating that Siren attributes the first two to Giottino). In my opinion all
these pictures are somewhat later productions of the Florentine school; there are, however, in the Vatican Gallery two other pictures which show a much closer connection with Giovanni's art: no. 67 Nativity of the

Madonna and

no. 66 Crucifixion with two angels, the Virgin, St. John and an adoring Dominican monk (Siren, L'Arte, loc. cit., attributes the first of these panels to Maso-Giottino, the second to Andrea da Firenze, v. Vol. Ill, pp. 421^ and 441).

IV

16

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PAINTING IN LOMBARDY AND PIEDMONT.

in Sta. Croce that positions are very different in the frescoes

an assistant. The way in which Giovanni surrounds his figures and the manner in which he uses the site of the action as the background (compare for example Giovanni's fresco of Joachim driven from Giovanni
left to

Giotto's representation of the Lord driving the merchants from the Temple) are typical Giottesque features.
the

Temple with

artists represent an interior in an almost manner, the unreality of which is very incongruous symbolic with the naturalness of the action. In the scene of the meal in the house of the Pharisee, Giovanni shows both the exterior and interior of the room at the same time by the simple means of suppressing one wall, and this is

Then again both

thoroughly Giottesque. Giovanni has that directness of depicting an event that Giotto himself possessed. His expressions and
attitudes, in fact the entire action of his pictures, are

very real

without any mystical idealism, while those scenes, in which the presence of some august personage ought to give a certain solemnity, are rendered in an even simpler manner than by
Giotto himself.

The
to the

characteristic in Giovanni's art that betrays his adhesion Lombard school sooner than to the Florentine, is his

peculiar chiaroscuro technique, so different from the plastic effects we see in the works of the good Florentine artists. The elongated

proportions of rather fantastic elegance, resulting in somewhat feebly constructed forms, is another detail which links him with the Lombard painters and differentiates him from the Florentines; as too his

warm

brilliant colouring,

reminiscent of Sienese

painting,and his curious and often ugly faces, with their exaggeratedly individual features. In his frescoes in the Rinuccini chapel

and
find

in the

paintings at Viboldone, Mocchirolo and Lentate, we grimacing faces alongside those of a charming regular

beauty, a contrast never seen in Florentine productions. 4^ Moreover, as I have already remarked, the chief actors in Giovanni's scenes are not grouped in a more complicated manner

Giottesque art, but he, as other Lombard artists, adds a of accessory figures, which, as it were, constitute large the audience. Lastly, the intimacy, the introduction of contemthan
in

number

porary costumes, the numerous homely details which give his

PAINTING IN LOMBARDY AND PIEDMONT.

243

pictures the appearance of "scenes de genre" (v. the Nativity of the Virgin) and the effects of perspective that add considerably
to the to

depth of his representations are

North Italian painting we have already found them in Padua and Verona (^) and not to the Florentine school. Further, as I have previously had occasion to mention, Giovanni's icono-

all

elements that belong

graphy is not Florentine; the manner, for instance in which Lazarus is depicted coming out of his tomb is not at all traditional. In short, Giovanni da Milano who was active in Florence and native of Lombardy where the art of this Tuscan city was so widely disseminated, nevertheless shows in his works a good number of characteristics which are not of Florentine origin but which he possesses in common with his fellow countrymen. On^ the other hand Giovanni introduced the chiaroscuro technique into Florence where it was accepted and developed until it
reached
in
its acme in Masaccio's paintings. Almost contemporary with Giovanni da Milano's appearance

Florence is the execution of some frescoes in his native country, those in the church of Viboldone, near Milan, which the inscription dates from 1349 (^). The paintings in question are found in
the choir; those on the walls, although belonging to the same school, are of later date. The principal fresco represents the

Virgin sitting on an imposing throne to the left of which are placed the archangel Gabriel, near whom kneels the donor, and

John the Baptist and to the right SS. Nicholas and Bernard. date is seen below the central part. Above the arch there is an important fragment of a Last Judgment. The Saviour is represented in a mandorla surrounded by eight angels; below are the Saved with three little naked figures emerging from their tombs and the Damned in Hell tortured by Satan and devils. At either side the Apostles form a row headed by the Virgin and St. John. The painting is of excellent quality and very fine technique, showing graceful figures such as are to be found in Florentine works executed under a Sienese influence. Types,
St.

The

(')

agree with Signer Toesca, however, that there does not exist a very
in Lombardia, Rassegna Same, Studien zur Trecento Malerei, Repert. f.

dose connection between Giovanni and Altichiero. IV. Snida, Le opere di Giovanni da Milano (^)
d'Arte, 1906, p. 11. The

Kunstwis.,

XXXI,

p. 212.

244

PAINTING IN

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all bear a ver}' strong Giovanni da Milano's art without,

proportions and the chiaroscuro technique

resemblance

to

what we

find in

however, there being any question of indentifying the was active here with this master (^).

artist

who

onl}' works belonging to this group can date from the middle of the 14th century; all the others are later. At the end of the nave of the same church we find some examples of such paintings which may be assigned to about the year 1370 (-). The arch that separates the nave from

These frescoes are the

that

we

the choir, is adorned with a representation of the Crucifixion in which four angels hover around the Redeemer, and groups of

agitated people are placed at the sides of the Cross. Above the arch-way we find on one hand the Last Supper, the Prayer in

the Olive Garden, the Betrayal of Judas, with the Flagellation and the Calvary lower down and opposite, the Descent from the Cross, the Ascension, the doubting Thomas and Pentecost, while in the four divisions of the vault are depicted the Annunciation,

the Adoration of the Magi, the Presentation in the Temple and the Baptism of Christ. These last frescoes are of a quality very inferior to the others and it is onl}^ in a vague similarity of form
that

we

other scenes, however, are

are able to find any analogy with Giovanni's art. The full of dramatic force, and besides a
details, this artist shows us the same same elongated proportions and the same exaggerated

resemblance of technical
types, the

realism, not only in the attitudes

and actions but also in the facial

expressions, as we found in Giovanni da Milano's painting. His iconography too differs in several points from Giotto's.

church was a feeble unrefined artist nevertheless he seems to have followed Giovanni da Milano's models. possess from his hand a
find in this
;

Another painter whose works we

We

representation of the
ings
is

Wise and Foolish Virgins, The chief interest Saviour and some prophets
('').

a figure of the of these paint-

that they provide us with a proof of the existence of a connection between Giovanni's manner and that of provincial
(')
(-)

As

Suida, op. cit., does. G. Cagnola, Gli aftreschi di Viboldone e di Solaro,

cit.,

Rassegna d'Arte,
Vangelo
cit.,

1907, p. 37. Toesca, op.

(^)

p. 240.

aftreschi di Viboldone,

D. Saiif Ainbrogio, Le vergini sagge Rassegna d'Arte, 1905,

e le foUi del
p. 190.

negli
p. 246.

Toesca, op.

PAINTING IN LOMBARDY AND PIEDMONT.

245

Fig. 122.

The

Crucifixion, fresco, circa 1365. Oratory, Mocchirolo.

Photo
I^t. Art.

Graf.

246

PAINTING IN LOMBARDY AND PIEDMONT.

artists of little

Lombard

importance, a connection which

we

can

in the right

doubtless ascribe to the existence of a protot3'pe. The frescoes nave seem to be slightly earlier than those at the end
of the central nave in the church of Viboldone
a comparison be made between them and those in the little orator}' of might Solaro in the region of Saronna (^). This church was built in 1366 and the decoration was probably undertaken immediately after,
;

so that the paintings must be about contemporar}' with those in the central nave of the Viboldone church which I ascribed to

about 1370.

The principal scene here is again the Crucifixion in which, besides the Saviour, we see some angels and a fairl}' large number of other figures. To one side the history of the Virgin
and her parents is illustrated on three rows of scenes including Joachim and Anna performing charitable acts, Joachim driven from the Temple, the Meeting at the Golden Gate, the Nativity
of the Virgin Mary, her Presentation in the Temple, the Virgin's visit to the sanctuar}' (?) and her Marriage; while the scenes, which comprised the lowest row, are ver}' damaged. On the

other side we find the Annunciation, the X'isitation, the Nativity with the adoring shepherds and the Flight into Egypt; the entire lower division is occupied b}' a fresco of the Adoration of the

Magi. Further to either side is seen a figure of a saint with a halflength figure of a prophet above; another is visible above the

window.
his tragic sense, force of expression composition one would say that this artist

From

and

simplicit}' of

was particular^

inspired

by Giotto all the same his types, the elongated form of his heads and figures, and the effects of chiaroscuro which are ver}- pronounced in his art, are all, as we have seen, t3'pical
;

Lombard

iconography Florentine the scene of Joachim and Anna giving charity is, as Signor Toesca remarks, but rarel}' depicted, nevertheless we find it in other Lombard works of the 14th century.
qualities.
is

Nor

his

In Brianza, there exist

two

series of frescoes in the oratories

(^)

D.

Sanf Ambrogio.
cit.

L'oratorio di Solaro, Arch. Stor. Lomb., XX,p. 842.

cit.,

Cagnola, op.

Toesca, op.

p. 233.

PAINTING IN LOMBARDY AND PIEDMONT.

247

Fig. 123. St.

Ambrosius chastising the

heretics and the mj-stical marriage of

Photo
Art. Graf.

St.

Catherine, fresco, circa 1365. Orator}', Mucchirolo.

1st.

248
at

PAINTING IN LOMBARD Y AND PIEDMONT.

{^),

and although they are of very best to discuss them together^ as they were executed for members of the same family and one more or less after the model of the other. As the paintings, which, in concurrence with Signor Toesca, I believe to be of later date, are found in a church that was built in 1368, we can date the mural decoration from about 1370; the second series must consequently have been executed a few years earlier. At Mocchirolo the Crucifixion again occupies the principal place, the composition is simpler and the figures larger in proportion with the space the artist had at his disposal (fig. 122). Four angels fly around the Crucified; the fainting Virgin is supported by two companions on the left, St. John stands alone on
different artistic merit,
I

Mocchirolo and atLentate

think

it

The

the right while Mar}' Magdalene kneels at the foot of the Cross. vault is adorned with an image of the Redeemer bestowing^

a blessing in an aureole, and the angles with the four symbols of the Evangelists. To one side we see a representation of the

mystical marriage of St. Catherine, who, kneeling beside the Virgin's throne, stretches out her hand for the Child Jesus ta place the ring on her finger; close by St. Ambrosius, seated at a
desk, flagellates the heretics (fig. 123). Opposite, the members of the Porro family, who had the church constructed, are portrayed kneeling in adoration before
the enthroned
to the Infant

Madonna. The father offers a model of the church Christ behind him kneel his wife and four children
;

behind

again are depicted a second woman with four other children (fig. 124). Many angels are represented above,,

whom

some carrying models of churches others playing on musical instruments. The different frescoes are surrounded by beautiful borders of an ornamental pattern in which some busts of saints
or prophets are seen.

There

is

no reason
I

to believe that these frescoes are

from

different hands.

to one painter who was one of the best Lombard masters of the 14th century. Like all gifted artists, he is not at all monotonous the tragic event of the Crucifixion has inspired him to represent it in vigorous lines and

think

we owe them

all

(M

G. Carotti, Pitture giottesche nell' oratorio di Mocchirolo, Arch. Stor.

1887^ p. 765. Siiida, op.
cit.,

Lomb.,

Toesca, op.

cit.. p.

248.

PAINTING IN LOMBARDY AND PIEDMONT.

249

Fig. 124.

The Porro

family adoring the Virgin, fresco, circa 1365. Oratory, Photo 1st. Art. Graf. MoCChirolo.

with marked realism, while he has conceived his images of saints in a more idealistic manner and displays more refinement in their execution. The noble profile of St. Catherine in particular, is

250

PAINTING IN LOMBARDY AND PIEDMONT.

and possesses a finesse and sweetness of

exquisitel}' subtle

expression that almost equals the Sienese masters, of whose works the figures of St. Ambrosius and of the Saviour in the
vault also remind us. The portraits of the Porro famih^ on the other hand, are markedl}' individual and not in ever}' case ver}^ flattering. The two Madonnas and the angels are among the
least pleasing figures.

Their forms, somewhat too robust, as

is

the case with most of this artist's figures, are reminiscent of the Florentine school and not of the Sienese. The warm and some-

times even brilliant colouring, however, is an element common to the latter of these two schools rather than to the former.

We find reminiscences of Giovanni da Milano's art in the types,

especialh' of the figures of the Crucifixion

and the chiaroscuro

technique.

The church

of Lentate, near Mocchirolo, that Stefano Porro,

Galeaggo Visconti's counsellor, founded in 1368, is adorned f^j. Here it is eas}' to distinguish the work of two different artists, one very superior to the other.
with a long series of frescoes

however, so closeh' followed the st3'le of his more talented contemporary, that the combination was evidently that of master and pupil. The better of these two artists executed the

The

latter,

fresco in the choir that corresponds to the principal painting at Mocchirolo. Here the donor, carrving a model of the church, his
wife, three sons

and three daughters kneel before

St.

Stephen,

the patron saint of the head of the famil}' (fig. 125). From the same hand are the representations on the chancel arch of the Resurrection of the Dead, with a curious series of naked people rising from their tombs, and of the Last Judgment, with a large number

of saints and an image of the Madonna. This painter is not, as has been sometimes imagined, the same as the one who worked at Mocchirolo, although he obviously imitates his style of painting. Although not without merit, these paintings are of an inferior
quality of technique, as well as of colouring and individuality. Comparing the two series of portraits we find those at Lentate,
especiall}' of the
alit}'; all

the children have the

lips.

younger members of the famil}', lacking personsame straight little mouth with

firml}^

closed

(')

Sidda, Studien

etc., p.

212. Carotti, op.

cit.,

Toesca, op.

c\\..,

p. 256.

PAINTING IN LOMBARDY AND PIEDMONT.

251

Fig 125. Stefano Porro, his wife and family adoring circa. 1370. Oratory, Lentate.

St.

Stephen, fresco,
Photo
1st.

Art. Graf.

252

PAINTING IN LOMBARDY AND PIEDMONT.

which includes an important Crumarriage of St. Catherine,

In the rest of the decoration

cifixion in the usual place (fig. 126), the

St.

George slaying

the

dragon and the story of St. Stephen and

his relics narrated in a great many small scenes (fig. 127), we but rarely find the master's hand. The assistant's work can be recog-

nized not only by the curious shape of the mouths he depicts, sometimes even grimacing, but also by the form ofhis hands with

Hg.

126.

A Detail of the Crucifixion, circa

1370. Oratory, Lentate.

Photo
1st.

Art. Graf

thin tapering figures, those of the master being sooner fat and rounded. I think, however, that at least the scenes illustrating the end of the saint's life and those concerning the priest Lucian are for the greater part from the hand of the principal artist. The

compositions of this cycle of scenes are very simple, sometimes even poor; their great quality is the forceful display of dramatic feeling which however, on account of an exaggerated effort to

produce realism, has often resulted in vulgarity. A fragment of a fresco in the tower of the church of Trezzo, also in Brianza, should, on account of the subject as well as the

PAINTING IN LOMBARD Y AND PIEDMONT.

253

Fig. 127.

Scenes from the legend of St. Stephen, circa 1370. Orator}', Lentate.
Photo
1st.

Alt. Graf.

254

PAINTING IN LOMBARDY AND PIEDMONT.

works with which

style of the painting, be associated with the we have just dealt at Mocchirolo and Lentate.

Here again a bearded man in contemporary costume kneels in adoration (^). Close to him is the figure of a standing saint (Mary
Magdalene?) but this was no doubt one of the figures at the side Madonna who, with the rest of the fresco, has disappeared. Returning to Milan we find in the church of the abbe}' of Chiaravalle some mural paintings in which Signor Toesca (^> recognizes two different hands; to the better of the two he ascribes the saints above the tribune, while he thinks the other executed the scenes from the Virgin's life under the cupola. Both artists, especially the latter, were inspired by the Florentine school and it is curious to note that in their hardness of outline and lack of
of the
;

charm, these frescoes reveal the masters' close connection with

that

movement which, just

at this time

1370-1380 manifests

itself in

the Florentine school.

will be observed atVertemate, near decoration in and around the apse of the old church

The same phenomenon

Como,
in the

of the monastery (^). The chief representation here

in the

is the Coronation of the Virgin midst of saints and groups of angels we see also the dead Saviour, towards angels are flying, and below this fresco, two scenes from the life of St. Benedict. Of the two medallions
;

Whom

empty, the other shows rVbraham, his hand arrested at the is about to strike his son. These paintings are very to those we found at Chiaravalle they can even be superior

one

is

moment he

good Florentine productions of the end of the 14th century, and more than one writer has remarked their resemblance to the works of Angolo Gaddi. We find the same facility of drawing and a certain similarity of proportions and types, but also the same superficiality and want of inspiration. A Lombard feature, however, is the manner in which the rehef of the faces is depicted by strongl}' marked light and shade.
compared
to the

Some very fine

be found
(^)
(*) (^)

figures,

executed

in quite

another manner, will

(').

in the

decoration of S. Biagio at Bellinzona

Brianza, Bergamo, 1912, p. 23.
p. 242.

U. Nebbia,
D.S.,

La

Toesca, op.

cit.,

La Badia
cit.,

di

Vertemate, Arch. Stor. Lomb., 1905,

III,

p.

214.

Toesca, op.

p. 242.

PAINTING IN LOMBARDY AND PIEDMONT.

Around work
a rather crude

255

image of
master,

St. Christopher, doubtless

the

of a local
in a

little

is

a frieze adorned with six

busts, each

diamond-shaped frame, very finely executed and of great charm, reminding one strongly of the productions
of the best followers of the school of

Simone

Martini.

It

is

remarkable that the Infant Christ on

is

St. Christopher's

shoulder

apparently of the same technique as the busts in the lozenge-

shaped ornaments and greatly superior in quality to the image of the giant saint; it is, however, probable that the actual appearance of this last figure is due to restoration. Some scattered fragments reveal that the entire fagade was once decorated, but with the exception of the painting just described, there remains
only the fresco in the lunette, representing the half-length figure of the Virgin between those of SS. Peter and Blaise. It is a work

without doubt by the same artist who executed the busts in the frame around St. Christopher, for it displays the same sweetness of feeling and finesse of technique. It cannot be said that this

master was solely dependent on the Sienese school; his elongated forms and strong contrasts of light and shade betray his Lombard origin; his source of inspiration was in all probability the same as Giovanni da Milano's.
It is possible that the Lombard artists got their model for the frescoes representing the donor and his family kneeling in adoration before the Virgin, from Verona, where similar compositions

were more

by

frequent, and where we find the magnificent Altichiero in the Cavalli chapel.

example

An important and earlier Lombard fresco somewhat of the same type is the one already described of 1327 on the Fissiraga tomb at Lodi, but the chief characteristics the adorers seen

in profile,

dressed

in

contemporary costume and depicted about

the

size as the Virgin are here absent. Besides those at Mocchirolo and Lentate, there exist three

same

other devotional frescoes, now detached and preserved, two in the Bergamo Gallery and one in the Brera, Milan. Those in the

former gallery are undoubtedh^ by the same

artist and show two knights kneeling before the Virgin to whom respectively SS. Catherine and Francis seem to recommend them, and a

knight with his page adoring the Madonna to whom he sented by SS. Barbara (?) and Bartholomew (fig. 128).

is

pre-

256

PAINTING IN LOMBARDY AND PIEDMONT.

Hg.

128.

A Knight and his page adoring the Virgin, circa

Bergamo.

1380. Gallery,
Photo
1st.

Art. Graf.

cite

The former fresco XVIIII AitgtistP'

bears the inscription:

{^).

'^MCCCLXXXII
fine

These paintings are not of very

technique; certain Giottesque elements in the figures are reminiscent of the contemporary Veronese school sooner than that
Crowe and Cavalcaselle, op. cit., p. 254. Toesca, op. cit., p. 273. G. Frizzoni, Accademia Carrara in Bergamo, Bergamo, 1907, p. 15, seems to have been unaware of the existence of this inscription and dates
(')

Le

Gallerie dell'

the first fresco from the beginning of the 15^11 century. C. Ricci, Rassegna d'Arte, IQ22, p. 140, is apparent!}' also ignorant of the fact that one of the

frescoes bears a date and assigns them both to about 1400.

PAINTING IN LOMBARDY AND PIEDMONT.

257

Fig. 129.

Simone da Corbetta, Madonna,

saints

and adorer,

fresco,
Photo Aiinari.

circa 1382. Brera, Milan.

of Lombard}', but the strong light effects used on the faces very characteristic Lombard feature.

is

fresco in the Brera (no. 138, fig. 129), is of greatly inferior quality and is probably the work of a provincial artist who

The

reproduced a traditional composition in a very rustic manner. Here, besides the enthroned Madonna and the knight kneeling
in adoration,
IV

we

see St. Catherine of Alexandria, a female saint

17

DEPARTMENT OF ART AND ARCHAEOLOGr

258

PAINTING IN

LOMBARDY AND PIEDMONT.

The
principal interest of this

holding an arrow and St. George.

fresco

which is entirel}^ lacking in artistic merits and which formerly adorned the tomb of Theodoric de Chur in the Servi
Monaster}^ in Milan,
artist
is

the inscription giving the

name

of the

which

it

originally bore
;

and which has been handed down

to us
et

by older writers it ran ''Hoc opus fcccnuit fieri Enriciis Reinardiis p aia (anima) Tcodorici de Coir a qui obiit sub anno
:

MCCCLXXXII

Septebris. Synion dc Corbeta fecif {^). Cavalcaselle attributed to the same Simone da Corbetta some fresco

fragments in the Brera store-room, representing the Virgin and Child with some other figures and an image of St. Christopher, while Signor Toesca remarks a resemblance to Simone da Corbetta's

manner in an even more inferior painting of the Madonna and two saints in the church of S. Giorgio at Bellano. Another mediocre Lombard artist whose name has come down
Bassanolo de Magneris; he has left us an enthroned Madonna amidst saints with a representation of the Crucifixion below (-), in the church of S. Cristoforo on the Naviglio, near Milan. In neither the manner of Simone da Corbetta nor of
to us is

Bassanolo do we discover any characteristics peculiar to Lombard painting. Before passing to Lombard works of later date, I should like
to discuss the panel paintings of this

With

more primitive period. the exception of those that Giovanni daMilano executed in Florence, they are extremely rare. panel of the Madonna to

whom

a saint presents the kneeling donor, rather similar in composition to the above mentioned frescoes, is preserved in the

Museum

of Worcester, U.S.

(^).

There

exists a series of panel

paintings, however, that is almost entirely unknown and that may be classed with the best productions of the 14th centur}^ (^).
(^)

Crowe and Cavalcasiilc, op.

Toesca, op.
cit
,

cit.,

p. 249.

Toesca, op.

cit.,

p. 391.

(-) (^)

p. 392.

cester, 1922, p. 5

Worcester Art Museum, Catalogue of paintings and drawings, "Worand Art News, 9''^ June 1923, ascribe it to the French school
is'"^
I

of the early
(*)

centur3\

Mr. Laugton Douglas is the on!}' writer who mentions them {Crowe and CavalcaseUe, op. cit., p. 126 note i) but he attributes them to Bartolo di Fredi and his pupils, an attribution which I cannot accept. The catalogue describes them as Sienese school of the second half of the

As

far as

know

14th century.

PAINTING IN LOMBARDY AND PIEDMONT.

259

Fig. 130.

Lombard School (Vj, Scene tVom

of the
14''!

the legend ot'St. Stephen, century. Stadelsche Kunstinstitut, Frankfort.

2"'i

half

These pictures which are a fair size (74 X 59 and 69 X 59 cm ) are seven in number and are found in the gallery of the Stadeliche Kunstinstitut in Frankfort on the Main (3 A G). The scenes illustrate the life of St. Stephen and represent (\)

the interpretation of the (') The first four scenes are but rarely illustrated entire series is given ni the catalogue. H. Weizsdcker, Catalog des GemaldeGallerie des Stadelschen Kunstinstituts in Frankfurt a. M., Frankfort, 1900^ P- 319;

26o

PAINTING IN LOMBARDY AND PIEDMONT.

Fig. 131.

Lombard School (?), Scene from

the legend of St. Stephen, 2"^ half

of the 14'^ century. Stadelsche Kunstinstitut. Frankfort.

(i)

the devil carrying awa}' the

(fig.

his cradle a diabolic child

newborn Stephen and placing in 130); (2) the infant who was nourish-

ed by a white deer found by the bishop; (3) on a sign from the saint the statues of heathen gods over the gate of a town falling
in

fragments (fig. 131) (4); the saint's return to his parent's house where he finds the child that the Devil had substituted still in his cradle and combined with this, the saint causing the demoniacal child to be destro^^ed by fire (fig. 132); (5) St. Stephen consecrated deacon by a bishop (St. Peter?) (fig. 133): (6) the

PAINTING

IN

LOMBARDY AND PIEDMONT.

261

Fig. 132.

Lombard School

{?),

Scene from the legend of St. Stephen, 2"^ ha

of the 14'h century. Stadelsche Kunstinstitut, Frankfort.

saint disputing with

members

of the libertine sect in Jerusalem,

and

(7) the stoning of St. Stephen. I think it highl}' probable that these panels belong to the Lombard school but cannot be absolutely certain about it. The

feeling for refined us of the works

beauty that emanates from them reminds by Giovanni da Milano and the artist of

Mocchirolo, but they surpass the

work

of those artists in their

high

artistic merits,

harmony of form and

richness of colouring.

262

PAINTING IN LOMBAR DY AND PIEDMONT.

t3'pes,

The

however, belong
after Giovanni's

to the

Lombard school

in the first

scene, the figure of the

very much

in bed with her head veiled is manner. We also note throughout the series the strong lights on the faces and the very subtle

woman

chiaroscuro effects which are peculiar to Lombard painting. I think, however, that the master, to whom we owe these panels, was familiar with Altichiero's art, and it is from this source
that he acquired his taste for harmonious forms, regularity of feature, the narrative but not tragic spirit of his recital, as well as his extensive architectural backgrounds and perspective. It is

but

true that the style of his buildings is not the same as Altichiero's, it is evident that he possessed the same interest in architecture,
art,

which, far from being merely an accessor}^ as in Giottesque fills up his compositions and draws our attention just as

as the figures themselves. Then again in interior scenes his figures are well surrounded and not only set against a background of the site of the event, while the perspective, especially

much

of the fourth picture, gives a very real impression of depth. This artist too, like the great masters of Padua and Verona,

pays particular attention

familiar gestures

to detail

which he

treats in as metic-

ulous a manner as the Sienese.

The contemporary costumes,

the

and the intimacy that prevail in these pictures occasionally give them that appearance of "scenes de genre", so frequent in North Italian art (^). These remarks, consequently, lead us to attribute the above very fine pictures, which must have been executed about 1370 1380, to a Lombard master who was influenced by the art of Aldchiero and Avanzo. A later Lombard work but of mediocre qualit}- is a Nativit}' of the Virgin, with the women preparing the bath and others
behind the bed,

Museum of Strasbourg. school apparentl}' spread beyond the frontiers of the region because in the church of St. Catherine at Tiers, in Tyrol, we find frescoes of 1384 illustrating the legend of the titular saint, which show much in common with the style of
in the

The Lombard

painting then current in

Lombardy

(-).

(1)

The
I

coiffure of the

woman

standing behind the bed in the

p. 237.

first

scene

is

also,
{-}

North Itahan. Burger, Die Deutsche Malerei,

think,

II,

PAINTING IN LOMBARDY AND PIEDMONT.

263

Fig. 133.

Lombard School, Scene from the legend of St. Stephen, of the 14'h centur}'. Stadelsche Kunstinstitut, Frankfort.

2"'^'

half

the year 1400, Lombard art, like Veronese painting certain cosmopolitan Gothic elements which resulted acquired in a very mannered style of drawing. This form of art flourished

Towards

in

Lombardy, however, before it attained its full development in Verona and we find there a certain number of examples even of
in the 15th

movement onl}^ reached its culmination and for that reason, as I have said before, its century entire production will be treated in another volume.
the 14th century; but this

264

PAINTING IN LOMBARDY AND PIEDMONT.

all

There are

the transitional

same a few Lombard works that belong to stage between 14th century painting and the later
the

form of art dominated by the Gothic style, and these, I think, should be discussed now. The earliest evidence of the appearance of the new form of art will be found in a series of scenes originalh' in the chapel, but now on the left wall of the church of Sta Maria de' Ghirli at Campione(^). The paintings are twelve in number; six of them represent the angel telling Joseph of the approaching miracle, the Visitation, the Nativity and, at a lower level, the Beheading of St. John the Baptist, Salome bringing the saint's head to her

The
the

women in the prison near the dead body. other six frescoes are considerably damaged and for that not easily interpreted; one of them might be the Presentation in
mother and the two

Temple and another

in

the

Entombment.

The Giottesque
been mentioned
trace of either.
facial

school and the influence ofLippoMemmi have

connection with these frescoes, but I find no They are before all, Lombard works and the

types and drawing bear a certain resemblance to those of Giovanni da Milano and the masters of Mocchirolo and Lentate, but none the less, there is a considerable difference to be noted.

The iconography

is very curious and shows no similarity to the compositions are of an extreme simplicity reduced Giotto's; to the essential figures as in the frescoes at Lentate the build;

ings are all open loggias, not the rooms cut in section as in Florentine art, but generally constructions consisting of a roof supported on pillars, and represented sometimes from an
angle.

The Gothicism
particularly in the

is

evident in the forms, the proportions and drapery which in some of the pictures, is as

in the works of de Veris and de' Grassi, that belong to the following stage in the development of this form of art. The frescoes of Sta. Maria de' Ghirli probably date from

exaggeratedly Gothic as

about 1380.

guzzi

Campione, L'Arte, V, 1902, p. 161. F. MalaCampione, Rassegna d'Arte, 1908, p. i']2.Toesca, op. cit., p 263. The fresco of the Last Judgment, which also adorns this church, is a late Gothic work.
(*)

E. Gerspach, Gli affreschi di

Valeri,

PAINTING

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LOMBARDY AND PIEDMONT.

265

Perhaps even an older example of this style of painting is found in Mantua in the church of S. Francesco, where a long series of frescoes on different zones originally illustrated the legend of a Franciscan saint but now onl}'' the scene representing his death has been well preserved ^). This interesting fresco shows us the saint stretched on his bier surrounded by several
(

figures. It is doubtless the realistic individuality of the features that has led Signor Toesca to associate this work with the name

of

Tommaso da Modena.
Modenese
artist.

the

The Gothicism which,

think the painter is of later date than besides in the drape-

ries, is also slightl}^

delineation of the features,

manifest in the shape of the heads and the is here in an even more embryonic

stage than at Campione. The vaults of the lateral apsides of the Cremona Cathedral are adorned with frescoes executed in this manner (-). The Old

Testament scenes

in the triangular divisions

not only

show

Gothic design that forces us to classify them with the cosmopolitan Gothic productions, but also a taste for intimate details and
a realism of narration that confirm our hypothesis. The rehgious representations here have acquired the aspect of "scenes de

genre". This decoration

is

ofslightly later date than the foregoing

works.
of profane Gothic painting is preserved at near Lecco, in an old castle now a farm that Brianzale, originally belonged to the Porro family, whose coat of arms
traces

Some

is still visible. The decoration includes animals and hunting scenes with figures in elegant costumes of the time, and is the

work

of a predecessor of Pisanello (^). panel of the Crucifixion with three angels, the Virgin and St. John and Mary Magdalene at the foot of the Cross in the

little

(^)

A. Patricolo,

La

chiesa di S. Francesco a Mantova, Rassegna d'Arte,

cit.,

1911, p. 35. 7"of5Crt, op.

(^)

p. 271.

L. Lucchini, II Duomo di Cremona, Mantua, 1894. Toesca, op. cit., p. 397. B. Jldojii, La pittura cremonese, Milan, 1824, p. 18. Rosini, Storia della pittura italiana, II, p. 147 and other writers of later date attribute these fres-

but this decoration

(^)

coes to Polidoro Casella, a Cremonese painter who is mentioned in 1345, is without any doubt, of much later date.

A. Magui, Riv. Archeol. della Prov. e Dioc. di Como, 1906,

p. 396.

p. 51. Toesca,

op.

cit.,

266

PAINTING IN LOMBARDY AND PIEDMONT.

church of S. Giorgio in Palazzo in Milan, also reveals a certain tendenc}' towards Gothic forms (^).

Of somewhat

later date but

belonging

to the

same

style are

the paintings in the Albizzate Orator}', near Varese (-) where Signor Toesca discovers the work of two different artists; one

who executed the Saviour in benediction in a mandorla, surrounded by the symbols of the Evangelists and the other and better master who painted the figures of the Apostles in the apsides and, with some assistance, the frescoes on the walls representing
in

incidents from the lives of St. John the Baptist and a holy bishop, numerous little scenes of very simple composition. The figures

are not ver}" beautiful and the forms

fine outlines are characteristic of

somewhat feeble but the Lombard painting while cer-

tain

drawing of the draperies. is that, which adorns tomb of the Robiani family in S. Lorenzo (^). It represents the the Madonna seated on a complicated throne modelled on those we find in Veronese works, while SS. Lawrence and Ambrosius each present an adorer. Here again Gothic elements in the forms and the draperies intermingle with Lombard peculiarities such as the types of the figures and the chiaroscuro effects. Besides the works that we have just dealt with, there is a
Gothic elements are evident
in the

In Milan itself a beautiful Gothic fresco

fairly large

local

little

number of other paintings, but the}' are mostly by masters and only serve to demonstrate the richness

of pictorial production in

Lombardy
it

at this period

^).

(/)

Toesca, op.

cit.,

p.

329, attributes

to the miniaturist

Anovelo da Imbo-

nate without, in
(^)
(^)

my

opinion, sufficient foundation.

p. 269. p. 294.

Toesca, op.
Toesca, op.

cit.^
cit.,

(*) The following works might still be mentioned: 5^ ;-c?;;/t>, Pinacoteca, frescoes from the old convent ofSta. Marta some of which are finely executed and one dated 1388 (L. Angelini, Aff'reschi trecenteschi scoperti in Ber-

gamo^ Rassegna d'Arte,

1916, p.

some
in

other frescoes in the

to

mention 9). Crowe and Cavalcaselle, p. 254, town but they have since disappeared Bonii'O,
;

one side of the parish church and priest's house, a fresco of the Saviour in a mandorla in benediction and a series of half-length 1393, figures of the Virgin, prophets and Apostles, archaic in appearance (Rassegna d^Arte, 1906, p. 12,1)', Domodossola, S. Quirico, Madonna and saints by a local artist but influenced b}- the Giottesque tradition (C. Errera

anarch

L'Ossola, Bergamo, 1908, p. 45); Galliano,

some of

the figures of saints in

PAINTING
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267

our surve}' of Lombard painting of the 14th centur}'

at the following conclusions.

we

have arrived

Firstly, the influence of the archaic art of the 13111 century persisted for a long time in this region, traces of it being found

even as

late as 1330. Secondl}'

we

note a strong Florentine

in-

fluence which

resulted in the formation of an isolated local

branch of the Florentine school of painting; while towards the end of the 14111 century we observe the appearance of a tendency towards Gothicism in Lombard works, at a slighth' earlier date than we find it in Verona, and which as we shall shorth' see,

owed

its

development

to the art of miniature painting. Lastly

we

find in this district a fairly large

number

of pictorial productions

the ciypt of the basilica of S. Vincenzo, most of them, however, are

1^'^'^

cen-

(U. Nebbia, La Brianza, p. 136); liiciiio, St. Eufemia, Madonna with two saints and adorers, crudely executed (Idem, p. 102); Lodi, S. Francesco, divers isolated votive frescoes of the Madonna with saints, and an

tmy works

Annunciation at Dovera near Lodi, all works in the Gothic style of the end of the i4tii centur}' (Toesca, op. cit., p. 401 et seq.); LodiVecc/iio, S. Bassiano,

Madonna, Annunciation, a holy bishop, St. George killing the dragon, a series of saints and the decapitation of a martj'r, fairly archaic productions of local artists (D. Sant' Ambrogio, Lodi Vecchio, pis. IX. XIV and XV);
Mantua, Palazzo Ducale, some figures of saints (Venturi, Stor. dell' arte them without any reason to TommasodaModena; Toesca, op. cit., p. 272 note i); Museum, some detached frescoes. Crowe and Cavalcaselle. op. cit., p. 256, cite some other paintings in and around the town that I think have since disappeared: 71//7(7, S. Pietro Celestino, fragital.,VII,i,p.2io, attributes

mentar}^ frescoes including the symbols of the Evangelists, figures of saints, the head of a saint and a figure of the Saviour perhaps from a representation
of the Last Judgment; these paintings betra}^ a Tuscan influence (D. Carotti, L'Arte, XI, 1908, p. 142); S. Siro, apse, the Lord in a mandorla between the

symbols of the Evangelists (Rassegna d'Arte, 1910, p. 50). Lanzi and Rosini mention some Giottesque frescoes in the sacristy of Sta. Maria delle Grazie in the museum of the Castello Sforza there are very few works w-hich seem to date from the i4'^> century a very mediocre painting of a saint (Helen?, no. 34) may, however, be noted. Sinnioni, S. Pietro in Movino a poor fresco of the end of the 14''! century (G. Soletro, Lago di Gardo, Bergamo, 1912, p. 32); Varese, Baptistery, fresco of the Madonna and of
;

a saint protecting a palace (Toesca, op. cit., p. two adorers p. 206, reproduces a little picture

that he says is a Milanese

151). Rosini, op. cit., vol.

II,

work
''M.

of the

14^^'

century and
illustration
I

is

Judging from the

signed b}- a certain Maestro Giuseppe. should sa}' it was of later date and signed:

Georgr.

268

PAINTING IN LOMBARDY AND PIEDMONT.

minor
artists, that pla}^

by

local

no part whatsoever in the

artistic

evolution.
It

influence of the Florentine school

in

has been stated as a certain fact that the explanation of the on Lombard painting is found Giovanni da Milano's art, but as I have already had occasion

to point out, this is by no means sure, and I would even as to say that the hypothesis is highly improbable.

go so

far

penetration of Giotto's art into Lombardy might be explained by the presence in Milan of the master himself, and if

The

he did not go

in

person, in

all

probability the

sumptuous Milanese
from Florence.

princes had his most

brilliant representatives sent

In the first half of the 14th century Florence

and Siena were

the only two really important artistic centres, and it is evident from the appearance of Lombard painting that it was the former that dominated Lombard3\ Moreover, if we believe Vasari, Stefano,

the Aretin biographer confounds with other Florentine artists, but who really was one of Giotto's pupils, went to Milan, where he undertook a considerable number of works for

whom

Matteo Visconti, but on account of illness was forced to return to Florence Q). That the artistic intercourse between Florence and Lombardy was constant and entirely independent of Giovanni da Milano's
migration to the Tuscan capital in 1350, is proved by the existence of a more or less developed form of Florentine art in Lom-

bardy prior to this date. Further^ what we still know of Giovanni da Milano justifies us in believing that he definitely settled in Florence where he arrived in 1350, acquired the rights of citizenship in 1366 and was still resident there in 1369. when he and
other artists were invited by the pope to decorate the papal palace. Consequently far from having introduced Florentine
art into

Florence that

Lombardy, Giovanni da Milano executed paintings in show decided Lombard characteristics. These will
in the

be recognized

proportions of his figures, his types, his

chiaroscuro technique and his liking for giving religious pictures the appearance of "scenes de genre", while even his iconography

does not belong to the Giottesque traditions. These peculiarities which differentiate Giovanni from genuine
Vasari-Milcinesi,
p. 450.

(')

I,

IHABTAdtlVi Of ART AND ARCHAEOLOGY

PAINTING

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269

Florentine artists, are, I think, decidedly Northern. The t3'pes in the North of Italy are different from those in Central Italy, but
I

tions

believe Giovanni's elongated and slightly conventional proporowe something to Gothic sculpture of more Northern

countries. Certainly the aesthetic canon of Giovanni's art and of his compatriots was different from that of the Florentines, the latter bemg more natural and at the same time more classical.

The more profound study

been
a characteristic of

of chiaroscuro effects has always

works executed
produced
light

where

climatic conditions
in

Northern regions effects very different

in

from those we find

more Southern

localities.

Lastly the "tableau de genre" is more Northern mentality than with one purely

keeping with the Italian; the sense of

in

dramatic realism

in the latter

is

antagonistic to the intimate

worldh' details of the former. In the works of Altichiero and Avanzo and in the frescoes of the master of Treviso, however, we find the peculiarities of "scenes de genre".
It is

tures,

same spirit that we owe the taste for profane examples of which are found in the battle scenes in
to the

pic-

the

Angera (similar to those of Castelbarco near Verona), the frescoes in the vaults at Lodi Vecchio and the hunting scenes
castle of
at Brianzola, while according to a

document of 1380, further

hunting scenes were asked for by Giangaleazzo Visconti who commissioned Lodovico Gonzaga of Mantua to order several panels with which he wished to adorn his castle (^).

To what

demonstrated

extent this art found approval in these regions is in miniatures, drawings and extant Lombard

paintings of slighty later date, as well as in the profane aspect given to religious representations, such for example as the frescoes in the vault of the Cremona cathedral. Traces of this are

manifest in almost
at this time. All the ally

all

the religious paintings

made

in

Lombardy

works are

less austere in appearance, generfeeling, but full of little intimate

spirit of this art is, conse-

without

much dramatic

from every day life. The different from Giotto's. quently, very
details taken

The

evolution of the painting that belonged

to,

or

showed

(M Colvi, Notizie sulle vite etc. dei principali architetti, scultori, pittori etc.

in

Milano

etc., II,

Milan, 1859, p. 92.

270

PAINTING

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connection with the cosmopoHtan Gothic manner seems to have been based on the influence that the art of miniature exercised on it this branch of painting provided another means by which Northern elements penetrated into Lombardy. One of the merits of Signer Toesca's excellent book to which I have frequently referred, is that besides the painting, he deals with all the material
;

of miniature art in

Lombardy

that

has come

down

to us

(^)

which

greatly facilitates the

following brief

survey of Lombard

miniatures.

The school of miniature in Lombardy probably originated from Giottesque paintings, but the earliest examples that we know bear a strong resemblance to the Bolognese school. It cannot be ascertained where these manuscripts were executed. A codex of St. George in the Ambrosiana Library was doubtless transported from one of the churches in Milan. The illuminations show a decided connection in style with those in a "Pantheon" of Goffredo da Viterbo in the National Library. In both we find those large heavy shades characteristic of the
Bolognese school of miniatures, but
finer.

their technique

is

much

In a missal of the middle of the 14th century that was executed for Roberto Visconti, Bishop of Milan, and that is preserved in the

Ambrosiana

Librar}', the influence of the

Gothic style

is

clearly evident. It was probably the result of the artist's knowledge of French miniatures and is even more marked in some

drawings

illustrating the Life of Christ in a later date in the same library.

codex of slightly

Gothic factors, but united with a Sienese manner of painting, are seen in a missal of 1347 from the church of S. Maurilio, Milan, now in the Vatican Library, and in a somewhat similar manuscript in the Capitular Librar}^ Milan.

There

is

no trace of a

Bolognese influence in the miniatures of either of these manuof the scripts. One of the most important Lombard manuscripts is a Book of Hours made between 1352 and 1378 14th century for Branco Sforza, the wife of Galeazzo Visconti, and now preserved
(^)

in the

Munich Library

(-).

It

contains a series of thirty-

(^)

Toesca, op. cit., pp. 200 276. G. Leidinger, Meisterwerke der Buchmalerei aus Handschriften der
p. 15, pi.

Bayerischen Staatsbibliothek, Munich, 1920.

XXV.

PAINTING IN

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271

Fig. 134.

Giovanni

di

miniature, 1352

Benedetto, the Nativity of the Virgin, 78. Library, Munich.

Photo RIehn and Tietze.

six miniatures enclosed in

ornamental borders (fig. 134). In their and composition they remind us of the frescoes at Mocchirolo and Lentate while some of the figures show analogies to certain of Giovanni de Milano's forms. Side by side
simplicity of design

272

PAINTING

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Lombard manner, we note
peculiar-

with the simple forms of the

ities

borrowed from French Gothic miniatures. Not all the illuminations are of the same fine qualit}'. The artist Giovanni di

Benedetto

has signed his work

(^).

In the Paris National Librar}^ there is a Book of Hours (MS. Cat. 757) that bears such a striking resemblance to the one in

Munich that Signor Toesca does not hesitate to ascribe both to the same work-shop. This one is of slightl}' later date and the influence of French Gothicism is still more evident, but in the contemporary costumes and excellent drawing of animals, it has
here acquired the aspect of a cosmopolitan art. beautiful miniature representing a pope, in the midst of

his cardinals, receiving a book from a kneeling figure, is shown in the Museum of the Castello Sforza. It dates from the beginning
ol the 14th century,

With Lombard

ignorant of its place of origin. the appearance of Giovanni de' Grassi about 1390 begins
I

but

am

art of the 15111 centur}'. Consequenth' some very imseries of Lombard miniatures and drawings of about this portant date or shortly after, will be treated in an other volume when
I

am

dealing with the productions of this

more evolved stage

which they really belong. The few remarks that have been made concerning miniature painting, suffice, however, to prove that the Gothicism which appears in other pictorial productions towards the year 1370, is probabh- due to an influence exercised b}' the art of miniature in which this tendenc}' is manifest as early as about the middle
of Gothic art to

of the centur}',

its

source of origin being, in all likelihood, France.

Piedmontese painting of the 14th century' (-) may be considered as a sub-division of the Lombard school or at least as dependent

on

it.

Documents go

to

prove that

at this time there

of artists nor of paintings, but

we do

not possess a single works

have

was no lack work

men-

(^)

In the

list

of Giovanni da Milano's school

alread}^

tioned a Crucifixion in the collection of the Historical Society, that Signor Toesca attributes to this artist.

New York,

(^) Gamba, L'Arte antica in Piemonte, Turin. 1880, p. 527. Rondalino, La pittura torinese del Medio-Evo, Atti dello Soc. d'Arch. e BelleArte di Torino etc., VII, 1901, p. 206. L. M. Giaccio, Gli aftVeschi di S. Maria di Vezzolano e

la pittura

piemontese del Trecento,

L"'Arte, 1910, p. 349.

PAINTING IN LOMBARDY AND PIEDMONT.

273

authenticated by the name of the painter, while of the anonymous pictures, only a few have been preserved. In Turin we find a painter of the name of Turineto decorating
the

Town

Giacomo Arconerio executed

Hall in 1300, a certain Guido was active in 1312 while a portrait of a bishop who died in

1330, in the church of S. Domenico. There was a family of painters of the name of Jaquerio the first of whom, Pietro, worked in
^'

1340 and died before 1366. His son, Giovanni, signed a work: Joannes pidor' in 1347 that Lanzi still saw in S.Francesco di
is

who must have belonged to the mentioned between 1369 and 1403. succeeding generation, Lastly Lanzi speaks of a Pietro, son of Pietro di Novarra, who in 1370 executed some frescoes in the Sylva Castle at Crevola
Chieri, while another Giovanni,

d'Ossola(i).

As in Lombardy, profane paintings must have been abundant and doubtless the mural decorations of the various castles belonged to
this

category of

art.

Besides the frescoes

in the castle

of Turin, w^e know that the one at Rivoli was adorned in 1310 with paintings representing the cortege of Henry VII and about
the

same time

the castles of

Susa and Avigliana were

also

decorated.

The oldest Piedmontese paintings of the 14^1^ century do not belong, however, to the Lombard school. They are the frescoes on the tomb of the abbot Tommaso Gallo in the church of S. Anand show the abbot at his cathedra teaching his pupils, and above him the Coronation of the Virgin and four angelic musicians. I think Signer Toesca is justified in assigning this monument to about the middle of the 14th century and in recognizing a French influence in the Gothic style of the work,
drea
at Vercelli

further evident in the sculptural part of the tomb (-). The three works that allow us to speak of a Piedmontese group of paintings they show too much dependence on the Lom-

which,

is

bard manner for us

Vezzolano, those

to

use the term school

are the frescoes at

in

in

the church of S.

Domenico

Turin and

(') For other names v. Rondali)io, op. cit. A. Caffara, Pittori e altri artisti medioevale in Pinerolo, Bollet. Stor. Bibliogr. subalpino, I. Turin, 1896, nos. II and III.
(-)

Toesca, op.

cit.,

celli, 1907, p. 485,

date this

p. 197. E. Mella e R. Paste, S. tomb to the i3'ii century.

Andrea

di Vercelli,

Ver-

IV

18

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PAINTING IN LOMBARDY AND PIEDMONT.

The
series of frescoes at

those atPiobeseTorinese(^).
is

Vezzolano

most important (-). Besides the paintings of the 13th by we find in one of the arcades of the cloister a Madonna century, with two angels swinging censers of a crude technique but excuted under a strong Gothic influence. The vault was decorated by a more talented artist, but of the four Doctors of the Church that
far the

comprised this ornamentation, only St. Gregory seated at a desk remains visible. In the arches that divide the vault from the lateral parts a series of medallions contain heads of saints seen full seen in or at least very individual faces face and portraits

adorned with a fresco divided into four uppermost of which shows an image of the (fig. in majesty surrounded by the symbols of the Evangelists. Then follows a representation of the Adoration of the Magi in which the donor kneeling in adoration is depicted opposite the Wise Men. Below we see three young knights on horseback terrified at the sight of three dead men arising from their graves, a subject that forms the composition of an older fresco in the
profile, while the wall is

rows Lord

135), the

same church, while the last compartment is occupied by the image of a nobleman stretched on a couch. An inscription which was still legible in 1873 {^), but has since entirely disappeared, recorded that the work was executed m 1354 and adorned the tomb of the seigneurs of Castelnuovo. As others before me have remarked, those paintings show some connection with Lombard
art,

especially with the types and elongated proportions of Giovanni da Milano's works this is particularly evident in the figure
;

of the Virgin in the Adoration of the Magi. Further, we find here those clearly cut profiles seen in the devotional pictures at Mocchirolo andLentate as well as the strong reliefs and chiaroscuro, characteristic of the Lombard school. Typical of this latter is the

image of St. Gregory seen full face. In the church of S. Domenico in Turin some important fragments of a 14th century decoration are still visible in a chapel in

(^) (^)

L. Motta Ciaccio, op.

cit.

Renter,

Una leggenda

carolingia ed un affresco mortuario in Piemonte,

Emporium,
("')

1900, p. 377.
dell' antica

A. Bosio, Storia

abbazia e del santuario

di

N.S. diVezzolano,

Turin, 1873.

PAINTING

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275

Fig. 135.

The Lord

in Majesty, the

and the Dead,

the
left lateral

fresco, circa 1354.

Adoration and the Meeting of the Living Abbey, Vezzolano.

Photo Alinari.

nave (M- Of a representation of the Annunciation the angel's head alone remains. We see a remnant of a series of Domenico a Torino, Turin, (1) F. Rondolino e R. Bray da, La chiesa di S.
1909. E. Ferrettini, La Risurrezione d'una chiesa del Trecento, Rassegna d'Arte, 1909, p. 6. P. Toesra, La chiesa S. Domenico a Torino, L'Arte. 1909. p. 461. L. Motta Ciaccio, op. cit., p. 349.

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PAINTING IN LOMBARDY AND PIEDMONT.

adorers kneeling" one behind the other with a saint standing near by, the figures doubtless formed part of a composition similar to those we found in Lombard}- and Verona. Some of the figures
well preserved. Although inferior in quality these frescoes belong to the same school as the paintings of of Apostles are
fairl}'

Vezzolano. The figures in profile are certainly Lombard and 1 think the decoration may be considered a provincial production of this school (^); a certain Gothic movement will be noted in
the draperies.

As

to the date of execution,

it is

in all probability

slightly later than that of the

Vezzolano frescoes but can

hardl}^

be after 1370. A long inscription dates the fresco at Piobese-Torinese from 1359. The donor and his wife, whose names are given, are dethe picted in the frame that surrounds the half-length figure of
Virgin nursing the Child between two angelic musicians; bej-ond the frame we see to the left St. John the Baptist and to the right

Christopher with the Child on his shoulder. The painting is of little importance as a w^ork of art but is of some interest on account of the date and the really elegant elongated forms reSt.

miniscent of Giovanni da Milano's

art,

but showing a stronger

Gothic influence.
Fairly pronounced Gothic elements are evident in the frescoes in the chapel of S.Antonio atSandigliano in the region of Biella; the}' represent the Saviour enthroned in a mandorla and a series
of Apostle figures but they are of no importance artistically (-). SignorToesca remarks that certain frescoes in the sacristy of the
that leads directly into France, appear to belong to the art of the other side of the Alps. The frescoes in the sacristy and in one of the chapels of the

church of S. Francesco

in the

Susa valley,

church of S. Antonio at Ranverso, are, besides a painting of the Virgin and Child in a lunette in the Cathedral of Alessandria, the only 1 4 til century Piedmontese works that Cavalcaselle cites {^).
these paintings to the Umbrian school as (') There is no reason to ascribe has sometimes been done. This author is. (^) A. Roccavilla, L'Arte nel Biellese. Biella. 1905, p. 116.
I

think, right in stating that, in spite of the date, 1399, that

p. 255. Gaiiiba.

we

find inscribed,

these paintings belong to a later period. Croive and Cavalcaselle, op. cit.. Ill, ('')

L'Abbadia

di S.
I,

An-

tonio di Ranverso, Atti della soc. di Arch, e di Belli Arte di Torino,

1875.

PAINTING
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277

show in the sacristy, the Annunciaon the Mount of Olives, the Calvary, SS. Peter Prayer and Paul in the vault the Evangelists and the Virgin with the Child and two saints on the facade, while in the chapel we see a representation of the Crucifixion with saints and the kneeling
frescoes at Ranverso
tion, the
;

donor. Cavalcaselle

justl}'

says that

we owe

these paintings to a

clumsy and vulgar artist with a poor colour-sense. The figures of SS. Peter and Paul, that he believes to be from another hand, remind him of the art of the schools of Gubbio and Fabriano. The paintings at Vezzolano, Turin and Piobese-Torinese can, without any doubt, be considered the most characteristic productions of Piedmontese painting in the 14th century. Moreover
they are the only series that

show

certain features in

The dominating

influence in these

works

is

common. certainly Lom-

bard, and one might even classify them with the paintings of this school, except that the Gothic element is here very much
In Piedmont this even in local productions of present pronounced Gothicism no artistic importance such for example as those at Sandigliano or in the Susa valley and is evident also in the Vercelli fresco which shows no connection with Lombard art. It is undoubtedly from France that this Gothic style penetrated into Piedmont and it is possibly to the same source that we owe the S3'mbolic subject of the Vezzolano fresco, the meeting of the quick and the

more marked than

in

true
is

Lombard works.

dead.

Although there was

sufficient connection

between France and

Lombardy to explain the direct artistic influence of the former on the latter (^1, it does not seem to me quite out of the question
that

many

of the Gothic elements reached

Lombardy by means

of Piedmont, where Gothicism was much more widely spread and, as far as we can gather, manifest at an earlier date than in

Lombardy.
Nevertheless the real florescence of Gothic art

seems

to

roots in the Sienese school, and it was after passing by Avignon, that this art was disseminated throughout Central Europe as the cosmopolitan Gothic form.

have had

its

(')

Numerous French
I,

artists

were

a la cour des papes,

1888, p. 247.

p. 634.

active in Milan: E. Muiits, Les arts The Same, L'Ami des Monuments, II,

278

PAINTING

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interesting fact technique of painting

that

An

which increases our knowledge of the recorded in a document which proves as early as the first quarter of the 14th century, Piedmontese
is

painters prepared their colours with

oil (M.

(')

F. Gobolto,

La

pittura ad olio in

Piemonte

nella

prima meta del secolo

XIV.

Boll. Stor. Bibliogr. subalpino, VIII, 1904, p. 179.

CHAPTER

IV.

THE PAINTERS OF RIMINI

At Rimini we
find

{').

an

tradition persisted for

which the 13th century a considerable time, and from which the
artistic centre in

painting in other centres of Emilia depend.

The
into

14th centur}- pictorial productions

ofRimini can be divided

two groups, the one beginning about the year 1300 and

flourishing during the first quarter of the century, the other starting with Giuliano da Rimini, who was active as early as

1307, and following immediately on the former. The Riminese painters of the early 14th century

were inspired
a special

by

the art of Pietro Cavallini.

A few years ago

made

study of

this litde school and then I grouped together eight works which form a more or less homogenous nucleus. Since then I have added four other works, the nos. II, IX, X and XII of

Consequently twelve paintings belong to this Cavallinesque Riminese school and there are, in all probability, some others whose existence has not yet come to m}^ knowledge.
the following
list.

They
I.

are

Rome, Museum
:

in the

Palazzo Venezia (originally

in the

Corsini Caller}'), a panel composed of six scenes in three rows, His first bath representing the Nativity ,with the Child receiving

the Crucifixion, the Entombment, the Descent into Limbo, the Resurrection and the Last Judgment (fig. 136). II. Faenza, Picture Gallery, a small panel showing, above, a
O. Siren, Giuliano, Pietro and Giovanni da Rimini, The Burlington a Magazine, 1916, p. 272. R. van Marie, La scuola di Pietro Cavallini Rimini,
(')

Boll. d'Arte del Minist. della Pubbl.Istr., Dec.1921. In the aUributions

make,

my ideas of the origin of this group of painters, I so frequently hold the contrary opinion to Mr. Siren that it seems useless to indicate each point of difference. According to him the entire current derives from Giotto's art
and
in

and Pietro da Rimini

is

the principal artist.

28o

THE PAINTERS OF

RIMINI.

Fig. 136. Cavallinesque

Riminese School, six scenes from the Life of Christ.

Palazzo Venezia, Rome.
Photo Anderson.

THE PAINTERS OF

RIMINI.

281

Fig. 137. Cavallinesque

Riminese School, Madonna and

Gallery, Faenza.

five saints.

half-length figure of the Virgin tenderly embracing the Child while at either side is a litde angel supporting the drapery which

forms the background. The five standing figures on the lower part of the panel are those of St. Francis, an archangel, a holy bishop, St Catherine and St. Clare (fig. 137) (^). The attitude of
(') E. Tea, Una tavoletta della Pinacoteca di Faenza, L'Arte, 1922, p. 34, attributes this picture to Cavallini's school. In the gallery it bore the name of Bettino da Faenza, a painter who was active at a much later date than

the time this picture

was executed.

282

THE PAINTERS OF RIMINI.

Fig. 138.

CavallinesqueRiminese School, six scenes from the Life of Christ.

Palazzo \'enezia, Rome.
Photo Anderson.

THE PAINTERS OF RIMINI.

283

Fig. 139.

CavallinesqueRiminese School, six scenes from the Life of Christ.

Gallerj-^ Venice.
Photo Anderson.

the Virgin and her expression of tenderness, and the elono-ated forms of the saints lead us to suppose that this is a work from the same hand as the foregoing panel. III. Rome, Museum in the Palazzo X'^enezia (from the Corsini Gallery and originally in the Herz collection), an oblong panel

284

THE PAINTERS OF RIMINI.

comprising six scenes, arranged in two rows, illustrating incidents from the Life of Christ. In order to follow the events chronologicscene in the left upper corner and ally, we must start with the take them on alternate upper and lower rows. In this manner

we find
(fig.

the Descent from the Cross, the Entombment, Pentecost, the Resurrection, the Ascension and the Descent into Limbo
138) (0IV. Venice, Accademia, no. 26, a panel of the same form as the previous picture and also composed of six scenes, but the

order of events

is

here followed from

left to right,

beginning with

those of the upper row. The scenes illustrate the Betrayal of Judas, Christ before Pontius Pilate, Christ mounting the Cross,
the Crucifixion, the Descent from the Cross and the Last Judg-

ment

V. Munich, Altere Pinakothek, nos. 979 980, a diptych of which one half represents, in three rows, the Crucifixion, the
Flagellation with the Calvary, St. Francis receiving the Stigmata and four saints (fig. 140) and the other half the enthroned Virgin with two saints, Christ washing the feet of the disciples and the

(fig.

139)

(-).

Last Judgment (fig. 141) VI. Urbino, the Picture Caller}', one half of a dipt3xh showing the Crucifixion with the Madonna of the Annunciation above
(''').

(fig.

142).

The

perty of Monsieur

other half of this diptych was formerly the proAlphonse Kahn, Paris and is now for sale in

London; it represents above the angel of the Annunciation and in the two lower parts the Nativity and the Adoration of the
Virgin.
VII. Perugia, Pinacoteca, no. 68, a small panel on which we see St. Mary Magdalene borne to heaven by four angels, and the

264)

This picture belonged to the Stroganoffcollection (v. L'Arte, 1914, p. and was shown at the exhibition of Sienese art in London where it was described as a work from the hand of a Sienese pupil of Giotto's. same master as the (-) Signor A. Veiittiri has ascribed this picture to the previous. Signor Testi has rightly protested against this attribution which I, too, think has been made without sufficient grounds.
(')

(^)

to the
lini's

In the old catalogue it was attributed to Cavallini but is now ascribed Roman school. Signor yi. Ventiiri believes it to be a work of Caval-

ful

work

old age. Mr. Bercnsoii was formerly of the opinion that it was a youthof Giotto^s. O. Sin'n, L'Arte, IX, 1906, p. 327, gives it to a Romag-

nole follower of Giotto's.

Fig. 140. Cavallinesque Riminese School, one half of a Photo Hanfstaengi. diptych. Altere Pinakothek, Munich.

Fig. 141.

Cavallinesque Riminese School, one half of a

Photo Hanfstaengi.

diptych. Altere Pinakothek, Munich.

Fig. 142,

CavallinesqueRiminese School, onehalf of a diptych.

Photo Minist.
del.

Gallery, Urbino.

Pubbl.

Istr.

288
figures of SS.

THE PAINTERS OF RIMINI.

Bartholomew, John the Baptist, Luc}^, Francis, hoi^' bishop and St. Christopher (fig. 143). According paper pasted on the back, this panel came originall}' from

Dominic, a
to a

Bologna. VIII. Gloucester (England), the collection of Sir Hubert Parr}^, the Adoration of the Magi and the first bath of the Infant Christ
(fig.

144)

(^)-

collection (previously in the Sterbini collect^ of Christ in the presence of two angels with a ion), the Baptism figure of the Almight}' appearing above (fig. i45)(-). X. Rome, Vatican Gallery, store-room, no. 132, a panel show-

IX.

Rome, private

ing a subject that I am unable to interpret: an angel apparently speaks to a child dressed in heavy skins, and points to a child of

who is seen pra3'ing in the background. The painting seems to be from the same hand as the foregoing panel. XI. New- York, Lehman collection, a panel showing in the
similar appearance
in

triangular upper part the Last Judgment and below, arranged two rows, the Virgin enthroned between a holy bishop and
St. Peter the

Martyr, the Crucifixion, St.

Nativit}^ of Christ
(fig.

Thomas Aquinas

in

glory and the

146).

XII. Bologna, the Picture Galler}', no. 231, the Crucifixion with a great many people and St. Francis kneeling below at the
;

sides

we

see one above the other SS. Francis and Catherine

(?),

and SS. Bartholomew and Clare. The Entombment and the Descent into Hell are depicted at the foot of the panel. The work has been too much repainted for us to be certain about the date of its execution but it seems to belong to the present
rather than to the subsequent group. Some of the characteristics that enable us to group these pictures together are as follows: the subject matter which almost
invariably illustrates the Saviour's life the usually small size of the panel on which several scenes are united as in B3'zantine
;

icons

the design of leaves and flowers which adorns the gold background; the technique suitable for miniature painting, the
;

(^)

R. Fry, Burlington Magazine,

II.

Cavallini's school but later in

The Atheneum,

1Q03, p. 118, attributes this picture to 4'^ June 1914, classifies it as a

p. 48, attributes

production of the Giottesque Roman school. (-) A. P'eutnn, La Galleria Sterbini in Roma, Rome, 1906, this picture to Jacopo di Paolo of Bologna.

THE PAINTERS OF RIMINI.

289

Fig. 143. CavallinesqueRiminese School, the Ascension of Mary Magdalene and seven saints. Galler}', Perugia. Photo Anderson.

IV

19

2go

THE PAINTERS OF RIMINI.

and Fig. 144. Cavallinesque Riminese School, the Adoration of the Magi rhoto Manseii. the Bathing of the Child Christ. Parry Collection, Gloucester.

THE PAINTERS OF

RIMINI.

291

Fig. 145. Cavallinesque

Riminese School, the Baptism of Christ. Pasini

Collection,

Rome.

gilt

woven

the Last

Judgment though

textures and a predilection for the representation of it is a subject more suited to works

of larger dimensions (^). Several of the Crucifixions Cross made from the trunk of a tree.
In the
(')

show

the

above quoted

The only panel

I,

have already expounded at length paintings that I know of this early period representing
article
I

the Last
(Vol.

Judgment are the one belonging to the Sienese school at Grossetto and the one which together with five other scenes of the Florentine school, is preserved in the Berlin Museum. Both are 13'^ century productions and somewhat different from what we find in the school of
p. 373)

Rimini.

292

THE PALNTERS OF

RIMIXI.

link

me to look upon this group of works as a between Cavallini's school and that of Baronzio and the other Riminese artists of the period. The arguments are found
the reasons that led

in the technique of the painting, as well as in the which subject we shall return later.

iconography

to

exists between these works and Cavallini's demonstrated by the fact that many of them have been attributed to the master himself or to his pupils the t3'pes of the greater part of the figures, the manner by which relief is

That a connection
is

art

obtained

in the

drapery as well as

in the faces, the majestic

proportions in spite of the limited size of the pictures and the details borrowed from classical plastic art, all point to a connection with Cavallini's school and not with Giotto's, of whose influence there is no trace in any of these works.

On

the other

hand man}'

peculiarities force us to associate this

group of paintings with the works of Giuliano, Baronzio and other similar Riminese artists, and the combination of these two
predominating elements supports the hypothesis that we are here dealing with the productions of a transitional art between CavalHni's and the school of Rimini. The resemblance to the latter is particularly evident in the facial t3'pes. This is very marked in the second picture in the Palazzo Venezia, in which the almost cone-shaped figures with sharp features, pointed noses

and narrowly slit e3'es are, as it were, introductory to Baronzio's art. Moreover we discover in Baronzio's school a correspondence
iconographical details, in the partiality for the Last Judgment and in the model ofthe pictures with numerous small scenes.
in the

The Riminese school of painting to which the works I have mentioned above are but prehminary, is one ofthe most important of the local groups, not onl}' on account of the quality of its work,
which, especialh' at the beginning, was of a ver\' high standard, but also because of its abundant production. Although the town

was apparently the principal centre, this art, at the of the 14th century, was spread throughout Romagna. beginning Among the works belonging to the early group, we find one at Faenza and one at Bologna whence the picture at Perugia also
of Rimini
originated. In admiring this last painting, the most beautiful of these litde panels, we should not forget that Oderisi da Gubbio

THE PAINTERS OF RIMINI.

293

Fig. 146. Cavallinesque

Riminese School, the Last Judgment and four other

scenes.

Lehman

Collection,

New York.

and Franco Bolognese, two miniaturists extolled by Dante

(^)

(0,

Purgatory, XI, 79

et seq.

"Oh, said

to

him, art
art

thou not Oderisi. the

in

honour of Gubbio and the honour of

illuminating? Brother, said he, Bolognese paints; the honour

that

which

Paris

is

called

more pleasing

are the leav'es which Franco

now

is all his

and mine

in part".

294

THE PAINTERS OF RIMINI.

whose

praise of artists was restricted to a chosen few, were active in this town. There is certainly nothing that justifies us in

believing this panel in the Gallery of Perugia to be the work of one or other of those artists, but it is not unlikel}' that it belongs to their school.
the end of the 13th century onward, we find a considerable number of artists in Rimini. Besides Giuliano, Baronzio,

From

Pietro and Francesco da Rimini examples of whose work have come down to us, we find mention of the following: Frater

Fusculus (1292 1306), Zagnonus (1295), Magister Johannes (1300), Nerio the Miniaturist (1306), Zangolo (circa 1336), Paolino
Ciciolo (1345 1398), 1346), Gregorio (1348), Miginio (1370 Giovanni di Alinerio (1377 1397), Antonio Giacomelli da Imola

and Giangolino (1381 1387) (M. Ravenna also a few of whose names may be cited: possessed many artists, Maso and Bindino da Faenza (1314), Rastello da Forli (1352 1368), Nanne da Ravenna (1368 1396), Tommaso da Faenza Marco da Lencisa (1392) Paolo Pittore (1403) (^). (i373)>

(1379

T384),

The generation
to

of artists that followed those

whom I believe

have been directly inspired by Cavallini and who left us the twelve paintings which have just been discussed, may be divided into two groups. One, in which Giuliano, Baronzio and Pietro da Rimini ma}' be included, created a more or less individual art, while the other produced works which belong to the same style and show but little change from the painting of the early group of the Riminese school.
the six pictures that comprise the latter group, five are preserved in the Vatican Galler}' and some of them are extraordinarih' beautiful. No. 54, for example,
cifixion

Of

showing above the Cru-

foot of the Cross

with Mar}' Magdalene and St. Francis kneeling at the and below the figures of St. Paul, St. Peter in

papal vestments, and St. Louis of Toulouse

(pi. Ill) is without doubt one of the most beautiful panel paintings of the Treany cento (^). Hardly inferior to this work is a picture of the Descent
(') L. Tonini, Rimini nella signoria de' Malatesti, IV, Rimini, 1880. .-J. Brack, Giotto's Schule in der Romagna, Strasbourg, 1902, p. 74.

Ravenna, Felix Ravenna, Jan. 1912. Formerly Mr. Berensoii believed this to be one of Giotto"s 3-outhful works. It is catalogued as a production of Giotto's school. L. I'entiiri,
('-J

S. Bernicoli, Arte e artisti in

(^J

School of Riniitii of

CRUCIFIXION AND SAINTS the first half of the XIV century,

Vatican Gallery.
Photo Anderson.

THE PAINTERS OF
from the Cross
(no. 56, fig. 147)

RIMINI.

295

which

is

catalogued as a pro-

duction of Giotto's school.

which

extraordinary- depth of feeling the artist has been able to express and the beauty of the

The

Fig. 147.

Riminese School, Descent from the Cross. Vatican Gallery.

Photo Anderson.

drawing are quite exceptional.

Crucifixion (no. 52,
fig.

A pointed panel representing the

catalogued as belonging to

148), also

L'Arte, 1915, p. 9 and O. Sin'ii, L'Arte, 1921, p. 25, both attribute this panel to Baronzio. Although I found the basis on which this attribution was made rather weak, I thought at first it might be possible, but since I have

and now think that it anything Baronzio has ever produced.

changed

my mind,

is

work

of much finer quality than

296

THE PAINTERS OF

RIMINI.

the great Florentine's school, no doubt possessed the same qualities, but it has suffered somewhat through restoration.

We

note here the Cross

beautiful, but all the

made with

the branches of a tree. Less

to this

same belonging

group and showing

Fig. 148.

Riminese School, the Crucifixion. Vatican Gallery.

Photo Anderson^

particular connection with the last mentioned picture, is a little oblong panel (no. 44) which, in the gallery, is said to be painted
after the

manner

of Lorenzetti

it

represents St. Francis, St. John

the Baptist, St. Louis of Toulouse with a miniature adorer and St. Julian of Cilicia (fig. 149).

Very

inferior in execution to

all

these

works

is

a panel (no. 42)

on which

we

see, above, the Crucifixion

with but a limited

Fig. 149.

Riminese School, four

saints. Vatican Gallery.

Pnoto Anderson.

298

THE PAINTERS OF RIMINI.

of people, including St.

number

Mary Magdalene

at the foot of

the Cross, and SS. Peter and Paul at the sides, each standing in front of a piece of architecture below we find the Holy
;

Women

Sepulchre together with the Noli me tangere, a combination which is reminiscent of one of the fore(fig. 150), going pictures on which the Saviour, rising from His tomb, was
at the Empt}'

depicted

in

little

the presence of the hoh' Maries (^). panel, perhaps a piece of a predella, in the
this

Lehman

collection. New York, ma}' be classified with

group of works. It shows the beheading of the Baptist, the dance of Salome with the saint's head, and the king and his guests seated at table.

feature that all these pictures have in common with those of the previous group is the ornamental design of leaves and flowers in the gold background.
triptych in the Jarves collection, Yale University, seems to be the work of a provincial follower of the Riminese school of

painting

(fig.

Annunciation

151) (-). Incidents in the Life of Christ, from the to the Descent from the Cross, are represented

without the least sequence. The beheading of St. John and the executioner bringing the saint's head to the king are also depicted, but the execution is very crude and the drawing even infantile. In the Presentation in the Temple, which is seen at the foot of the left wing, and in the Flagellation, which we find on the
third row of the right wing, Italo-Byzantine architecture, borrowed from Tuscan art of the 13^11 century, is to be noted. Open loggias, as shown in the second scene concerning the second row of the right wing are met with in Baptist Giotto's works at Assisi (^) and in the paintings that Cavallini's

pupils executed in Naples

(^).

The

other artistic

movement

in

Rimini started during the

still

period that the Cavalinesque painters were

O. Siren, op.

flourishing.

The

{')

cit.,

attributes this panel to Giuliano da Rimini or to the

1330.
in

Bolognese school before

('-)

O.S/>^>?,

A descriptive catalogue of the pictures

etc.,

Newhaven, London, Oxford,

1916, p. 29, ascribes

it

the Jarves Collection to a Romagnole fol-

lower of Giotto. (^) Scene of the death of the knight of Celano. (^) In the Apparition to the pilgrims on the road

to

Emmaus.

THE PAINTERS OF

RIMINI.

299

Fig.

150.

Riminese School, the Crucifixion and Noli

Vatican Gallery.

me

tangere.

Photo Anderson.

300
first artist,

THE PAINTERS OF

RIMINI.

and probabl}' also the founder of this current, Giuliano da Rimini (\).

was

We find Giuliano's signature on an important panel representing the Virgin seated on a throne behind the back of which angels are seen, while eight figures of isolated saints form
;

two two

rows of two, one above the other at either side they are St. Francis receiving the stigmata, the Baptist, St. Clare and St. Catherine on the one side and St. John the Evangelist, St. Mary
St. Agnes and St. Lucy on Above we read: "Aiiiio Dni Millo CCC Septimo Julianiis Pictor De Arimino fecit hoc opus tempore Dili dementis PP. Oitinti." This picture, originally at Urbania in the neighbourhood of Urbino, was bought by Mrs. Gardner and now forms part of her collection in Boston. The painting is not wanting in characteristics. The bodies are

Magdalene kneeling before an angel,

the other
(fig.

152).

heavily

built, the

necks often long and the hands beautiful; the

faces are of a long oval shape with high foreheads, the eyes, nose and mouth, which are very small and finel}^ drawn, offer a

strange contrast with the largely constructed figures. do not know an3'thing about this artist except that he

We

died before 1346.

date,
it

From

the

document

that mentions

him
(-).

at this

may

be gathered that he owned some property

painting that we can most closely approximate to the authentic work, and which, besides, is generally attributed to the same artist, is a Coronation of the Virgin in the Urbino Gallery

The

(fig.

153).

bows

a robe threaded with gold, her head towards the Saviour; a holy female martyr is

The

Virgin,

who wears

depicted in each of the lateral panels, while of the pinnacles only the two containing half-length figures of SS. Clare and Francis

have been conserved.

more important work by

the

same

artist is the

decoration

of the refector}^ of the abbey at Pomposa, situated between Ferrara and Ravenna; the church and Chapter room of the
frescoes are very superior to the
(')

monastery have been adorned by other painters. Although the two panel paintings, they are
A. Brack, op.
L. Touiiii. op.
in
cit.,

p.

63 and passim. O. Siren, Burlington Magazine,

XXIX,
(-)

1916. p. 272. Tliieme-Becker, Kiinstler-Lexilcon,

cit..

XIV,

p. 213.

IV, p. 390.

A painter

of Urbino of tlie

same name

is

mentioned

1366 and 1367.

THE PAINTERS OF

RIMINI.

301

Fig. 151.

Outcome of the Riminese School, Triptych,

Yale University.

jai-ves Collection.

302

THE PAINTERS OF RIMINI.

m O

o
(U

G
T3

c
0!

O
T5

-a

o 5

O
01

THE PAINTERS OF RIMINI.

303

obviously by the same hand. Only part of the mural decoration now remains.

The wall in which the present entrance has been made, was adorned with a representation of the Prayer on the Mount of

Fig. 153. Giuliano

da Rimini, the Coronation of the Virgin and Gallery, Urbino.

saints.

Olives but only parts of the figures of the three sleeping disciples and of the angel speaking with Christ are visible. Opposite we see a fragment of a fresco showing a saint seated at a lectern (^).
the other wall three of the frescoes have been fairly well conserved they are the Last Supper, the Saviour in majesty in
;

On

the midst of four saints and a miracle performed by the abbot,

{^)

Brack, op.

cit.,

does not mention this figure.

304

THE PAINTERS OE RIMINI.

Guido da Pomposa. The first (fig. 154) of these paintings sho\v$ the Lord and His disciples seated at a round table this formbelongs to the old iconographical tradition no longer followed b}' bread and dishes are placed on the table and a large Giotto (^) in the centre contains a fish, a piece of which the Saviour plate

is

about to take in His hand. St John with closed e3'es rests his head on Christ's shoulder. Only twelve Apostles are depicted. In the second fresco we see the Saviour seated on a throne holding an open book and bestowing a blessing; He is escorted

by the Virgin Orante and St. John the Baptist, while to the extreme right and left are Benedict and Guido, the holy priors of the abbey (fig. 155).
In the illustration of the miracle, the hoi}' abbot, Guido, is represented sitting at a table which is all prepared for a meal
;

standing near him is the disguised Bishop Gebehardus of Ravenna who has come to inspect the monks' mode of living which
report has said to be too luxurious the followers of the bishop and of the prior are placed at either end of the table (fig. 156). The miracle consists in the changing of the water into wine in
;

the prior's cup which the bishop holds in his hand. As I said before, GiuHano's frescoes are very superior to his

only the beauty of the former that can in an}' wa}' be compared with that of the works of the Cavallinesque group of artists. The faces, particularly in the last fresco, are
panels, and
it

is

ver}' beautiful, ver}' subtle.

Further

the forms finely proportioned and the design we note a great variet\' of expression and

gesture,

the contrast

between the bishop's surprise and the

in the

saintly tranquility of the abbot in the third fresco, being ver}'

remarkable.
er those

The types of the figures

Last Supper are soon-

find in the panels. The}' show no connection with the fresco was formerly attributed those of Giotto's, to

we

whom

and to whose school it is still always ascribed. Nor is the iconography Giottesque. while the soft clear colours and chiaroscuro eff'ects remind us of Cavallini's art (-).
(') (^)

Bracli, op.

Cavallini's pupils at Naples represent a semi-circular table. cit.. who believes that the painters of Rimini were directl}-

inspired by Giotto, is struck by the resemblance between these frescoes and the paintings in the Upper Church, Assisi, which I attribute to Cavallini and
his helpers.

THE PAINTERS OF

RIMINI.

305

Fig. 154. Giuliano

da Rimini, the Last Supper. Refectorj', Pomposa.

Photo Minist.
del.

Pubbl.

Istr.

As

for the date of these frescoes, Federici, the historian of Pom-

posa, has recorded an inscription, once visible in the refectory, informing us that the building was constructed in the year 1304
IV

20

3o6
at the time of

THE PAINTERS OF RIMINI.

Pope John XXII and of the abbot, Mark (M. But these dates do not coincide, since the potificate of John XXII was from 1316 until 1334, and in 1304 there was no prior of the

name

of Mark. The

name

of the

indication to

same name who approach him chronologically and although some have tried to demonstrate by intricate calculations that the monastery was founded between the years 1317 and 1320, 1 think it wiser to consider the more protracted period of 1316 1334 as that during which these paintings were exeof the

go upon

Pope seems

to

me

the

most

likely

especially as there are no other popes

cuted

(-).

Consequently they are of later date than the panel at Urbania which to all appearances is contemporaneous with the Coronation of the Virgin at Urbino. The two panels are then in all in the artist's career probability, productions of a youthful stage

while the

Pomposa

frescoes,

no doubt executed at a Giuliano's hand can, 1 think, be discerned were revealed by the earthquake of 1916,
S.
in

which are greatly superior, were more mature period.

in

the frescoes that the church of

in

paintings, only fragments of Agostino the apse and right lateral chapel which have survived, adorn

Rimini

{^).

These

of the church.

The principal representation in the apse is a large Madonna enthroned and holding the Child. The robes and background are richly ornamented. The Madonna is more grandiose in appearance than in the panel of 1307, but the type, as, too, that of the Child, is the same. An aureole of angels is depicted over head.

For (1) Federici P. Placidi, RerumPomposionarum Historia, Rome, 1781. the rest of the literature on this abbey, v. Brach, op. cit., p. 11 note i. Federici, op. cit., p. 279, tells us that a painter of the name of J/rr^/sAr
(-)

is mentioned in a Pomposa record of 1317. Fr.Filippiui, Gli aflFreschi nell' abside della chiesa di S. Agostino in Rimini e un ritratto di Dante, Boll d'Arte del Minist. della Pubbl. Istr., 192 1,

Cheyus picior F/orentimis

(^)

p 3. It is quite incomprehensible to me how this writer can attribute these beautiful frescoes, which show all the characteristics of the Riminese school of painting of the first half of the 14'^ century, to the mediocre artist, Bittino

da Faenza who is mentioned in 1398 and who died in 1427. He even places them about the year 1420, almost a century after the period from which I
think they actually date.

THE PAINTERS OF

RIMINI.

307

Fig. 155. Giuliano

da Rimini, the Lord amidst the Virgin and

Refectory, Pomposa.
Photo Minist.

saints.

del.

Pubbl.

Islr.

3o8

THE PAINTERS OE RIMINE

this fresco there is a large

Above
the

image of the Almighty between

a picture of the Noli

two SS. John, while below we see

me

to tangere. On the walls, the stor}- of St. John the Evangelist whom the church was originall}' dedicated, is illustrated. On the left are depicted the story of how he caused the statues
(/),

of the heathen gods at Ephesus to fall and break, and his mart3Tdom in boiling oil; while on the right we find St. John wTitingon
the Island of Patmos, together with his return to bark, and the resurrection of Drusiana.

Ephesus

in a

Among
we

the scattered fragments on the lower part of the wall, can distinguish a scene of a dispute which might perhaps be

that between St.John and the pagan priest, Aristodelas. Opposite, we see the ascension of St. John whom angels carry to heaven

where he

received by Christ. The chancel arch was adorned with a fresco of the Last Judgment, but the painting here is badly damaged. The composition is quite traditional: the Christ as
is

Judge was seated in the centre with angels flying above and the Virgin and Apostles in a row below with two angelic figures in the centre. Nothing remains ofthe dead arising from their tombs. In the chapel to the right where the paintings have also suffered
through restoration we can still distinguish a Nativity, probabl}' ofthe Virgin, her Death and the Assumption in a ver}' elaborate
composition. In all these frescoes the artist has depicted a great many people who take no part in the action. Worthy of note is a group in the
resurrection of Drusiana, one of the figures crowned with a wreath of laurel indicates with his thumb the incident to another

person

writers are of opinion that the latter figure is a portrait of Dante and the former that of Petrarch (-), but although there is a vague resemblance between the traditional
(fig. 157).

Some

effigie of the divine

poet and the personage depicted here, a comparison, especially with the figure to the left in the fresco of the miracle of the abbot of Pomposa, will clearly demonstrate

drawing of the features and the penetrating are characteristic, not ofthe figure, but ofthe artist who has gaze repeated the same model more than once.
that the tN^pe, the
Filippiiii, op. cit

(1)
('-)

has interpreted the signification of these paintings.

Filippiiii, op. cit.

THE PAINTERS OF

RIMINI.

309

Fig. 156. Giuliano

da Rimini

tlie

Miracle of Abbot Guido. Refectory,

Photo Minist.
del.

PompOSa.

Pubbl.

Istr.

comparison with the frescoes attributing those in the church of

Rimini.

at

Pomposa
Agostino

will justify to

our

S.

Giuliano da

We

find the

same

types, the

same proportions and a

3IO

THE PAINTERS OF

RIMINI.

similar treatment of the draperies,

recital is also the
identical.

hands and

relief.

The

spirit of

same and some of the expressions and gestures These works seem to point to a more adx'anced stage
in the artist's

development
than the
fres-

coes

in the

refectory of the Abbey.

The

paint-

ings in the
Pieve of Bagnacavallo (M

havealsobeen
attributed to

Giuliano da Rimini. Here

we

find in the

apse an image
of the Saviour
in

majesty

not unlike the

corresponding figure

Pomposa

at

with two angels and the

four Evangelists

and

their

symbols at the
Fig. 157. Giuliano da Rimini, Detail of the Resurrection

sides.

of Drusiana. S. Agostino, Rimini.

Photo Bezzi.

Lower down we see ^^ the Saviour

on the Cross, which is made from the branches of a tree, between the X'irgin and St. John, while the Twelve Apostles form two
Brack, op. cit., p. 75, v. also A. Messeri, Di un insegna e poco nota (1) basilica cristiana dei primi secoli, Boll. d'Arle del Minist. della Pubbl. Istr.,
1910, p. 345.

THE PAINTERS OF RIMINI.

311

Urbino. Fig. 158. Baronzio, Atar-piece, 1345. Pinacoteca,

Photo
Miiiist. del.

Pubbl.

Istr.

312

THE PAINTERS OF RIMINI.

laterally.
it

rows

Although

this
in

decoration

was

entirely repainted

1792, none the less we note such between it and that of the refectory of Pomstriking analogies posa that we can ascribe both cycles to one and the same artist. Further, an inscription, most of which is still visible, on that part of the wall which separates the frescoes tells us that the painter was from Rimini but unfortunately his first name has been effaced.

when

was discovered

The
ct

inscription runs :"....

Dc Arimino pro

Aniuiabiis Sinionis

Alioruui Suorinn mortuonim tempore Domini Giiidonis De Coinitibus De Cunis rectoris domini istiiis Plebis Benvemit.frater

ejus feeit fieri hoe opus'". The names mentioned in the inscription furnish us with the approximate date of the painting, since the

Guido,
in

who

is

spoken
to

of,

was

rector of the Pieve in 1323 but

was

replaced

in 1332,

while Benvenutus
artist

was prebendary
{}),

in

1320 went

Rimini as ambassador

and

it

may

1313 but be that he

brought back the

these frescoes

whose work we

find here.

Consequently

were executed between 1313 and 1332, and in all after 1320, although the manner that the artist has probability followed here shows much connection with that of the panel of
1307 (-). Giuliano then was the apparent founder and certainly by far the greatest artist of the Riminese school of painting after the
Cavallinesque influence had waned. No other painter of this group succeeded in producing the harmonious beauty of form and
design that we find in the frescoes of Pomposa and Rimini. The regularity of the features of some ot his faces and their animation

and intensity of expression rank Giuliano da Rimini among the

great masters of the beginning of the 14th century. I should like to lay particular stress on the fact that his painting does not originate as too that of the entire school of Rimini

(') These documents have been published by Baldnzzi, Dei dipinti murali nella Pieve di Bagnocavallo, Atti e momorie delle R.R. Deputazione di Stor. Patr. per I'Emilia, Nuov. Sen, II, 1877 {Brac/i, op. cit., p. 77). (-) Brnr/i, op. cit., p. 79, attributes still to Giuliano a marriage of St. Cather-

ine and saints in the

Verona

Galler}' (no 356) that

have already mentioned

with other Veronese paintings. Siren, op. cit., gives to this artist the panel of the Virgin and saints, dated 1308, at Cesi in Umbria which I have classified
(Vol.
it
I, p. 544) as a provincial work of Cavallini's school. He further believes possible that Giuliano collaborated in the execution of the frescoes in Sta. Maria in Porto fuori, Ravenna, but this I do not think.

THE PAINTERS OE RIMINI.

313

Fig. 159. Detail of fig. 158.

from Giotto's art but descends directly from

interpreted in a

Cavallini's,

though

more modern

spirit.

supposition that all the Riminese painters of the following generation are dependent on Giuliano is, in all probability, correct, while Giovanni Baronzio (^) can be considered his pupil.
(')

The

Brac/i, op.

cit.,

p. 69. E. Ca/sini, in

Thieme-Becker, Kiinstler Lexikon,

n, p. 520.

314

THE PAINTERS OF

RIMINI.

Concerning Baronzio, we possess only two dates, 1344 and 1345, that we find on his signed works (M. The earlier of these is a cross in the church of S. Francesco at Mercatello which was brought to our knowledge onl}' a short time ago (-). It is a
crucifix after Giotto's model, with a decorated

background the
;

Virgin, St.

John and the Almighty are depicted

Jioc

the signature runs: ''JoJics Pictor feet

terminals; opus, Fr. Tobaldi

in the

MCCCXLIIIir
It is

work though inferior in quality to the beautiful of the Cavallinesque artists of Rimini. pictures The altar-piece of 1345 was transported many Axars ago from
a ver}' fine

the Franciscan monaster}' of Macerata to the Galler}- of Urbino (figs. 158 and 159) ('). In the lower part of the frame an inscription

which

almost illegible ran: "Anno Dni Millo CCCXL Din dementis P.P. oe opus feeit Jo(a)nnes BaronG(iiin)to Tpc tilts lie Arimino" {^]. The central group is composed of the Viris

now

gin seated on an elaborate throne and fondling the Child Who stands at her knee, an angel seen in profile at either side and beyond them a holy abbot carr3'ing a crook, and St. Francis The two scenes one above the other at either side are, to the left,
the Adoration of the
table and the

and

to the right the Last

Magi and the Presentation in the Temple which takes place at a round Supper

Betrayal of Judas.

One

missing.

The

central one

which

is

of the seven pinnacles is larger and of a very unusual

;

form shows the Crucifixion with numerous figures those to the extreme right and left contain the angel and Virgin of the Annunciation, both kneeling, while in the other three are the halflength figures of SS. Louis of Toulouse wearing a beard, John the Baptist and Peter.

This work
cessor from

reve-ils

Baronzio as an

artist inferior to his prede-

whom, however, he borrowed

the characteristic

(^) Tonini, op. cit., reproduces the following epitaph that he found in the church of S. Yvancesco, 'Rimmw" Jo/iis Barontii ct Deiita coinaiuti Barontii

et

Comandi filii

qitondain magisfri JoJianuis Baroiitie picforis di

coirf.

S.

Agnetis". (-) L. Venturi,

(^)

E. Calsiiii,

traverso Le Marche, L'Arte, 1915. La Galleria annessa all' Istituto di

p. 361.

p. 4.

Belle Arte di Urbino,

L'Arte, IV, 190 1,

[*) The inscription has been handed down and Cavalcaselle, op. cit., II, p. 155 note 2).

to us

by

Toiiiiii,

op.

cit.

(Crowe

THE PAINTERS OF RIMINI.

315

Fig. 160. Baronzio, vault of the choir. Sta.

Maria

in

Porto

fuori,

near Ravenna.
Photo Alinari.

proportions, long necks, sharp features and small mouths, but his exaggeration of these peculiarities makes his figures much

Baronzio also depicts action with animation, and employ's the same soft clear colours which have nothing in common with Florentine art, but remind us
less pleasing than Giuliano's.

much

sooner of the

Roman

artists of the

manner of rendering

plastic effects,

end of the 13th century. In his he does not obtain the same

3i6

THE PAINTERS OF

RIMINI.

subtle gradation as Giuliano, but shows rather strong contrasts of light and shade. He continues the old tradition of ornamenting

the gold background with a pattern of flowers and leaves. The attribution of at least part of the frescoes in the church of
Sta. Maria in Porto fuori, near Ravenna, to Baronzio
is generally the entire work is by this master who, my opinion accepted (^). as was usually the case for enterprises of this size, was assisted

In

by

his pupils.

Herr Brach has discovered the hand of not

less

than five different artists; Signor L.Venturi ascribes the decoration to Pietro da Rimini, while Mr. Siren believes that some of
the frescoes might be by Giuliano da Rimini; but, not only do we find nothing in the paintings to substantiate this last hypothesis

but

which started
of the
14^11

think they are of a posterior date, for Giuliano's activity, in 1307, was apparently limited to the first quarter

were

century, while the frescoes of Sta. Maria in Porto fuori executed after 1332, the year that the old church, which,

for centuries rebuilt

(-).

had been a celebrated place of pilgrimage, was

Serafino Pasolini who, in 1676, published a history of a Byzantine relief of the Madonna which is still preserved in this church,

informs us that the pictorial decoration was executed between 1337 and 1367 at the time of Abbot Ranuccio da Galliata. The
latter in a Memoria concerning the history of the Abbey, would himself have furnished these dates. Pasolini, however, was

mistaken because Ranuccio was abbot only from 1364 until 1367, but the date concerning the frescoes is very possibly correct (^).
In this case the paintings were, in all probability, made shortly after 1337, and I suggest this date on account of the style of

the

work

as

much

as for the reason that the church

was

likely to

have been decorated

as

we saw,
Above

after the reconstruction, which, took place in 1332. the chancel arch we see a representation of the Last

(')

Brack, op.

cit.,

p. i. C.

W.
5'^^

C. Ricci,

Guida

di

Ravenna^

ed.,

Goelz, Ravenna, Leipz. Berlin, 1901, p. Bologna, 1914, p. 148, attributes them to

no

the

Romagnole

school.

cit., p. ^^3. Cavalcaselle and C 7??cf/ are of opinion that the church was destroyed by the earthquake of 1348 but, as Herr Brach has pointed out, there is no reason to believe this. Brach, op. cit., p. 54.
(^)

Brac/i, op.

('')

THE PAINTERS OF RIMINI.

317

Fig. t6i. Baronzio, the Nativit}' ot the Virgin. Sta.

Maria

in

Porto

luori,

near Ravenna

Photo Aiinari,

Judgment. The Saviour in a mandorla is depicted with his right hand open palm outwards, his left pronated. Below are shown the Saved dressed in white arising from their tombs and, opposite, devils chasing the Damned into hell which is represented by the

open jaws of a monster. The important frescoes

at the sides of

3i8

THE PAINTERS OF RIMINI.

Christ portraying the end of the Antichrist's reign are very curious; on one side he orders and assists at the beheading of

two old

saints,

and on the other we see him attacked by four

angels with swords and lances while he apparently expounds his

false doctrines.

In the chapel each of the four triangles of the vault is adorned with a figure of a Church Father to whom an Evangelist dictates (fig. i6o). The latter are seated at lecterns, the former at little

desks listening intently or busy with their pens. The symbols of the Evangelists are depicted in the corner above each pair and also serve as the motifs of ornamentation of the pieces of fur-

which the Gospel-writers and Church Doctors are Their expressions and gestures are fairly animated. The intrados of the two lateral arches are decorated each with six medallions containing the busts of the Apostles while lower down are the figures of SS. Paul. Louis of Toulouse, John the Evangelist and another saint who is unrecognizable on account of the ruined state of the painting, and in the choir the images of SS. Apollinaris and Antony Abbot. On the left wall we find illustrated the story of the Virgin and
niture before
sitting.

her parents.
In the lunette above, we see Joachim driven from the Temple, represented in an agitated scene in which the background is lormed by an isolated piece of architecture in rather an archaic

manner, but one which Giotto usually employed. Lower down, besides a landscape of the iSth century, are found the Nativity of the Virgin (fig. i6t) and her Presentation in the Temple (fig. 162). The former shows us St. Anna sitting up in bed under a baldachin and near her, lying swathed in a cradle, the newborn child over whose head hover three angels. Two women stand at the head of the bed with what appear to be fans in their hands, while six others, one carrying an offering, approach from the opposite side. The mistaken perspective in this scene is very evident. In
the Presentation in the

Virgin Mary, who outstretched hands, inclines slightly to receive her. Many of the figures behind the mother are partly effaced, the three foremost
are depicted with gifts in their hands. Three men in conversation are seen behind the priest;
it

guiding the little carries a candle, towards the priest who, with
St.

Temple we see

Anna

has

THE PAINTERS OF

RIMINI.

319

320
In the

THE PAINTERS OF RIMINI.

background the
altar

and apse are isolated

in the

same

manner as the building in the foregoing fresco. On the opposite wall two other scenes from the story of the Virgin are represented they are the Coronation (in the lunette)
;

and her Death. The former shows in the midst of four angels the Saviour placing the crown on the Virgin's head in the latter, which is parti}' destro3'ed, we see the Virgin stretched on her couch and above, the Lord, surrounded by angelic musicians and prophets, receiving her soul in the form of a small child while the disciples, expressing their sorrow, are grouped around the bier. The Massacre of the Innocents is also depicted. In the midst of an agitated crowd of women and a large number of children,
;

fore

three soldiers carr}' out their horrible task a fourth stands beHerod who assists at the execution of his order. On the same
;

wall a niche which doubtless contained the Sacraments

is

adorn-

ed with an image of the Saviour giving the Eucharist to four Apostles represented in half-figure. Above to the left a 3'oung

woman

and a nun who, it has been suggested, are Chiara and Francesca da Polenta, look from a window (fig. 163). The apse is almost entirel}' covered with frescoes ol later date. Only two fragments of 14th century painting have been
conserved; one shows three
hoi}'

woman

more importance, consists sentation of the Doubting Thomas (fig.

which
is

of

kneeling, the other, of the hall of a repre-

164).

part in which the disbeliever was depicted has been destroyed by the addition of a pillar, but we see the Saviour,

The

and
the

five

wound

Apostles bending towards in His side.

Him

with their eyes fixed on

In the left lateral chapel, the decoration is considerably damaged. The six half-length figures of saints are still visible in the

arch but the painting of the vault has disappeared. Near the entrance there remains an image of a holy martyr. On the right
wall

we

two scenes
firstly,

see above, the decapitation of a young saint (^) and illustrating incidents from the life of Pope John I (-):

how

the Pope, followed by two priests, relating to Theodoric his mission to convert Justinian had failed, and secondly,

Herr Brack does not mention

(J)

this scene.

Paso/ini, op.

cit.,

p. 63.

THE PAINTERS OF
the

RIMINI.

321

Pope and his followers, behind the bars of their prison which guarded by a soldier. A niche between the two frescoes is decorated with an image of the Saviour. Only the figure of a holy
is

pilgrim has been preserved in the apse. The decoration in the chapel to the right has suffered

much

Fig. 163. Baronzio, Chiara

and Francesca di Polenta fuori, near Ravenna.

(?)

Sta.

Maria

in

Porto

Photo Alinari.

less.

Over

the entrance

we

see the Saviour

left is
is

in

benediction be-

tween two prophets, lower on the

the arch six busts of saints.
the second of which
angels.
St.
is

a bearded saint and in

The

vault

divided into two parts,

adorned with four medallions containing

On

the

left
is

wall

we

find in the lunette above, the call of

Matthew who

accompanied by a disciple, having told him to follow.

IV

depicted seated at a table while the Saviour, seems in the act of leaving him after
2t

Fig. 164. Baronzio, the Incredulity of St,

Thomas. Sta Maria

in

Porto

fuori,

near Ravenna.

Photo Aiinarl.

THE PAINTERS OF

RIMINI.

323

Fig. 165. Baronzio, the

Sermon
fuori,

of Pietro Peccatore, Sta. Maria in Porto

near Ravenna.
Photo Alinari.

On

the next

row we

see the

young

saint, Pietro Peccatore,

with two other persons speaking to cripples who kneel in what seems to be the gateway of a town (fig. 165). Then follows
St.

John the Evangelist preaching, which,

in

composition,

is

very

324

THE PAINTERS OE RIMIM.

similar to that of the foregoing fresco. On the same wall we find a dragon and an almost effaced figure of a saint which atBrach's

time

was still clearly visible. The ascension of St. John

;

the Evangelist

is

represented high

up on the opposite wall he is depicted in half-length figure carried to heaven by two angels. Of two other frescoes which originally adorned this wall, one has entirely disappeared and only a few^ fragments that cannot be interpreted remain of the
painting of St. John baptising a king in the presence of a saint and the queen is in much better condition. Traces of
other.

The

two

The

figures of saints are seen in the apse. walls of the nave may originally also have been covered

with frescoes, for high on the right wall we find a representation of the Virgin with four saints and two angels holding the draper}'

behind the throne. Lower down in another division a figure is depicted in adoration before a 3'oung saint, while closeb}^ we see a herd of pigs in a field. The frescoes in the chapel are all framed
b}' rich

borders of Cosmati mosaic pattern containing heads are scattered.

All the frescoes are not of the

in

which medallions

before,

we must

same quality', and as I said admit the presence of some helpers to whom I
;

example the Presentation in the Temple and the sermon of St. John the Evangelist but there can be no doubt that it was one master who dominated and directed the whole enterprise, for the decoration in its ensemble is extremely harattribute for

monious.

some other paintings by Baronzio. hi the church of Sta. Chiara, Ravenna, now the chapel of the Poor-house (/), the vault is adorned with figures of the Evangelists and the
still

There are

Church Fathers, medallions with the Twelve Apostles and

ornamental borders imitating Cosmati mosaics; the entire decoration, although less elaborate, being a free copy of the frescoes in Sta. Maria in Porto fuori. The principal painting which is nowadays clearly visible is the Crucifixion; it is depicted around

(\) Croive and Cavalcaselle, op. cit II, p. 156, note i. Brac/i, op. cit., p. 80. Boll. d'Arte del Minist. della Pubbl. Istr., 1922, p. 338. L. Veiifitri, op. cit., p. 8, with the exception of the Crucifixion which he ascribes to Baronzio, be,

lieves

all

these paintings to be the

work of Pietro da Rimini.

THE PAINTERS OF RIMINI.

the embrasure of a

325

window and shows

Mary Magdalene

the Crucified, the Virgin fainting in the

four angels Hying around arms of two of her

to

companions and

St.

one side and

to the

Fig. 166

Baronzio, the Baptism of Christ. Sta Chiara, Ravenna.

Photo Bezzi

other St. John, the Centurion and some soldiers. The work is of a strong dramatic effect. Lower down on the left we see traces of
the Baptism (fig. 166) and the Prayer on the Mount of Olives. On the lateral walls there remain on one side, the figure of

the Saviour from a scene of the Doubting Thomas, markedly resembling the central figure of the composition in Sta. Maria in

326

THE PAINTERS OF

RIMINI.

Porto fuori, and on the other, the Annunciation and the figures of SS. Francis, Clare, Anton)- Abbot, and Louis. On the entrance wall we see against a rock}' landscape one man standing and behind him a second holding a horse, a group which originally

must have formed part of

the Magi.

No

a representation of the Adoration of doubt can exist that these paintings are the work

Fig. 167. Baronzio, a Detail of the Crucifixion. S. Francesco, Ravenna.

Photo Bezzi.

of the artist

whom we

have just found active

in the

church on

the outskirts of the town.

Among
Baronzio,
I

the frescoes in
think

Ravenna which can be

attributed to

we should include the very damaged Crucifixion

in the left aisle of the

Virgin (fig. Dante's portrait

church of S.Francesco in which the faintins; and a figure, which some have suggested to be 167)
(fig.

168), are still clearly visible (M-

Elsewhere

have had occasion

to ascribe to

Baronzio a Des-

G. Gerola, Ancora sugli afFreschi danteschi scoperti in S. Francesco, (') Ravenna, 1920. Saiiti Miiraiori, La chiesa dei funerali di Dante, San Francesco di Ravenna, Rassegna d'Arte, 1921, p. 298. Bolletino d'Arte delMinist.
della Pubbl. Instr., 1922, p. 337.

THE PAINTERS OE RIMINI.

327

Fig. 168. Baronzio, a

supposed portrait of Dante.

S.

Francesco, Ravenna.
Photo Bezzi.

cent from the Cross on a gold background with a design of leaves, which I saw in the Palazzo Gentile at Viterbo (fig. 169) ('). This
(')

R. van Marie, op.

cit.

328
picture
is

THE PAINTERS OF

RIMINI.

very superior in execution as well as in feeling to the one at Urbino and can be classed with the Mercatello crucifix

finesse of the execution of these

marked two panels Baronzio closely approaches Giuliano da Rimini and the artists influenced by
as the finest of this artist's productions. In the very
Cavallini.

That Baronzio was

a pupil of Giuliano da Rimini's

seems

to

me

almost certain.
of which
I

The very

peculiar facial types, the character-

istics

have

alread}^ mentioned, the elongated propor-

tions, especially striking in the necks, the regular and somewhat hard folds of the drapery, the technique of relief and plasticity,

colours of the
ronzio's

the profound feeling and intensity of action, as well as the clear Roman school of painting are all found in Ba-

works but treated

in a

cruder manner and with a less

ities

developed sense of the beautiful. Baronzio pushes the peculiarthat he borrows from Giuliano so far as almost to produce
of the faces of the Apostles to whom the Saviour distributes the Sacraments in the church of Sta. Maria in Porto fuori are regular grimaces. The crucifix of 1344
caricature.

The expression

and the

artist's proaltar-piece of 1345 prove, however, that the ductions of almost simultaneous execution are very variable in the school quality, and his feebler works lead us to believe that

of Rimini, which shortly before had such a brilliant commencement, had already entered into a stage of decadence with Baronzio,

and

of course,

none of

completely died out. There are, works that belong to this school but good many them comes up to the standard of the productions of its
after a short decline
still

earlier masters.

have had a fair number of followers. we owe a polyptych in the church of S. Francesco at Mercatello in which, beside the enthroned Virgin with the Child, we see eight figures of saints each in a
Baronzio himself seems
to

To one

of his faithful pupils

separate panel

(^).

very much under the master's influwho, not without help however, executed ence, was the most extensive pictorial monument belonging to the school of Rimini viz., the decoration of the chapel of St. Nicholas at

An

immediate

disciple,

the artist

(1)

L.

I'eiifiiri,

op.

cit.,

believes this polyptych to be a

work

of Baronzio's,

THE PAINTERS OF RIMINI.

329

Fig. 169. Baronzio, the

Descent from the Cross. Formerly

Gentile, Viterbo.

in the

Palazzo

Photo Brogi.

easy to understand how this series of frescoes, so imbued with Baronzio's art, has been attributed to the master
Tolentino.
It is

himself (1).

The
(')

chief decoration of the vault consists once

more

of pairs

F. Henuaiiiit, Gli aftreschi di G. Baronzio e dei suoi seguaci in Tolen-

tino, Bolletino della Soc. di Filol.

Giotto's Schule in der

romana, 1905, Vll, p. 65. Vitzthiim, Ueber Romagna, Sitzungsbericht der Berliner Kunsthistor-

330

THE PAINTERS OF RIMINI.

of Evangelists and Church Fathers, each seated before a little table and, as we found in Sta. Maria in Porto fuori, a symbol of an

Evangelist in each of the upper angles. Here too all the available space has been filled up with books and little pieces of furniture and the attitudes also resemble those (fig. 170). The facial types
of the other decoration. Each of the triangles is enclosed in a border showing numerous medallions containing busts of saints

and

each of the four pendentives we find personifications ot the seven virtues and of one vice, they are: Justice with Injustice, Temperance with Faith, Courage with Charity and Hope with
in

Prudence.

The
rows.

On

walls are entirely covered with frescoes arranged in three the entrance wall we see, in the lunette, the Presen-

tation in the
in

Temple taking

place in a

somewhat

fantastic buil-

which the old priest holds the Child, Who turns tov/ards ding His Mother, while on one side, Joseph, behind whom are depicted two little devotees, bears an offering, and on the other Anna the Prophetess carries a scroll with an inscription. Lower are represented the Holy Ghost descending on the Apostles who are grouped in a semicircle (fig. 171) and the Massacre of the Innocents, which shows man}' points in common with the composition in Sta. Maria in Porto fuori. An ornamental border with medallions of saints' heads separates this row from the lower one

where we
firstly St.

find four scenes illustrating the

life

of the titular saint:

Nicholas curing a blind man who kneels before him; then follow the saint delivering an innocent person from, prison,

rescuing ship-wrecked sailors, and praying for the salvation,

1905. III. p. iS. CrotL'f (7//c('Cc7yfl/cfls^/A'. op. cit., Ill, p. 181, appainclude them with the productions of the school of Fabriano. So also rently^ does A. I 'entiiri, op cit.. V, p. 854, who describes the artist as a precursor of Allegretto Nuzi's. I fail to see the connection between the paintings of
,

Gesellsch

Fabriano and

numerous

this work which is so essentially Riminese. Among the differences which divide these two schools the most striking is,

that the painters of Fabriano produced an art in which the principal interest lies in the contours while in that of Rimini, as too in the whole of Emilian

painting, the artists have given a preponderating place to plastic eftects. comparison of the types will but emphasize the error of this attribution

and provide us sooner with an argument in favour of Signor Hermanin's. A. Colasaiiti, Gentile da Fabriano, Bergamo, 1909, p 27, sees but quite a superficial connection between Baronzio and the painter of Tolentino.

Ph

OJ

a,

U
m
iS

o ~

>

03

03

cq

o o O

O ^

'o

H
Cl.

as

I*

-4->

O
_>>

o o
C/1

bb

THE PAINTERS OF RIMINI.

333

which salvation
(fig.

is

granted

of a person
is

who

has been

hanged

172).

On

the

left

or altar wall the lunette above

occupied

b}'

an

Fig. 172. School of Baronzio, Detail of the kneeling

hgure of St. Nicholas of

Photo Minist.
del. Pubbl.
Istr.

Tolentino.

St.

Nicholas Chapel, Tolentino.

important representation of the Virgin's Death, which again shows much correspondence with the composition of this subject in

Maria in Porto fuori; only here we see a fairly large and kneelfinely executed group of figures probably the donors ing in adoration in the centre, while nearby kneels a holy monk, very likely St. Nicholas.
Sta.

334

THE PAINTERS OF
tier

RIMINI.

age of twelve teaching in the Temple while His parents approach from the left the profusion of architecture is rather remarkable the Return from Jerusalem and a scene which can onl}' be the Wedding at Cana (fig. 173I. The last mentioned is of curious composition; it is divided into four distinct parts: to the extreme right we see the Saviour, giving orders, seated at a table with a
at the

The

below shows the Saviour

nimbused figure which

is

somewhat

effaced,

but probably

represents the Virgin; adjacent are the steward and other servants with the jars of water; then follow two people seated at table,

without doubt the bride and bridegroom, while on the extreme left two Apostles with three other persons are depicted eating at a round table. Three pairs of miniature adorers are represented

on the right of this row. Below we find St. Nicholas curing demoniacs and sick people, whose faces are of an unpleasing realism (fig. 174), the Saviour on the Cross between the Virgin, St. John, another saint and St. Nicholas, with St. Mary Magdalene kneehng at the foot of the Cross clasping Christ's feet (fig. 175), and two scenes from the childhood of St. Nicholas; the one illustrating how St. Nicholas of Bari appeared to the parents, over whose head hovers an angel, and predicted the extraordinary
life

of their child; the other

showing the

little St.

Nicholas

of Tolentino with other childern receiving instruction from their school master (fig. 176).

On

the wall opposite the entrance

little

we

see in the lunette the

figures of adorers, the Entry into in which the size of the figures does not harmonize Jerusalem with that of the rest of the decoration, and the Prayer on the

Annunciation with two

Mount
to

of Olives depicted in two episodes: firstly Christ speaking His disciples and asking them to remain awake, and secondly the disciples asleep while the angel appears to Christ. The lowest row is again adorned with scenes from the life of the

who is first represented eagerly listening to a seran Augustinian monk, then, united with this scene, his reception into the order, and lastly, an angel descending towards the saint and placing a crown on his head. Finally on the last wall we see in the lunette a combination of the Visitation, the Nativity, the angelic Message to the Shepherds and the Journey of the Wise Men. Below are represented the Saviour followed by
titular saint

mon by

o 2 rO

"o

2 m

.2

G
O
!^ OS

o o
"5
(/)

ro

336

THE PAINTERS OF RIMINI.

Fig. 174.

School of Baronzio, Detail of St. Nicholas curing the Possessed and the Sick. .St. Nicholas Chapel, Tolentino.
Photo Minist.
del.

Pubbl.

I-str.

two angels, descending into Limbo, the entrance to bles the gateway of a town, and the three Holy

which resemvisiting

Women

the Empt}' Sepulchre on which the angel is seated and around which the soldiers lie sleeping. These two frescoes are not in a good state of preservation. On the lowest row we find the death

of St. Nicholas

by monks

represented lying on a couch surrounded while the Saviour, accompanied by the Virgin,
is

who

St. Nicholas of Bari and four angels has come to fetch the soul of the dead saint; the other scene on this row shows, how

THE PAINTERS OF RIMINI.

337

Fig. 175.

School of Baronzio, the Crucified and saints.

Tolentino.

St.

Nicholas Chapel,
Miiiist. del.

Photo

Pubbl.

Istr.

through St. Nicholas' intervention, a dead woman is resuscitated while being transported to church. This imposing series of frescoes is executed in rather sombre colours, and for that reason seems, at first sight, to differ more considerably from the other works of this school than is reall}'
IV

22

338
the case.

THE PAINTERS OF RIMINI.

Another feature which is rather unusual in the painting is the abundance of architecture. In some

of the Riminese school

scenes, e.g. the Presentation in the Temple, we find very elaborate architecture and in others the artist has depicted buildings even

no way required. This leads us to decoration a work ofa more adsuppose vanced period of this school and the date of 1350 to 1360 proposed by Signor Hermanin seems quite feasible, although I am
their presence
in

when

was

that

we have

in this

inclined to place
It is

it

slightly earlier.

facial types, the sharp features, the the somewhat hard drapery, the lively gestures piercing look, and the vivacious spirit of the work that demonstrate the close connection that must have existed between the artist who

once more the curious

directed this enterprise and Baronzio. Had not adjacent figures contradicted the hypothesis, we might have ascribed some of the figures in the vault and in the scenes of the Massacre of
the Innocents, the Crucifixion, the Entry into Jerusalem and the resurrection of the dead woman to Baronzio himself.

The
to the

figure of the school-master shows a striking resemblance supposed portrait of Dante in S. fVancesco, Ravenna, and
in the

to

Herod

Massacre of the Innocents

in Sta.

Maria

in

Porto

fuori, or

again the extremely realistic profiles of the disciples receiving the Holy Communion in the last-mentioned church to
the profiles of the sick before the saint at Tolentino. large part of the rest of the frescoes seems to have been left to another artist

who was

less familiar

with Baronzio's art and no doubt a pupil

large number of donors that we find would lead us to suppose that the de-

of the better master.

The

depicted in these frescoes

coration

was ordered by an
art.

association of persons.

There are a few

Baronzio's

crucifixes
in the

which show some connection with

chapel of the Confraternity of S. Giovanni Decollato at Urbania, bears the signature: ''Pctrns de " Arimino fecit h It is a finely executed work in which the

One,

morphological types peculiar toGiuliano and Baronzio are manifest.

The

terminals are occupied by the figures ofthe Almight3%

the Virgin

Mary and
in his

St.

John

(/).

book on Raphael, describes (') Passavant, chapter of the appendix but erroneously attaches
Giuliano's panel that
is

this cross in the third

to

it

preserved in

this

town. Brack, op.

cit., p. .67,

the signature ot^ believes

THE PAINTERS OF RIMINI.

339

Fig. 176.

School of Baronzio,

St.

Nicholas at school. St. Nicholas Chapel, Tolentino. Photo Minist. del. Pubbl. Istr.

be probably the work of the artist who was active in the right chapel Maria in Porto tuori and says it bears a strong resemblance to a crucifix in the Badia, Arezzo, which is a w^orkof the Sienese artist, Segna
it

to

in Sta,

di

Bonaventura,

v.

Vol.

II,

p. 129.

340

THE PAINTERS OF RIMINI.

Three other crucifixes are preserv^ed in the Gallery of Urbino; of them is ascribed to Pietro da Rimini, author of the foregoing work, and ma}' very well be a work of this artist who seems to have belonged to a slightly later generation than Baronzio. A second crucifix in the same gallery is attributed to Baronzio himself and it really does show a decided resemblance to this
one
master's style. The Virgin's figure is expressive of great agitation; the pelican at the top of the cross is a Giottesque element;
four angels are grouped around the feet of the Crucified. work executed very much after Baronzio's manner

is

church of Talamello in which half-length figures of the Saviour, the Virgin and St. John are seen in the extremities. Formerly some writers have thought it to be a production of Giotto's. The painting is of excellent quality but I think should
crucifix in the

be placed slighth" posterior to Baronzio's activities. The third cross in the Urbino Galler}' (fig. 177) is very large. The master's connection with Baronzio is manifest in the types of his figures but the round shape of his heads differentiates him from the other members of this group (M. I think the same hand can be recognized in the terminal of a polyptych in the Gallery
of Strasbourg representing the Crucifixion (fig. 178). Certain iconographical features of the early productions of the school of

Rimini are found

in this picture,

thus for example the Cross made

from the branches of a tree. The curious form of the panel is identical with that of the central terminal of Baronzio's signed altar-piece. Two angels are depicted catching the blood that drips from the Saviour's hands on the left the Virgin faints in the arms of two of her companions, while on the right we see St. John and the smaller figure of St. Francis kneeling at the foot
;

of the Cross.

Quite after Baronzio's manner is a panel of the Nativity of Our Lord which once belonged to the Kaufmann collection in
Berlin
(-).

(1) In the Urbino Gallery this crucifix is attributed to Lorenzetti; it is probably the same as the one that Crowe and Cavalcaselle, op. cit.. II, p. 156, mention as being in S. Paolo a Montefiori. The}' cite, loc. cit., another similar cross with the Magdalene but do not say where it is to be found. (-)

M'\ Haiiseiisfeiii,
pi.

Munich, 1922,

40, considers

Die Malerei der Friihen Italiener (Das Bild III IV), it to be in the circle of Pietro Lorenzetti.

THE PAINTERS OF

RIMINI.

341

Two panels which on account of their form and miniaturelike technique belong to the group of Riminese paintings influenced by
Cavallini reveal at

their types and knowledge of Bathem, which is found

collection,

time, in figures, the master's

ronzio's art.

the

same

One

of

in the Lichtenstein

Vienna,

sh

ows

in

three

divisions, one
Adoration of the

below the other, the

Magi, the Crucifix-

ion and seven saints

in a

row
is

(fig.

179).

The figure

of Christ

Who

depicted in

the pinnacle behas been given the attitude of an image representation of One of the numer-

tween two angels

appearance and
of the Saviour in a
the Last Judgment, ous figures the the scene of the
ed

Centurion's
Crucifixion
is

in

cloth-

in

garments

woven
tion.
as
is

with gold
a

and the gold backfaint

ground shows
the

These two
manner
in

ornamentaelements as well

divided,

betray
Fig. 177.

which the panel its connection

works.
School of
tion
Baroiizio, Crucifix.

with the older With the excepin

background ures in another

the Metropolitan

the

we

of the design find these featthis

Gallery, Urbino.
I'hoto Minist. del. Pubbl. Istr.

panel,

one

in

Museum. New

York, where
It is

it is, I

believe, ascribed to Baronzio himself (fig. 186).

composed of eight scenes arranged in four rows. The uppermost two represent the Coronation of the Virgin and four

342

THE PAINTERS OF RIMINI.

angels; then follow the Descent from the Cross with the Entombment, the Descent into Limbo with the Ascension and the Descent of the H0I3' Ghost with the Last Judgment, which scene shows a certain resemblance to the one we found in the panel of the same form in the Palazzo V^enezia. A detail until now unknown in the Riminese school of painting is the quite Giottesque manner in which the figures are placed in the interior of a building in the scene of the Descent of the Hoi}' Ghost, and which is identical with the wa}' in which Giotto depicts this subject in his C3'cle of frescoes at Padua. Thus we have proof that this work also is the production of a more advanced stage, and does not belong to the group of Cavallinesque painting. Judging from
the photograph
I

should imagine that the panel

is in

parts con-

siderably repainted.

Among

the

works belonging

to this school in

which Baron-

zio's influence

does not predominate, the most important is found

rather distant from this region. It consisted in the series of frescoes ill the chapel of the castle of Collalto, near Conegliano andTreviso,

but the locality

the paintings

was badly bombarded during the war and I think were very much damaged, if not completely des-

troyed.

Von Schlosser has rightly ascribed this decoration to two different artists, one of whom executed the representations of Jesus at the age of twelve teaching in the Temple, the Transfiguration,
the

Death and the Resurrection of the Virgin; and the other

;

St.

Prosdocimus, the first bishop of Padua, baptising the Count of Treviso St. George killing the dragon before the princess who kneels in prayer; St. LIrsula and her companions and an image of the Virgin nursing the Child Christ. The former of these two painters is the more traditional and is certainl}' the older. I do not agree withHerr von Schlosser when he mentions the second

group of frescoes in connection with a youthful work of Tommaso da Modena's with whom the painter of Treviso should be
identified
(').

is

In the past the castle frequently changed hands; von Schlosser of opinion that the paintings were executed about 1340 which
(1)

von Schlosser, Toinmaso da Modena. Brack, op.

cit., p.

88,

has already

placed them in the school of Rimini.

THE PAINTERS OF

RIMINI.

343

MiiMiaiii&aHII

=i^

Fig. 178. School of Baronzio. the Crucifixion. Gallery,

Strasbourg.

would coincide with the residence of the Scaliger family and

quite possible that the decoration were the proprietors.
is

it

was

carried out while they

The artist who executed the first group of frescoes, worked very much after the manner of Giuliano da Rimini. The facial t3'pes of some of the old men, the appearance of the beautiful

344

THE PAINTERS OF RIMINI.

not,

angels in the Resurrection and the folds of the draperies are however, always entirely free from Byzantine elements.

The drawing of the second artist is more evolved and he possessed a greater sense of beauty. Even although his morphological types more closely resemble Giuliano's, we also note that
abundance of detail, almost entirely limited
to the

costumes, that

characterizes the "scenes de genre", peculiar to Treviso.

Padua and
;

Both

artists depict action

and of the Riminese painters and give to the paintings a certain vulgarity and a lack of tragic and religious feeling, which is another factor they have again in common with "scenes de genre".
sions, gestures

attitudes are

with a keen sense of reality expresmore violent than in the works

not very frequent in these frescoes, nevertheless, in the baptism of the Count of Treviso, the background is formed b}' a fine building of Gothico-Venetian style; it does not, howArchitecture
is

ever,

show

but

is

the perspective characteristic of Paduan painting merel}' a background to the event which is supposed to
its

take place in

interior.

consequently, seem to have united elements of the local art and those of the school of Rimini their style

These two
is

artists,

based on the latter and it is highly probable that we herein dealing with two painters who originally belonged to are the Riminese group but whose manner underwent a change on

however

account of the
in the

infiltration of

Paduan

factors.
is

Another important
of

series of paintings

the later decoration

Pomposa which, on this occasion, adorns the Abbey Chapter room (M- On the end wall we see a somewhat damaged fresco of the Crucifixion in which we can however distinguish
the fainting Madonna, the Magdalene at the foot of the Cross, the angels fl3^ing around the Crucified and a good many of the

other figures. At the sides and ends of the lateral wall we see four isolated figures of saints enclosed in frames resembling portals while twelve other figures, no doubt the Apostles, form
three pairs on either of the side walls, each pair depicted in the
(1)

Brack, op.

cit, p. 40,

believes them to be of earlier date than the fres-

coes in the refectory and the church, but I hold the contrary opinion. The description given by Herr Brack leads me to believe that in his day the
paintings

were

for the greater part covered.

Fig. 179.

School of Baronzio, the Crucifixion and other scenes. Lichtenstein Collection, Vienna.

346

THE PAINTERS OF

RIMINI.

opening of a muUioned window (fig. i8i). The colours of these paintings have entirel}' disappeared and if some traces of paint had not survived on the other frescoes it might have been thought that these figures were executed in grisaille.

The
artist's

excellent drawing, especially of the draper}^, reveals the adherence to the school of Rimini. The work probably

dates from the beginning of the second half of the 14th century. Some frescoes which were of considerable significance for

our knowledge of the Riminese school of painting existed in the cloister of S. Francesco, Bologna, but in 1882 the wall was demolished (^),

There were three rows of scenes with the Crucifixion and the Resurrection one above the other, in the centre; the others all illustrated the life of St. Francis and showed the stigmatization,
with the saint's apparition to the Pope, the death of the knight of Celano, the ordeal by fire before the Sultan, the healing of the man wounded in the chest and, above, three other scenes which
are impossible to decipher from the onl}' photographs of them that exist (-), but of which one might very probably have repres-

ented St. Francis' apparition at Aries. The iconography of the scenes of the Franciscan legend has some points in common with that of the cycle that Giotto and his
pupils have left at Assisi, but also a good many differences, and there is no reason to believe that the artist who worked at

Bologna followed the Assisan frescoes. For as far as the reproduction allows us to judge the technique of the painting is not Bolognese but sooner shows a connection with that of the school of Rimini; moreover formerh' the decoration seems to have borne the signature: ^'hop Fraiicisci Aritniiiciisis" (^). The name of Francesco da Rimini whom Malvasia, in his book on Bolognese painting, wishes to include with the artists of this town, appears in a Riminese document of 1348, when he is mentioned as deceased, A tomb of a painter of this name existed in 1362 in the church of S. Francesco, Rimini (^).
(^)

5raf/(, op.

cit.,

p. 84.
cit., pi.

(-)
(')

Reprod.

in

Brack, op.

10.

A. Riibbiani,

La

chiesa di S. Francesco in Bologna, Bologna, 1886, p.

391.

148.
[*)

Brack, op.

cit.,

p. 87.
cit., p.

L. Tonini, op.

Fig. 180.

School of Baronzio, the Coronation of the Virgin and other scenes. Metropolitan Museum, New York.

348
In

THE PAINTERS OF RIMINI.

and around Rimini we
to this school. to the left of S.
still find a certain number of works The most important is a fresco in a

belonging

room

Francesco which originally formed part of the church of S. Antonio. Here Galeotto Malatesta, out of gratitude for the Virgin's protection during the plague of 1348, had

himself represented in adoration before the Madonna whom we see escorted by SS. George and Antony (M- Of the donor, only
the head covered with a helmet remains visible, but it is highly probable that the fresco was one of those devotional paintings

with in Verona and Padua; and if this be one of the early examples of this type of picture. so, A fragment of an extremely small fresco that Brach reports having seen in the Hotel of the Aquila d'Oro, represented the angel of the Annunciation, St. Ursula and her companions, and some other saints, but it has since disappeared, as has also a
that
it is

we frequently met

figure of the Saviour that Cavalcaselle saw on the wall of the garden of the Casa Romagnoli and that according to Brach

dated from the 13^1 century.

As examples of crucifixes similar to those we found atUrbino, may be cited one in the sacristy of S..Agostino (the earliest,
but a considerabh'
chapel in the

damaged specimen) and

that in the Isotta

(almost entirely repainted and of litde interest) while Cavalcaselle mentions others at Verucchio

Tempio Malatesta

and
In

Villa in the vicinity of

Rimini

C^).

Ravenna, apart from the frescoes with which we have already dealt in the church of S. Francesco, we find on the left wall a second Crucifixion, on the one opposite, a Presentation in the Temple, and in the Polenta chapel a fragment of yet another Crucifixion and a representation of Abraham offering hospitality to the angels {^ while some heads and other debris of
frescoes are scattered throughout the church. In the vault of S. Giovanni Evangelista we find once more depicted in the four
the Evangelists and the Church Fathers with the of the Gospel-writers over head. The figures, which are symbols here somewhat differently placed, are entirely repainted but
triangles
(')

Atti e

Mem.
cit
,

della R.

Dep.

di Stor.

Patr. p. la
p. 83.

Romagna,

VII, 1868.

L.

Toiii/ii,
('-')

op.

IV, p. 131. Brach, op.

cit., II,

cit.,

Crowe and

Cavalcaselle, op.
cit.

p. 156.

(^)

Satili Mura/ori, op.

THE PAINTERS OF RIMINI.

349

Fig. i8i.

Riminese School, two Apostles. Chapter Room, Abbey, Pomposa.

Photo Minist.
del,

Pubbl.

Istr.

undoubtedl}' we have in this decoration a production of the school of Rimini with which, as we have discovered, this was a favourite subject. This fresco is often attributed to Giotto (^).

might still mention some fragments in the tower of S. Domenico, a Madonna in a niche in the choir of St. Agata and an unnumbered panel of the first half of the 14th century in the
Gallery; this picture
(^)

We

is

of

little

importance;
p.
1

it

represents the

Goetz, op.

cit.,

p. 107. C. Ricci,

Ravenna,

18.

350

THE PAINTERS OF

RIMINI.

Virgin between SS. Francis and Louis and at either side two scenes one above the other; they are: the Nativity and the Adoration, the Crucifixion and the Resurrection, The arrange-

ment of this panel resembles

Some

that of Baronzio's signed work frescoes of the second half of the 14th century have been
in the
(^).

discovered

church of S. Domenico,
the

from Rimini

Over

at Fano not far distant tomb of Pietro and Ugolino de' Pili in

the choir, the Virgin with four half-length figures of saints and a small donor in adoration is seen while near the first altar to the
;

left

there are several paintings, the most important of which is a Crucifixion with a large number of figures. The characteristics of

the school of Rimini are but faindy noticeable in these paintings. An Adoration of the Magi that has been discovered between

two walls in the church of S. Francesco, San Marino, shows more connection with this school (-). Few works belonging to this stage of the Riminese school have been acquired by foreign collections. One, representing
St.

Francis receiving the stigmata,

is

(U. S. A.) where it is a painting that has been executed

Mineapolis Museum catalogued as a work of the school of Giotto,

in the

under Baronzio's influence

(') ;

while four predella panels illustrating the story of St. John the and Baptist are found in different private collections in England of Edinburgh possesses a fine AdoratAmerica (*). The Gallery
(no. 592) with an Annunciation above which is there attributed to the Sienese school but which I believe to be

ion of the

Magi

an early production of the painters of Rimini.

Calzini, Degli affreschi

(')

recentemente scoperti a Fano, L'Arte, 1907,

11. p. 153. L. VeiitHri, L'Arte, 1915, p.

('^)

Brack, op.

cit.,

p. 94.

('')

H. Thode, Pittura
dell'

di
II,

Arch. Stor.

Arte,

scuole italiane nelle gallerie minore di Germania, or to 1889, p. 51, ascribed to Giuliano da Rimini

Baronzio two

in the panels showing eight scenes from the Passion and 757) where they are no longer to be found. Cologne Museum (nos. 756 Snida, L'Arte. 1907, p. 182, attributed to the Romagnole school a Madonna
little

and saints

in the

this artistic

of Budapest; I do not think the work belongs to and sooner ascribe it to the school of the Master of movement

Museum

St. Cicely, v. Vol.

('')

Ill,

p. 293.

John's birth announced to his father, II. the Nativity, circumcision and naming of the Baptist, III. Salome dancing before Herod and IV, the
I.

St.

angel visiting St. John in prison,,

v. Siren, op. cit.

THE PAINTERS OF RIMINI.

Of
slightly later date
is

351

a small crucifix with

for sale in

some

lateral

figures

which quite recently was

frescoes

Rome.

Some detached
artists

strate the influence that the

the Museum of Fabriano demonRiminese painters had on certain of The Marches and Umbria I shall come back to this
;

when dealing with these schools. The painting of Ferrara, Modena

and Bologna
is

also largely dependent on the school of Rimini.

In the past the school of Rimini has alwa3's been looked upon as a part of the great school founded by Giotto. This is very easily understood when it is borne in mind that Cavallini's art

was,

until some years ago, entirely unknown while we are almost certain that Giotto himself visited Rimini, for his contemporary,

Ferrara, informs us of the fact in his "Compilatio chronologica" under the year 1305. Moreover I do not deny that this visit had a certain influence on the painters of the town.

Riccobaldo

di

have been noted

type of the crucifixes, a considerable number of which in the neighbourhood, is obviously the one created by Giotto, but the other elements which may be classified

The

as Giottesque, are very insignificant. As such might be quoted the composition of the Descent of
the

Holy Ghost

in the

New York panel

the scene of the

Return

from Jerusalem at Tolentino, a subject but rarely represented and of which, with the exception of the Giottesque fresco in the Lower Church of Assisi, I know of but few other examples and
;

perhaps the personification of virtues at Tolentino, although the figures do not bear much resemblance to those Giotto depicted
Padua. Apart from these few points in common there is nothing that connects Giotto's art with that of the painters of Rimini. Let us first consider the choice of subjects: the Descent from the Cross, for which the Riminese had a certain predilection
at

and of which there

exist

two

isolated representations, w^as not

depicted by Giotto. Similarly with the Descent into Limbo, another incident that is frequently illustrated in the school of Rimini and not by
Giotto, as well as with the Prayer on the Mount of Olives, the at the Empty Sepulchre and the Flagellation, the Holy

Women

Doubting Thomas.

352

THE PAINTERS OF

RIMINI.

If we compare the Riminese representations of the Nativity of the Virgin, the Presentation of Christ in the Temple, the Massacre of the Innocents, the Saviour at the age of twelve teaching in the

Temple, the Wedding

at

Cana, the Last Supper and the Descent

of the H0I3' Ghost (Tolentino) with those that Giotto has left us of the same subjects, we do not discover the least similarity of composition in the two groups. Nor do the scenes from the life

of St. Francis

occasion to
Assisi.

by Francesco da Rimini, as I have already had remark, seem to be inspired by Giotto's cycle at

If, on the other hand, we compare the iconography of the school of Rimini with that of the Roman painters, and in partic-

ular with the Christological c^xle of Cavallini's school in Sta.

Maria

di

Donna Regina

in

Naples,

we

discover very significant

Not only do we find here all the subjects of the Riminese painting that were missing in Giotto's art, but in several instances, where the masters of Rimini deviate from the usual
analogies.

iconography,
the

we

Roman

artitsts.

note that they are following the precedent of Thus, for example, the painter who executed

the Adoration of the

Magi

in the

Parry collection unites, as will be

seen from the Virgin's attitude as well as the scene of the Child's first bath, elements of the Nativit}' with the representation of
the Adoration; and this combination
is

found

in

two

different

panels of the 13th century (^). The representation of Christ conversing with the disciples before the Pra3'er on the Mount of Olives is very rare, but we
find
it in the Cavallinesque cycle at Naples and at Tolentino; while the equall}' rare scene of the Saviour mounting the Cross

Roman

is

depicted at Naples and in the Riminese panel in the Accademia of Venice. In the illustration of the Resurrection, although the
arrival of the

Holy

Women
is

at the

sepulchre at the
it

moment

of

the Saviour arising

contrar}' to the

Gospels and

to icono-

graphical traditions,
in a

we

nevertheless see

depicted in this

way

Cavallinesque fresco in the Upper as in the two Riminese panels in the

Church of Assisi, as well

museum

of the Palazzo

(^)

One

in the

Johnson

collection, Philadelpliia, the other in a private col-

lection V. Vol.

I,

pp. 505, 540 and R. van Marie,

1921, pis.

La peinture romaine au

Moyen-Age, Strasbourg,

LX and LIX.

THE PAINTERS OF

RIMINI.

353

Venezia, the panel in the Vatican Gallery and also apparently, in a considerabl}' damaged fresco at Tolentino. The portra3'al of Christ with half of His chest uncovered in
representations of the Last Judgment Cavallini did not retain.
is

a Byzantine detail that

Consequentl}', if an iconographical comparison demonstrates the existence of a close connection between the painters of

Rimini and their

art.

Roman
is

proves that there

predecessors, it at the same time clearly no evidence of any such link with Giotto's

Moreover quite a different examination leads us to the same result. I have already remarked that the colouring of the Riminese frescoes
as
is

similar to that of the

Roman mural

painting

we

see

it

in the

Upper Church of Assisi. The curious types of

the figures peculiar to the Riminese artists resemble neither Giotto's nor those of the Roman school, but the proportions, as well as the plastic effects and somewhat hard outline of the
draperies, sooner correspond to what we find in the works ot the Roman painters. The last-mentioned peculiarit}- is an archaic

element which, together with the gold woven material of some of the garments, clearly indicates that Riminese art is derived from
a 13th centur}' school. do not find in the productions of the Riminese artists those isolated fragments of architecture which in Giotto's paintings

We

so frequently

fill

up the

entire

the Riminese both

show

either plain

background (\K The Romans and backgrounds or much more

elaborate architecture.
also a chronological argument against the theory that the Riminese school was the outcome of a Giottesque influence.

There

is

As

early as 1307,

we

find Giuliano

da Rimini a mature and

in-

dependent artist, while certain of the httle panels that I described at the beginning of this chapter maybe a few years earher, some even dating from the end of the 13th century. The proof that Baronzio and his contemporaries descend, artistically speaking, from the painters of these little panels alone suftices to refute the
hypothesis that they were Giottesque artists. I admit how^ever that a Giottesque influence filtered into
the exception of the Presentation in the of 1345, but here too it is somewhat different. panel
(')

this

With

Temple

in Baronzio's

IV

23

354

THE PAINTERS OF

RIMINI.

school later and that besides the Giottesque characteristics that have already been mentioned, we owe to the great Florentine's
art the dramatic action
in the

and animated expressions that

we

find

works

of Giuliano da Rimini and of the painters

who

followed him.

CHAPTER

V.

THE PAINTERS OE MODENA

Modena, we suppose that the
In
fairly great.

{').

find a

good deal of evidence

that leads us to

during the 14th century was Tommaso, Barnaba, Serafino his son Paolo, and Fra Paolo da Modena, whose works Serafini, have survived, there are records of the following painters
artistic activity

Besides such artists as

Barisino dei Barisini, the father of Tommaso, in 1317, Niccolo di Pietro Patecchi in 1353, Raniero da Porte and Giovanni Diddo in 1357, Niccolo da Reggio
in 1306,

Ugolino, Bonane and Paolo

in

ed Giovanni

i359and 1363, Bartolommeo Diddo togetherwith the afore-citin 1387 (-) and Bonifacio, the son ofTommasoin 1391. Painting in Modena seems to have made a considerable advance at the beginning of the second half of the 14th century when Tommaso, Barnaba, and Serafino Serafini, all three natives of the city, were contemporaneously active there but they ap;

parently did not find constant employment

birth, for

in the city of their

they migrated elsewhere for more or less protracted

sojourns, as did also, at a later period, Paolo, the son of Serafino. Thanks to the documents that Signori Bertoni and Vicini have

published,
principal

we

are well informed as to the lives of these three

Modenese

Tommaso
still

now know for certain that painters. w^as born, not at Treviso of a Modenese father {^) and
Bohemia as has been thought, but
in

We

less in

Modena. His

father

the painter, Barisino dei Barisini who, as I have already said, is mentioned in a deed of 131 7. As we have a record

was

von Schlosser, Tommaso da Modena etc. G. Bertoni e E. P. Vicini, Tommaso da Modena, pittore modenese del (-) secolo XIV, Memorie della R. Deput. di Stor. Patr. per la Prov. di Modena, ser. V, vol. Ill, p. 141. A painter of the name of Ugolino is mentioned in a Modenese document of 1279; it is perhaps the same as the one whose name
(')

is

recorded in 1306.
(')

sulle opere theory expounded by Federici, Memorie trevigiane disegno, Venezia, 1803, 1, p. 65.

di

356
telling

THE PAINTERS OF MODENA.

us that

Tommaso was

not yet fourteen years old

in 1339,

and another of the following year that he had already passed this age, the year of his birth must have been either 1325 or

and 1346 1326. He is mentioned in documents of 1342, 1344 but from 1346 until 1359 he seems to have been absent from Modena except for what must have been a short visit in 1349, for

same year he is found in Treviso (^). In 1352 he signed some frescoes in Treviso; he was still there in 1358 but the following year he returned to Modena where further mention is made of him in 1366, 1367 and 1368. There is no other record of him until his death which occurred in 1379, far from Modena
that

w^here his children certified his decease.

It seems to me highly probable that Tommaso went to Bohemia as we find evidence of his activity there in the castle of Karlstein but he was very likely an unknown artist when he first went. The theory held by Signori Bertoni and Vicini that this

1368 and that the Emperor Charles IV, when passing Modena on his way to Rome in 1368, must has asked through him to come (-), has been opposed by Signor Venturi on the grounds that Karlstein was founded in 1348 and the prebendaries

was

after

of the chapels appointed in 1357, before which date the decoration must have been executed. Further he remarks that foreign

elements

in

that the artist

Tommaso's frescoes in Treviso lead one to suppose was familiar with Northern art before he executed

them

(3).

This seems hardl}' possible, especially as a document informs us that in 1367 Theodoric of Prague, who painted part of the
decoration of the chapels of Karlstein,
vices

was rewarded

and

further, that at least

E. P. Vicini,

one of the chapels

that dedicated

for his ser-

(1)

G. Bertoni

Tommaso

da Modena a Treviso, L' Arte. 19 16,

P- 349-

Mittelalt. Wandgem. u. Tafelbilder der Burg Karlstein in (-) J. Neinvirt/i, Bohmen^Forschungen zur Kunstgeschicht Bohmens, I, Prague, iQg6 andTlie Same, Prague. Leipzig-Berlin, 1901, thought that Tommaso wentto Bohemia between 1352 and 1357 and that the Emperor must have become aware 01 his existence during a voyage he made in 1354 but it has been pointed out that on this occasion Charles IV did not visit Treviso. Lambert, in the
;

Oester.-Ungar. Revue, XXIV, shared

{*)

this opinion.
p. 261, also

L. Testi,

Karlstein

La pittura veneziana, I, were executed before 1352.

believes that the panels of

THE PAINTERS OF MODENA.

357

Fig. 182.

Tommaso

da Modena, the Blessed Leo

St.

V and

Benedict XI and the

Treviso.
Photo Alinari.

venerable Hugues de

Cher. 1352. Chapter

Room,

S. Niccolo,

358
to the

THE PAINTERS OF MODENA.

Holy Cross

was consecrated in

365

0-

Another fact that

contradicts Signor Venturi's h3'pothesis is that Tommaso was twenty-four years of age when he went to Treviso and twenty -six

when he finished the fort}' figures that comprise his work there for the paintings at Karlstein he also required a certain length of time so that, according to Signor Venturi, he would have been
;

requested to work for the King of Bohemia when he was scarcely more than twent}' years old. This can hardly be admitted. Finally the difference in style that Signor Venturi justly notes

between the frescoes of 1352 and the works at Karlstein, also leads
us to suppose that a considerable lapse of time separates them, the former having been executed in the master's first manner,

hardly likely that at this early stage in Tommaso's career, his style had already undergone a change; while the pictures that we find in Bohemia bear more resemblance to the

because

it

is

works of

Barnaba, from which we can infer a and as he appears for the first time only in 1361, he belongs, consequently, to a slightly later generation than Tommaso. Here, it seems to me we have
his compatriot,

certain influence of the latter artist

proof that the paintings

late stage in
I

in Karlstein really are

productions of a

Tommaso's

career,

think therefore that the oldest

is

know

the
(-)

Treviso

work by Tommaso that we decoration of the Chapter House of S. Niccolo in which he signed near the door: "Anno Domini
Tarvisimts ordinis praedic depengi fecit istud
istud."
fort}'

MCCCLIl Prior
capitulnni
et

Thomas picior de Mittina pinxit

the

The

decoration consists of

holy, blessed or venerable

figures of

monks from

Dominican order. The three principal

figures with

which the series begins are represented in a different manner from the others. They are the founder of the order, St.
Peter the Martyr and St. Thomas Aquinas who are depicted fullface, each showing to the spectator a text from an open book. All the other figures are seen in full or partial profile sitting at little

desks with an open book before them and others

(1)

at their leet.

H. Jamlschek, Geschichte der Deutsche Malerei,

Neiiwirth, op. cit. ated in the ornamentation of these chapels, until the year 1357. {'') G. Milanese, La chiesa monumentale di San Niccolo in Treviso, Treviso,
1904. J. J. Bert hie r,

No mention

is

found of Nicolas Wurmser,

Berlin, 1890, p. 202. who collabor-

Le chapitre de

S. Niccolo

de Trevise, Rome, 1912.

THE PAINTERS OF MODENA.

359

Fig. 183.

Tommaso

da Modena, Albertus Magnus, 1352. Chapter Room, S. Niccolo, Treviso. Photo AHnaH.
ft*om

The

inscriptions

which separate the figures

one another
182

mention the chief merits of each of the brothers

(figs.

184).

These frescoes are realh' a glorification of the studious Hfe of Dominican friars each figure is represented either reading or
;

360
writing;

THE PAINTERS OF MODENA.

two of them

Cardinal Malafranca and the Blessed

Bernard da Traversa

display their texts, while others interrupt

commentaries, and some study scrolls of parchment. The venerable Cardinal Hugues de St. Cher is seen wearing eye-glasses as he writes; Nicholas of Rouen uses a
their reading to consult

magnifying glass, while some are busy trimming their quill-pens. The painter's greatest merit is the variety with which he has depicted these forty figures which, on account of the similarity of the subject, might otherwise have resulted in rather a monotonous cycle. Not only the types, which are of a realism by no means flattering, are of a marked individuality and very different one from another, but also the attitudes and above all the impressions that the subject of their texts produces on the Dominicans, are rendered with a diversity full of verve and fantasy.

On
cism.
is

the other hand

The

perspective in
;

invariably false

is not above critiand of the desks in particular general while the artist has made no attempt to give

Tommaso's technique

any depth to his images. The drawing is hard, the habits fall in heavy folds and the hands are clumsy; all the contours are indicated by thick black lines. Among the frescoes on the pillars of the church of S. Niccolo, we can ascribe to Tommaso only those on the fifth pillar on the north side, representing the Baptist carrying a scroll and a globe, St. Agnes holding a lamb, St. Romuald sitting on a monumental throne with two devotees kneeling before him, St. Jerome sitting in a cell surrounded with books and with one open on his knee the (fig. 185). These figures are executed with more care than of the Dominicans in the Chapter House the technique portraits
;

refined, the drapery hangs in softer folds, while the features and expressions are not depicted with the crude realism
is

more

of the other images but rather produce the impression of a calm and profoundly rehgious spirit. As we know that Tommaso was still in Treviso in 1358, it is highly probable that these works

are of later date than the paintings of 1352. All the other frescoes in this church were executed by Tommaso's disciples, or artists who were inspired by his manner,

and certain Venetian elements

believe that
it

in the

decoration lead us to

was

left to

local painters.
left is

The

third pillar

on the

adorned with a figure of the

THE PAINTERS OF MODENA.

361

Fig. 184.

Tommaso

da Modena, the Blessed Giovanni da Vicenza, 1352.

S. Niccolo, Treviso.
Photo AUnari.

Chapter Room,

Virgin reading a book that St. Thomas holds before her, and a representation of St. Francis receiving the stigmata. On the
fourth and sixth pillars we see the Virgin with the Child and a saint, and again the stigmatization of St. Francis.

The

pillars

on the other side show, on the

first, St.

Michael

crushing the devil; on the second, the V^irgin reading from a book that St. Thomas presents to her and a holy bishop blessing

362

THE PAINTERS OF MODENA.

a knight; on the third St. Christopher carrying the Child Jesus St. Nicholas of Bari on the fourth, St. Catherine in the midst of four angels with two donors at her feet ^) and on the sixth

and

the figure of St. Martin. In the chapel to the right of the choir we find some frescoes which do not betra}' such a close connection

with Tommaso's

the Adoration of the

are less good in the sweetness of expression betray an influence of Tommaso's

represent the Virgin and saints and with saints and a donor. The paintings Magi qualit}', nevertheless the forms, the colour and
art.

They

second manner

(-).

Among school we
Maggiore

the other

works inTreviso

might
(^),

cite a

Madonna

that belong to Tommaso's in a side chapel of Sta. Maria

a Crucifixion in a lunette in the Cathedral, another

still

fresco in this church, while a third in the crypt, although

to this

belonging maso's style of painting. Cavalcaselle ascribes to the master's own hand a fresco of the Virgin nursing the Child, escorted b}' four saints, and another of St. Marius in the Rinaldi chapel of S. Francesco. The former of these two frescoes bears an inscription with the date 1353. The church is now used b}' the militar}authorities; personally I do not know these paintings but von Schlosser disputes this attribution. I have already pointed out thatTommaso daModena's activity

group, shows much

less connection

with

Tom-

from the later part of his career. As one of the artists, Theodoric of Prague, who was active there, is mentioned as painter to the Emperor in 1359 and again in 1367 as being rewarded for his services, and as Tommaso is found still in Modena in 1368, he cannot have directed the entire decoration
at Karlstein dates

of the castle, unless, instead of being called b}' the Emperor in 1368, he went to Bohemia during the time that elapsed between

1359 and 1366.

In an}' case

Tommaso's

activit}'

there cannot have been limited

to the production of only a few panels which could just as well have been painted in his native city. It has already been remarked,
(')
(-)

however, that the

qualit}' of the

wood
is

beech makes

it

von Schlosser believes that this fresco

cit
,

also

by Tommaso.
of opinion that these

Cavalcaselle quoting Fedirici, op. paintings might date from 1366.

(^)

I,

p. 195, is

von Sc/ilosser also ascribes

this fresco to the master.

THE PAINTERS OF MODENA.

363

Fig. 185.

Tommaso

da Modena,

St.

Jerome.

S. Niccolo,

Treviso.
Photo Alinari.

very probable that the}' were executed in Bohemia. Further than appearance of the figures, the ornamental background and the manner in which the figures stand out against it, provide us with the almost certain proof that these panels belonged to
that, the

364

THE PAINTERS OF MODENA.

the one dedicated to the the decoration of one of the chapels Cross. The pictures show us the half-length figures of the Holy plays with a little dog, Virgin holding the naked Child

Who

between

St.

Wenceslaus of Bohemia and St. Dalmasius (fig.

186).

At

the foot of the image of the Virgin

we

read

"Oiii's lector.

finxit

Thomas dc Miitina
to the

pinxit. Quale vides

opus hoc Barisiui

filius fl//<:/or"(M.This altar-piece

which, in 1780, was transported

has, since 1901,

from Karlstein
restored to
its

Vienna Gallery,

been

original site.

two panels in magnificent frames, which probably belonged formerly to a polyptych. They repreKarlstein also possesses
ionsent the half-length figure of the Virgin with the Child erect in His tomb with dies His Mother's face, and the dead Christ

Who

two archangels above. These pictures are considerably damaged, the face of Christ being quite effaced; at the foot of this " Thomas de Mutind\ image we find the signature:

other paintings at Karlstein reveal the great influence that our artist exercised on local painters.

The

The names

of Nicolas

of Prague from survived.

Wurmser of Strasbourg and Theodoric among the artists who worked there have
the latter
St.

An

authentic

work by

shows
(-)
;

the Saviour on the

this

Cross between the Virgin and

John

panel manifests

the artist's great inferiority to Tommaso and I see no reason tor ascribing to him the half-length figures of SS. Ambrosius and

Augustine (^), as is generally done, which bear much more resemblance to Tommaso 's own manner, not only in the appearance of the figures and the realistic faces, which can easily be compared with those of the Dominican monks at Treviso, but also in the form and decorative part of the panels, which correspond with what we found inTommaso's signed panel representing the Virgin between two saints.
(^)

Rarisini but since the discovery of the father, this has been cleared up.
(-)

Previously there was some doubt as to whether it read Barisini or document concerning Tommaso's
F. Burger, Die Deutsche Malerei, Karlstein but later returned.
F. Burger, op.
cit., p.

1,

p. 161.

This picture was also

to

re-

moved from
(''j

163.

These panels also were taken

Venice but

have since been restored

to Karlstein.

X
o

366

THE PAINTERS OF MODENA.

Further, in the chapel of the Holy Cross

we find 133 panels showing chapels that the castle possesses half-length figures of saints, which seem to be directly inspired
by Tommaso, and it is even probable that the best of them were executed by the master himself. In the two other chapels which are dedicated to the Virgin Mary and St. Clare, Tommaso's influence is not so evident and although Cavalcaselle attributes the paintings here to Tommaso also and to his helpers, I think
they are for the greater part the

one of the three

work

of

German

artists,

assisted perhaps by some Italians who were not dependent on the Modenese painter. This was no doubt the decoration that

was completed
for

before 1367.

The

other frescoes in the castle, as

example the

illustration of the

legend of St. Wenceslaus on

the walls of the stairs, are also of

German workmanship,

influ-

enced however by Italian art. It has been supposed that Tommaso collaborated with Theodoric of Prague in the execution of the scenes relating the legend of St. Wenceslaus in a chapel of the Prague Cathedral, but too little of this decoration has survived to enable us to form an
opinion.

Tommaso's influence on the Bohemian school of painting has been considerably exaggerated. We certainly note some Italian elements in the productions of this centre they are not, however, due to a knowledge of Modenese art but rather to that general dissemination of the Italian influence which originated in Sienese different painting of the 14th century and which we meet with in
;

centres of that period throughout Europe, especially in French miniatures and the paintings of Cologne. The gallery of Tommaso's native town possesses a work Thomas fecit ijSf' {}). Even before the dissigned by him: of the document which informs us that the artist died in covery
artistic
''

noticed that part of the inscription was not original. The 8 is very curious and is written horizontally. SignoriBertoni and Vicini believed that the date must have read 1365 but in all
1379,
it

was

work was executed at a still earlier period which would approximate it to the frescoes of Treviso, and 1355 seems to me a more likely date. The picture is divided into an upper
probability the
(1)

A. Venturis La Galleria Estense in Modeiia, Modena, 1882.

p. 424.

THE PAINTERS OF MODENA.

and a lower division above,
;

367

we

see the Virgin and Child in the

centre with St. Jerome extracting the thorn from the lion's paw and St. Bruno at the sides, and below, the Descent into Limbo

with SS. Catherine and John the Baptist

laterally.

Below

the

image of the

Aurora

the following is inscribed: ''Piilcros mater Pia Ugo decora p. nobis ora et in mortis uos

Madonna

/i oo/"- It has often been doubted (Cavalcaselle, von Schlosser) if this is the same artist but it seems probable, although this is certainly not one of the massuscipe ora.
fecit

Thomas

more characteristic works and the condition of the picture moreover adds to the difficulty of solving this question. I do not think that any of Tommaso's other works have survived, for I have already remarked that I do not concur with the attribution to him of the frescoes from the story of St. Ursula in the church of Sta. Marguerita in Treviso and those at Colalto(M.
ter's
;

Summing up
find that

the artistic career of

Tommaso

da Modena,

we

he had two different manners; during the first he executed the frescoes of Treviso, and to the second the panels
at Karlstein belong.

technique and exaggerated realism which verges on vulgarity and to a certain extent detracts from the aesthetic value of his works, rank Tommaso, in his first

The somewhat crude

contemporaries of Bologna. His paintings are nevertheless, markedly individual and full of vigour and fantasy.

manner, with

his

ascribes to him a Madonna seated on (') P. P. Weitier, L'Arte, 1909, p. 222, a cushion suckling the Child with angels in the background which belongs to his own collection and which was shown at the exhibition of old art held
in Petrograd, but
it

is

of Daddi's school.

More

a painting that I would sooner classify as a production in the manner of Tommaso, although I do not think

from his
of the

hand, are a panel of the Lord's Supper, three representations four saints in the Gallery of Bologna, which are attributed to Tommaso by A. Ventiiri, L'Arte, 1924, p. 14. Nor am I of opinion that

own

Madonna and

Tommaso

can be accredited with a diptych representing the Virgin suckling

the Child, and St. Jerome, in the Johnson collection, Philadelphia, which Mr. B. Berensoii in his catalogue of the collection (no. 153) ascribes to the master. was falsely signed: "/o figure of St. Catherine in the Accademia of Venice probably a German Mntinapin, anno MCCCLP'; this picture

Tomspictorde

work

of a Crucifixion p. 210', believes that a fragment and some figures of saints in the window embrasures of tiie old chapel m the castle of Mantua are also by Tommaso da Modena.

of the 15'h century Storiadeir arte italiana, VIP,

is

no longer exhibited in the Gallery. A. Ventnri,

368

THE PAINTERS OE MODENA.

it

and

is

the presence of these peculiarities that

of Dominican
Karlstein,

monks an extremely

interesting

makes his series work of art. At

on the other hand, we find that he has acquired a very refined technique and creates beautiful forms with an artistic ideal and a religious spirit reminiscent of the Sienese masters. That this transformation is due to Barna's influence can hardly be disbelieved. It is not only the spirit and artistic direction of Barna's works that are manifest in Tommaso's later productions
but certain details, such as the tapering figures of the Byzantine the one artists, the type of the Child Christ in the two panels

which originally must have formed part of a polyptych seems to and the have been copied from Barna's picture now in Boston chiaroscuro effects which are skilfully blended without any sharp contrasts of light and shade; these are all elements which are absent in the frescoes of Treviso and the panel in the Modena Gallery but which Tommaso obviousl}' borrowed from Barna,

in

whose

art they constitute

an

all is

certain evidence of this

change

important factor. Further, a already seen in the figures in

the church of S. Niccolo, which for this reason I believe to have been executed at a slightly later date than the frescoes in the

Chapter Room. We have perhaps also to admit in Tommaso's art some influence of the painters of Padua and Verona who, moreover, were represented in Treviso itself; it was doubdess they who aroused our artist's interest in homely details, such as the variety of features and attitudes, and in such items as furniture and books which make of each image of the Dominican monks at Treviso
a picture from every-day life. To the same artistic direction, Tommaso also owes the elaborate details of the rich costumes of the a two saints to the side of the Virgin at Karlstein, and the dog

in the hands of the characteristic peculiar to "scenes de genre" Infant jesus, where this animal seems so out of place. strange

legend exists that Tommaso da Modena made oil-paintings. Tommaso's compatriot, Barnaba da Modena flourished at a
slightly later date
(^).

artistici sopra Levanto, Genoa, 1870, pp. 48 and 140. (') S. Vorni, Appunti G. Bertoni e E. P. Vicini, Barnaba d. M., Rasegna d'Arte, 1903, p. 117, give all the documents concerning Barnaba and his family. A. Veiitiiri, Barnaba
d. M., in

Thieme-Becker, Kunstler Lexikon,

II,

p. 507.

THE PAINTERS OE MODENA.

369

Fig. 187.

Barnaba da Modena, Madonna,

Berlin.

1369. Kaiser Friedrich

Museum,
24

Photo Hanfstaengl.

IV

37

THE PAINTERS OF MODENA.

His family was of Milanese origin but his great-grandfather, Ottonello, took up residence in Modena where we find mention
of his grandfather, Barnaba, in 1324, and his father, Ottonello, in 1332 and 1367 when he made his will in which his son, Barnaba, is already referred to as "Magister".

name is recorded in deeds of 1380 and 1383 as The painter's mother was called Francesca Cartari. "Agoclari". Barnaba da Modena is mentioned for the first time in 1364 when we find him decorating the Palazzo Ducale of Genoa (M, an enterprise sufficienth' important for us to suppose that he was no longer very 3'oung at that date. In 1367 he signed the Madonna now in the Gallery of Frankfort. The one in Berlin dates from 1369, and the one in Turin from 1370, in which year we know

The

family

from a document that he restored an altar-piece for the "Loggia dei Banchi" in Genoa. We have other works of 1374 and 1377, whilst in 1380 he was called from Genoa to Pisa to finish the frescoes illustrating the life of St. Ranieri in the Campo Santo (-). On his wa}" to Pisa we are informed that he passed by Modena where he sold a house but he did not execute the solicited task and in November 1383 is back once more in Genoa; after which
;

date no further mention

is

made

of him.

dated works by Barnaba da Modena Consequently we have and they extend over a period often years, but the difference befive

tween the

first

and the

last of these paintings is so slight that

it

hardly shows

an}' evolution.

Moreover most of these pictures

strongly resemble one another; they represent the halt-length holdfigure of the Virgin, draped in material threaded with gold,
ing the Child in her arm, both facing the spectator. The chief difference that we note is in the appearance of the Child, so alive
in the first

works and of a very conventional aspect in the others. Further, in the works which I think can be placed at the beginnins: of Barnaba's career, we note very marked contrasts of as time light and shade in the portrayal of the features and this, wore on, gradually disappeared. Of the period prior to the3'ear 1370, we possess only two dated
works, the Madonna
in

theStadelscheKunstinstitut of Frankfort
,

1921, p. 272 note 15. (1) C Am, Bollet. d'Arte del Minist. della Pubbl. Istr This date has erroneously been given as 1361 and 1367. intorno a etc. Francesco Traini, Pisa, 1846, p. 99. (^) Bonaini, Memorie inedite

THE PAINTERS OF MODENA.

371

Fig. 188.

Barnaba da Modena, Madonna. Fine Arts Museum, Boston.

372
(no.
i),

THE PAINTERS OF MODENA.

originating, according to the catalogue, from Bologna ('), in the Kaiser Friedrich Museum, Berlin (no. 1171, fig.

and the one

187).

inscription at the foot of the former runs: ''Barnabas dc The panel in Miitinapinxit M. Anna (ianiiario?)

The

MCCCLXVIV

Berlin shows the same signature, onh- the date, "IfCCCZ-A^F////" follows directly on the word "pinxit". The difference between
the one and the other of these
that in the former the Child
is

two

pictures, apart
in

engaged bird and wears a coral mascot, lies in the more refined forms and more vigorous drawing of the Frankfort panel while in the Berlin picture the shadows are more sharply marked. The fine forms and about the same degree of plasticit}' are to
while
in the latter

from the fact scratching His foot,

He

feeds a

little

be noted in another painting, which, except that the figures are turned towards the opposite side, is ver}' similar. It belonged to the collection of Mr. Langton Douglas but in 1915 was acquired by the Fine Arts Museum of Boston (no. 2, fig. 188) (-). A good deal of difl'erence is noticeable here in the threads of gold which
are less brilliant and do not join to form broader strips. The Child is again seen wearing a coral mascot; His type which

characterizes this stage of the master's career,

is

very pronoun-

ced in

this picture.
in the

church of S. Matteo at Tortona, near Alesshows a sandria, that Signor Toesca discovered (fig. 189) certain resemblance to the Berlin panel, displaying the same sharp contrasts of light and shade. Reminiscent of the Tortona Madonna is a rather damaged
(''),

Madonna

work

in the

Schift' collection,

Pisa;

it

is

of a slightl}^
feet.

more
This

archaic aspect.
is

The

Child

is

depicted scratching His

signed: ''Barnabas Demntina pinzif (^). picture It is very probable that some of these panels were executed before the year 1367 although we have not been able to ascerArch. Stor.
F.
dell'

(') (')

Arte,

II,

1888, p. 90.

Mason

Perkins,

Un

dipinto ignorato di Barnaba da Modena, L'Arte,

1915, p. 222.
(')

P. Toesca, Dipinti di Barnaba da Modena, Bolletino d'Arte del Minist.

Istr.,

della Pubbl.
[*)

1923, p. 291.
di

F.

M. Perkins, Una tavola

Barnaba da Modena, Rassegna d'Arte,

1916, p. 203.

THE PAINTERS OE MODENA.

373

Fig, 189.

Barnaba da Modena, Madonna.

S. Matteo, Tortona.
Photo
Miiiist. del.

Pubbl.

Istr.

374
tain
is

THE PAINTERS OF MODENA.

when Barnaba's

career started. Considering that his father mentioned in 1332, Barnaba must almost certainl}' have been

active a considerable time before 1367. To the second half of Barnaba's career but apparently not to the latter end of it. belongs an important signed polyptych

another discover}' of Signor Toesca's

(^)

in the

church of

Lavagnola, near Savona (Liguria); it represents the half-length figure of the X'irgin, nursing the Child, and four full-length figures of saints, while in the pinnacles we see four busts of saints and

Lord on the Cross between the Virgin and St. John who are seated on the ground. The appearance of the Child, and particuthe
larly the chiaroscuro effects in this figure, as well as in the lateral

ones, are ver}' similar to what we found in the Tortona panel, but the proportions of the \'irgin are larger and the saints at the
sides are a
little

wooden.
above
all

The same

characteristics,

a certain rigidity of form,

are noticiable in a panel representing the Baptism of Our Lord in the presence of two angels who carr}' His gold- woven garments (fig. 190). This panel, which is enclosed in a frame which

must have served as a reliquar}', belongs to a private collection. hands and feet, which are of a ver}^ elongated form, we observe an archaism which is absent in the artist's other works.
In the

The change

especiall}' in the aspect of the Child,

Who is now

conceived in rather a rigid manner, is evident in the painting of the Madonna in the Gallery of Turin (no. 21) which, from a technical standpoint, is the finest of Barnaba's productions (P1.IV)(-). The panel was taken from the church of S. Domenico in Rivoli near

The

Turin; it is signed: ''Barnaba dc Mutiua pinxit MCCCLXX". Child Jesus, Who holds an unrolled scroll with an inscription

and again wears the coral mascot,

this picture,

is the least pleasing part of but the charm of the Virgin's face and the fineness

of the forms and the modelling

That Barnaba's figures demonstrated in a picture of 1374 which, after having belonged to the collection of Lord Wensleydale who exhibited it in Manchester in 1857, and then to that of the Earl of Carlisle, was
P. Toesca, op. cit., places this work towards the end of the artist's life. E. Jacobsen, La R. Pinac. di Torino, Arch. Stor. dell' Arte, 1897, p. 122.

make this a ver}' attractive work. became heavier after this date is

(^)
{-)

THE PAINTERS OF MODENA.

acquired
in

375

1913 by the
National Gallery (no. 2927,
fig.

191)

n.

It

isafairl3iarge

panel and is composed of four scenes: the Coronation of theVir-

g n
i

in

the
a

midst of

large group of

angelic musicians;

the

Trinity with
the four s^^m-

bols of the
Evangelists
and the Virgin and St. John
sitting

grievin

ing o n the
ground as

representations of the
Crucifixion;

the Virgin
and Child,
to

{^)D'Agiiicoiiii,

op.
408,
133,

cit.,

IV,

p.

Pittura, pi.

mentions

and reproduces this picture

whose
him.

fate
\v

was
n
t

un kno

o
Fig. 190.

Barnaba da Modena, the Baptism of the Lord.

Private Collection.

376

THE PAINTERS OF MODENA.

Fig. 191.

Barnaba da Modena, the Coronation of the Virgin and other scenes, 1374. National Galler}', London.

whom

an angel presents two donors, and the Crucifixion with a great many figures. The criminals are depicted, one on either side, the Virgin who has fainted, lies on the ground, tended by

rrr'^^m

Fig. 192.

Barnaba da Modena, Madonna and Crucifixion. Gallery, Modena.

Photo Alinari.

378

THE PAINTERS OF MODENA.

her companions, while opposite a group of soldiers gamble for row of busts of the Twelve Apostles is the clothes of Christ. found at the foot of the panel. The signature: ''Barnabas de

Miitina pinxit ijj/', is inscribed on the pedestal of the Virgin's throne. In spite of the charm that emanates from this finely executed work, it is clear that a certain change has taken place

manner; this is most noticeable in the faces rounder and in the figures which are sturdier. which are The same forms are to be noted in another picture, on which Barnaba has left his name but no date this one, which was forin the master's
;

merly' in the

Modena

Puccini collection, Pistoia, is now preserv'ed in the Gallery (fig. 192) {^). It is divided into two parts, on the

lower of which we see the Virgin and Child between the Baptist and St. Catherine and the two figures of the Annunciation in
the spandrels. In the pointed upper part the Lord is depicted crucified between the Virgin and St. John, while Mar}- Magdalene embraces the foot of the Cross. In the left corner of this

part the signature

''Barnabas de Muiina pinxif

those
in

is

inscribed.

the picture of 1374; they are still and finely executed but are nevertheless heavier than graceful those we found in the earlier works.

The forms resemble

The

figures are

still

broader

in

two

litde

panels which must

have belonged to a picture resembling the one of 1374. One 01 them represents the Descent of the H0I3' Ghost and also belongs
to the collection in the National Galler}' (no. 1437, fig- 1931- In a

room

of which the ceiling and part of the back wall are alone visible, the Virgin and the Twelve Apostles, on whose heads fier}' flames descend, are seated together in a circle. Some of
the heads of the old white-bearded disciples are very fine, but those seen in profile are markedl}^ inferior, and I think we may

consider this to be Barnaba's least beautiful production. The other little panel which represents the Ascension and

was

formerh'
Pasini,

in the Sterbini collection

but

now

belongs

to

Signor

Rome, shows a

barren landscape,

we

better technique (fig. 194) (-) In a rather see the Saviour in a mandorla in mid-air
third,

between two angels, while a

{})
(')

kneeling on the ground, seems

A. Venturi,
A.Veuturi,

La Galleria Estense etc. La Galleria Sterbini in Roma, Rome,

1905, p. 53.

and L'Arte,

1905, p. 429.

THE PAINTERS OF MODENA.

to explain the

379
the X'irgin and a level. Al-

event
all

to the

Twelve Apostles,

holy companion though the execution

of

whom kneel at a slighth' lower

is less fine, the round heads and proportions of the figures are reminiscent of those in the panel of 1374 and that in the Gallery of Modena.

A picture of the Virgin, now in the church of S. Giovanni Battista,

but formerly in that ofS. Francesco at Alba, between Turin

Fig. 193.

Barnaba da Modena, the Descent of the Holy Ghost. National Galleiy, London.

and Alessandria, dates fromi377. A detail, which, until now, Barnaba has not shown in an}' of his other half-length figures of the Virgin but which we noted in the enthroned Madonna
(Bra)
in the altar-piece in

the National Gallery,

is

the presence of the

the tapestry behind the Virgin, who in this case is represented suckling the Child. The artist's signature is the same, the date alone being changed: "i^^rwrt/^rt^ <7'^71///////c/

two angels holding

pinxit the figures

MCCCLXX]ir\ The

gradually increasing breadth of

is

is again very evident. panel bearing a strong similarit}' to the foregoing

found

380
in the

THE PAINTERS OF :\IODEXA.

chapel of S. Secondo in the Cathedral of Ventimiglia: the Child carries a long scroll and the two angels holding the drapery are visible in the back ground (M. I think we can attribute to the
the considerably
is

same period

damaged

nursing the Child, which e Damiano of Genoa

I
1 .

preserved

in the

picture of the Virgin church of SS.Cosme

The two Madonnas which we now

were
in all probability
It is

find in the Pisa Galler}'

executed

called to this town.

1380 when the artist was recorded that while in Pisa Barnaba
in

painted four pictures, one of which Cavalcaselle saw at Ripoli, a few miles from Pisa, and describes as a full-length Virgin suckling the Child between SS. Andrew, Bartholomew, Peter

and a holy bishop while four angels hold up the drapery behind
the Virgin's throne l-^l. In the church of S. Francesco,

there

were two panels by

Barnaba, one of which, representing the Coronation ot theVirgin between SS. Francis, Louis of Toulouse, Antony of Padua and the Blessed Gherardo, was described by Da Morrona (^), but it also is lost. The other has been transferred to the Gallery of the

shows, against a very ornate background, the X'irgin the Child; four angels' heads are depicted behind the nursing Madonna's halo, and in medallions in the spandrels the angel
town.
It

undated but is signed: Barnabas de Miitina pinxif'. Not only on account of the composition but also because of the similarity in the modelling of the figures, this work forms a little group together with the Madonnas of Alba, of Ventimiglia and probably with

and Virgin of the Annunciation

"'

(fig. 1951.

The work

is

the

Madonna
is

of

Genoa

also: the execution in this last case,

and there emanates from the picture a much of feeling as well as a finer sense of idealism. greater depth Another painting by Barnaba in the Pisa Gallery originated from the monasterv of S. Giovanni dei Fieri from there it was
however,
finer
;

')

Toesca,

Opere

di

Barnaba da Modena

in Liguria,

LArte, IX,

1906,

p. 461. L. l^eutiiri, L'Arte. 1918. p. 272. (-) P. Toesca, op. cit.

('')

Crowe and Cavalcaselle,

op.

cit.. Ill, p.

Coiiipagnius Pisaniis" that appeared assures us that it was undoubtedly a work from Barnaba's hand.
[*)

In spite of the name, Jacobus at the foot of the panel, Cavalcaselle

"^^

1 1

Da Morrona,

Pisa illustrata

etc., 2"<^

ed

Ill^

Livorno, 1812,

p. 90.

THE PAINTERS OF MODENA.

381

Fig. 194.

Barnaba da Modena, the Ascension. Pasini Collection, Rome.

transported to the principal cliapel of the Campo Santo but has since been taken to the Gallery. It is the largest workofBar-

naba^s that has survived.

The

life-sized

Virgin

is

enthroned hold-

ing the Child erect on her knee; He again wears a coral mascot and holds in both His hands a long inscription eight angels sur;

round the central

figures, the

two who kneel below

also carry

382

THE PAINTERS OF MODEXA.

"

unrolled scrolls [hg. 196).

artist's signature:

At the foot of the picture we read the Barnabas dr Mutiiia piiixif and on the frame
".
. .
.

a part of another inscription: t>ro salute a ."

.
. .

cives ct uicrcatores Pisaiii

It is

rather a
artist's

commonplace work, showing but

tendency
is

little

inspira-

tion.

The

to create

broader forms has deprived

this picture of all the

charm of his

earlier productions.
is

The

\'ir;

gin's expression

not ver}" pleasing the two angels below show the same shape of head and the same relief as the figures in the picture of 1374 and in that at Modena,

sweet but her face

but they are less graceful; while the others are but very mediocre figures and we cannot be mistaken in assigning this panel to Barnaba's decadence (^).

The

oeuvre of Barnaba da

Modena extends over

a sufficiently

long period for us to form a fairly good idea of his art which is perhaps more unexpected and surprising than complicated. Bar-

naba was a painter of the second half of the 14th centur}' who still retained some Byzantine elements, such as the garments of material threaded with gold and the shape of the hands. At the beginning of his career, Barnaba, judging from his art, was an aesthetic eclectic who paid but little attention to the change that had taken place in Italian painting since the 13th centur\-. I do not think we should reproach him with his primitive style, for he probably painted in this manner from choice. The depth of feeling that emanates from his earlier works in particular, as well as the refined technique classifies him as an artist
of great merit. His types lead us to suppose that he
Other works attributed
to

was

inspired

to Barnaba are a Madonna which formerly beSignor Pedulli, Florence [Perkins, op. cit.). one in the Gallery of Cologne and another in that of Savona lidemi. I have included the second with the productions of Lorenzetti"s school as for the last which Signor Toesca also ascribed to Barnaba, we know now that it is b\' Xiccolo da Voltri, a painter with whom I deal in Vol. V and who was inspired by Barnaba and Taddeo di Bartolo iZ.. Ventun, L'Arte, 1918, p. 269). I. B.
(')
:

longed

Siepino,

Un

him a Crucifixion

Triumph

dipinto di Barnaba d. AI., Rivista dArte, 1905, p. 13, assigns to in the Campo Santo, which is by the "Master of the over Death"' to whom he himself (Campo Santo, p. 68) as well

as Thodt (Repertor. f. Kunstwiss., 1888, p. 21) previously attributed it. Suida, L'Arte, 1907. p. 183, gives to this artist a Madonna in the Budapest Museum, which is obvioush- hy Taddeo di Bartolo, v. Vol. II, p. 549.

THE PAINTERS OF MODENA.

383

Fig. 195.

Barnaba da Modena, Madonna. Gallery, Pisa.

Photo Brogi.

by the Sienese school and perhaps also by that of Rimini in which garments threaded with gold were favoured until a late date. Barnaba made an excellent debut, producing works of great charm but gradually his pictures deteriorated, losing the graceful

384

THE PAINTERS OF MODENA.

forms and spiritual qualities which characterized his early paintin the art of Niccolo da Voltri ings. His influence is ver}' evident
(a

of

Ligurian painter of the following generation), in the last manner Tommaso da Modena and perhaps also in Taddeo di Bartolo
at

who worked
Although
pictures, we 1383 that the

Genoa

in 1393.

it is

chiefly in Liguria and Piedmont that we find his must not forget that it is only between 1364 and

documents

refer to his activit}^ in these districts, so

ma}' suppose that at a previous period he studied and exercised his art in Modena. He did not break all connection with
that

we

his native town, for record is

made

of certain business transac-

tions there in 1380

and 1383.

Serafino Serafini
different artistic

of a very His merits have been exaggerated temperament.

centuries.

was another Modenese pamter but

Marc Antonio Guarini,

by writers of past

in his

"Com-

pendio historico" of the churches of Ferrara relates in verse the facts that in 1373 he decorated the chapel of the Petrati family in the Cathedral of Ferrara by the order or Brother Aldovrandino and at the expense of Donna diFrancesca
printed in 1612,
di

Lamberto. Vedriani,

who

studied the artists of

Modena

fifty

years after Guarini, says that the name of Serafino Serafini was glorious up until his day. However he made a mistake in copying the date given b}' Guarini and speaks of 1376, an error that has
given rise to

much

confusion.

The documents concerning

Serafino Serafini have again been

brought to light by the stud}' of Signori BertoniandVicini(^) who demonstrate that the artist was some years senior to Tommaso

and Barnaba.
In 1349,
3'ears old,

when

his father died, Serafino

was at least twenty-five

because he was appointed his brothers' guardian; on hand the fact that his brothers were still so young as to which would have ceased had they reached need tutelage fourteen makes us suppose that Serafino himself could not have been much older than tvvent3-five. Consequently he must have been born between 1320 and 1324. He started fife as a
the other

(')

G. Bertoni

E. P.

Jlciiit,

Serafino Serafini pittore modenese del secolo

XIY, L'Arte, 1904,

p. 287.

Fig. 196.
IV

Barnaba da Modena, Madonna. Gallery, Pisa.

Photo Alinari.

386

THE PAINTERS OE MODENA.

name is recorded in 1350, 1352, 1353 and 1354. His wife was called Bartolommea Ricciardi. In 1361 and 1362 we find him in Ferrara where he possibly settled down for we are informed that he sold all his property in Modena,
dealer in earthenware and his

and as w^e have already seen, he was active in Ferrara in 1373. In 1384 (0 he signed and dated the large altar-piece in the Cathedral of Modena, his only surviving work; in 1387 he is mentioned in a document of that town without, however, any proof that he lived there; in 1393 he is back in Ferrara where his name appears in a deed of sale (-).

The unique work

that has

come down

to us represents, in the

Saviour and the Madonna are seated on an elaborate throne surrounded by angels while the donor and his wife kneel at their feet.
centre, the Coronation of the Virgin: the

figures in the lateral panels are: to the left, St. Christopher carrying the Child on his shoulder, and St. Nicholas, and to the
right St.

The

Gemignanus and

St.

Antony Abbot.

In the central

see the Crucifixion with the Virgin, St. John and pinnacle Mary Magdalene; SS. Onuphrius and Catherine are depicted

we

extreme left and right are the angel and Virgin of the Annunciation (fig. 197). The predella shows the Saviour and the Twelve Apostles (^j. At the feet of
in the adjacent pinnacles while to the

the central figures we see, besides an invocation of the donors, the signature: ''Seraphimis de Seraphinis pinxit 1^84 die iovis
artist was probably more than sixt}^ years when he executed this work. The style of the painting is very different from Tommaso's and Barnaba's and reminds us
.

XXIII Marcii" The

old

sooner of that of the painters, such as Giovanni da Bologna,

who

(')

It is

1384 (Berioni

not clear whether the date reads 1385 {Cavalcaselle, Ventun) or e Vicmi ; Dondi, Notizie storiche ed artistiche del Duomo di
t.

Modena, Modena,
(-)

1896, p. 22^ L. N. Cittadella, Documenti sguardante la storia artistica di Ferrara,

Ferrara, 1868, p. 365. (*) P. Cavedoni, Dell' ancona di Serafino di Serafini nel
etc.,

Duomo

di

Modena

Modena, 1856. A Dondi, op. cit., loc. cit.^ propounds the hypothesis that the donors are Bartolommeo de la Molza and his wife, Betta, for the former in a will made in 1362 decreed that after his death, an altar dedicated to SS. Antony Abbot and Christopher should be founded in the Cathedral. He died
in 1388.

THE PAINTERS OF MODENA.

formed the
link

38^

between Venice and Bologna. The complex form

of the polyptych is reminiscent of Venice where the Coronation of the Mrgin was so favourite a subject and where we also find

Fig. 197. Serafino Serafini, Pol3'pt3^ch, 1384. Cathedral,

Modena.
Photo Anderson.

thrones of a similar model to that in Serafino's altar-piece. Such thrones however are even more frequent in the productions ol
artists. Although the figures are the contours bear a resemblance to those of the Bolognstumpier, ese artists the Virgin has certain points in common with the

the

Paduan and Veronese

images

that

Lippo Dalmasio and Vitale have

left

of her, but

388

THE PAINTERS OF MODENA.

Serafino's technique belongs to a different artistic movement, his drawing and his effects of Hght are very subtle and the

exaggerated!}' indicated plasticity of the Bolognese painters is absent is his work. On the whole he seems to have been a
talented artist possessing a dence.

good deal of originality and indepen-

Paolo, the son of Serafino Serafini, has left his name on a picture which is found in the South of Itah\ It is a half-length figure
of the

Madonna

and, since 1503, has been the object of

much

veneration in the Metropolitana of Berletta (fig. 198) (^). Although the drawing is not very fine, as will be noted in the modelling
of the hands and the feet, it is a work of considerable charm, approaching in spirit the art of Siena.

This element

is

even exaggerated

in the figure of the Child,

Whose appearance for that reason is rather curious, but the grace
of the Virgin's figure, her beautiful face and spiritual expression reveal Paolo di Serafino as a ver}" capable artist. I think it is also

was influenced by his fellow-citizen, whose works have a different aspect but from whose Barnaba,
possible that this painter
art Paolo's forms, technique, especially of relief, and spirit might very well descend. The panel, which is rich in decorative detail

shows

at the foot

an inscription, the third

line of

which runs:

Magistri Saftiii dc Safiui Fitori de Mittiua pi". It has only of late been noted that this panel had a pendant, representing a half-length figure of the Redeemer seen in full"Paiilits ftliits
face,

bestowing a blessing and holding a long, slender rod surmounted with a cross (fig. 199). This picture has the same charm, but also the same mistakes in the drawing, as the
previous one.

There
is

is still

a third

work
(fig.

in the

same Cathedral, undoubtedl}'

from the hand of

this artist,

good damaged;

deal inferior

although the quality of the painting 200). The picture is considerably

the features and expression of Christ lack the

charm

of Paolo's other works.

There was another Modenese painter of the name of Paolo.

(') Arch. Stor. dell' Arte, 1889, p. 491. Bertoni e Vicini, L'Arte, 1904, p. 294. A.Colasanti, Opere d'arte ignote o poco note, Bolletino d'Arte del Minist. della Pubbl. Istr., 1910, p. 184.

THE PAINTERS OF MODENA.

389

Fig. 198.

Paolo Serafini da Modena, Madonna, Cathedral, Barletta.

Photo Minist. del. Pubbl.
Istr.

Fig. 199.

Paolo Serafini da Modena, the Saviour. Cathedral, Barletta.

Photo Minist.
del. Pubbl. Istr.

THE PAINTERS OF MODENA.

In the Galler}' of the town we find a

391

painting on canvas

representing the

Madonna
ity

of Humil-

seated on the

ground suckling the Infant Christ; an

adoring priest
kneels close by
two medallions contain the figures of the Annunciation. At the
while
foot of the picture

we rea.d:" La nostra

D Uuiilta MCCCLXX, F.
Doiuia.
Paitliis
'

Dc Mntina
p.

fecit

ord.

Die.
{').

llll I

DicNatr Consequently
of a

it

must be the work

Dominican
of the

monk

name of Paolo. If the

painting
(')

really be-

P.Bortolotti,\n\ovno

un quadro di Fra Paolo di Modena, Mem. della R. Ace. di Sc. Leu. ed Arti di Modena,
serie VI, vol.
II,

p. 45.

Baldoria,

quadro di Fra P. d. M. nella Galleria Estense. The Same, Ancora sul quadro di Fra P. d. M.,

Un

Rassegna Emiliana,
1888.

Fig. 200.

Paolo Seratini da MoUcna, the

Photo Minist.
del.

Saviour, Cathedral, Barletta.

Pubbl.
Isir.

392

THE PAINTERS OF MODENA.

longs to the period that the date indicates {^), it has been greatly changed by restoration; nevertheless we can still distinguish

was the outcome of an intermingUng of and those borrowed from the school of Sienese elements
that the artist's style

Fabriano.

Besides such masters as

son,
less

Tommaso, Barnaba, Serafino and his Modena possessed some other painters, who worked in a individual manner, but of whose productions few remains

are to be found, and those chiefly in the Cathedral, where but little of the once fairly extensive decoration has survived (-). On the
that
left
I

have

wall, apart from the enormous figure of St. Christopher classified with the works of the 13 th century, we see

a Virgin with the Child between St. Peter and a holy bishop dating from the beginning of the 14th century; some figures of saints are depicted on this wall, as well as on that adjacent.

Beside two figures of saints of the 13th century near the right apse, we find an Annunciation and a curious composition of the Virgin, the Child Christ and an angel kneeling in adoration, but

unhappily the object of their veneration has disappeared. Certain details seem to confirm the possibility that this is a 13th century fresco which has been painted over at a later date. fresco which has been detached from the Cathedral and is

now preserved in

the Gallery of Modena

shows theVirgin seated

on a simple but imposing throne nursing the Child between St. Bartholomew and a bishop (^). The type of these frescoes, as well as the form of the throne, reminds us of similar compositions in Verona but the technique shows more resemblance to
that of the Bolognese school. of but little importance (*).

They

are provincial-looking

works

Madonna with a holy bishop and a female devotee which once showed the date 1334, was also detached
fresco of the
(')

is

of opinion that
(^)
('')

Mr. Langton Douglas, in Crowe and Cavalcaselle, op. it is a copy of an older picture.

cit.,

p.

208 note

3,

Dondi, op.

cit.,

p. 179.

G. BeHoiii, Atlante storico artistico del

Duomo

di

Modena. Modena,

still some 14'^ century panels by local artists; mention a half-length figure of the Madonna with the Child (not might numbered) said to be in the manner of Barnaba; no. 13, a triptych showing the Madonna, Pieta and saints, and no. 44, a panel from a predella.

i92i,p. 70. are (-) In the Gallery there

we

THE PAINTERS OF MODENA.

393

from the walls of the Cathedral and brought to the Gallery (^). At Carpi, which lies about ten miles to the north of Modena, there exists a fairly important series of frescoes in one of the
chapels of the "Sagra".

We

find the

images of the Church

Doctors on the walls, the symbols of the Evangelists in the vault, the figures of the Annunciation, St. Christopher and other saints on the entrance arch, and the Adoration of the Magi in the
lunette.

places these frescoes among the best productions of Emilia, draws our attention to the details that the artist has borrowed from the Bolognese school and it
;

Signor A. Venturi(-),

who

quite true that this decoration bears more resemblance to the works of the painters of Bologna than to anything we have
is

found

in

Modena.

(')

P. Bortolotfi, Di un murale dipinto nel 1334

1891.
Ventui-i, Storia dell" arte,

etc. del

Duomo

di

Modena,

Modena,
(2)

VIP,

p. 208.

CHAPTER

VI.

THE SCHOOL OF BOLOGNA

().

The Bolognese school of the 14th century was as productive it was wide-spread, and it is one of this period of which the number of works has been preserved. It certainly was greatest
as

not the school that produced the most fascinating painters on the contrar}^, as we shall see later, the Bolognese masters
;

frequently employed a rather crude technique and are

interesting for the vivacity and vigour with their figures, than for their esthetic sense.
In the controversy

more

which they depict

Bolognese painting

is

which has arisen as to whether or not an outcome of the art of miniature, I am

quite of the affirmative opinion, without, however, excluding the fact that other influences collaborated in the formation of this

school of painting as

we

see

it

at the last

quarter of the 14th

century, the period of its greatest activity. Miniaturists are found working in Bologna as early as the middle of the 13111 century, and from the first years of the 14th

onward we

find man}' series of illuminated manuscripts, at the beginning chiefl}' registers and rules of different corporations.

Towards

the year 1350 the celebrated and prolific miniaturist,

Enciclo(') C. C. Malvasid, Felsina Pittrice, vol. I, Bologna, 1841. P. Zani, pedia metodicacriiico-ragionatadelle belle arte, Parma, 1819-1822. A. Bolognini Anioriiii, Vita dei pittori ed artefici bolognesi, Bologna, 1841 1843. Bracli, op. cit. F Gerevicli, Sull' origine del Rinascimento Pittorico in Bologna, Rassegna d'Arte, 1906, p. 161; 1907, p. 177 T'/zt'Sr?///?, Lerelazione

tra la pittura e la miniatura

p. 196; 1910, p. 29. R. Bal(i<uii,l^a. pittura a

bolognese nel Trecento, Rassegna d'Arte, 1909, Bologna nel sec. XIV, Documenti e studi per cura della R. Deput. di Stor. Patr. per la Romagna, III, 1909, p. 375-

THE SCHOOL OF BOLOGNA.

395

Fig. 20I.

Bolognese Miniature,

illustrating a Decretales,

i-'

half of the
Photo Brogi.

14'h century. Library, Siena.

396
Niccolo
di

THE SCHOOL OF BOLOGNA.

Giacomo makes

his appearance (^). The number of he adorned is very great, and in the second half of manuscripts the 14 th century his pupils and other Bolognese miniaturists produced such a quantity of work that nowadays we find hundreds of codices adorned by them dispersed among the libraries of Europe. It was especiall}' the "Decretales", with or without

illuminations, that

were copied

in

Bologna.

are led to believe that painting in Bologna took its origin in the art of miniature not only by the fact that the production of

We

miniatures
half of the

was so
14111

great, but also because as early as the first century we note in certain illuminations that

curious realism and lack of refinement which

characterize the

works of such

painters

some decades later asSimone deiCrocifissi;

onl}'

and the

miniaturist, Niccolo di

Giacomo,

developed the

tendenc}^ manifest in the art of previous generations. Miniatures of the first half of the 14^11 centur}" often retain some archaic

elements of the Duecento to which

is

added

the

somewhat

heav}' and coarse technique so characteristic of Bolognese works (fig. 201), but at this period there is no trace of the vulgar design

and ugly forms that are peculiar to Bolognese miniatures when, fifty years later, that art became an industry.
In all probability the Bolognese school of miniature started with Oderisi da Gubbio and Franco da Bologna whom, as I have

Purgatory; clearly saying that in this art Franco surpassed Oderisi. Although the latter was Umbrian bv birth, the site of his greatest activity was apparently Bologna, and Benvenuto da Imola calls him the greatest
miniaturist

already remarked, Dante praised

in his

of this town.
di

He was known under

is

the

name

of

"Oderisio

Guido da Gubbio da Bologna" and

found active

(^)

F. Malogtissi ra/cri,

codici miniati diNicolo di

Giacomo

e della

sua

scuola in Bologna,Atti e Mem. della R.Deput. di Stor. Patr. per la Romagna, i8g2.T/ie Sainc,Le miniature nell' archivio dello stato a Bologna, Arch. Stor. deir arte, 1894, p. i. T//e Same, La miniatura in Bologna del XIII al XVIII
secolo, Arch. Stor. Ital
.

disegni posseduti
di Stor. Patr.

dell' arch, di

1896, p. 262. TV/f Sf7;;/f, Catalogo delle miniature e Stato a Bologna, Atti e Mem. della R. Deput.

per IaRomagna,i898. Z-.C/Vrrr/o, Appunti intorno alia miniatura bolognese del sec XIV, L'Arte, 1907, p. 105, Hennaniii, Vita d'arte, I, 1908. Gerevich, op. cit. A. Erbacli von Fitersteiiaii, La miniature bolognese nel Trecento, L'Arte, 1911, pp. i and 107.

THE SCHOOL OF BOLOGNA.

in

397

1268 and 1271

(\).

The Codex
of S. Pietro,

of St.

the Chapter

Room

George in the archives of Rome, was formerly ascribed,

without sufficient grounds, to Oderisi, but since these miniatures have been recognized to belong to the school of Simone Martini there is now no reason to admit, as Vasari affirms, that Oderisi

went

to

Rome

(-).

ma}" be conjectured that a certain relation existed between Oderisi and Franco da Bologna the

From

Dante's reference

it

facts that the}' exercised the same art in the same town makes this very probable but it does not allow us to admit that, through

Oderisi, the Bolognese school of miniature originated from that of Umbria since none of the beautiful Umbrian miniatures can be

traced back to the time of Oderisi, and there

is

further no resem-

blance of style in the two groups. Although on all sides we discover older miniatures than at Bologna, it is in this town that we
find the oldest established tradition of this art,

which seems to have had a vigorous and uninterrupted existence from about 1260 until the end of the 14th century. We know no works of either Oderisi or Franco da Bologna.
true that Rosini reproduces a Madonna signed by the latter and dated 1312 (^) from the collection of Prince Ercolani

It is

artist

at Bologna but the easy attitude of the Child and the general appearance of the reproduction lead us to believe that it is sooner a painting of the second half of the 14th centur}'. Cavalcaselle has already doubted the authenticity of the inscription. Lanzi saw this picture and also some others attributed to Franco in the Malvezzi Museum of Bologna (^) while Malvasia, who, on Vasari's authority, believed that he had been charged to execute miniatures for the Pope's library in Rome, classified Franco as
;

the

leading artist of the Bolognese school,

with

disciples

throughout Romagna and Lombardy. Although Malvasia's theory is little more than mere conjecture, for it was founded on an unreliable argument, I do not think
(')

Giornale di Erudizione artistica (Perugia),

III,

II,

1873, p.

i.

Croive

and

Cavalcaselle. ed. Laiigioii Dong-las,

('-')

167.

Vasari-Milanesi,
Rositii, op.

I,

p. 385.

(^) (*)

cit., pi.

XL

Cavalcaselle

Lanzi, op. cit.. Ill, p. 9, gives the date of the foregoing picture as 1313. accordance with Rosini correcls it to 1312.

398
that he
is

THE SCHOOL OF BOLOGNA.

entirely wrong. The Bolognese school of paintingon that of miniature, which was older and always

followed

remained the more important on account of its enormous output; Oderisi and Franco da Bologna were without doubt the greatest figures in this branch of art. We find few painters in Bologna before the second half of the 14th century. One called "Petrus" is mentioned in a document of 1348 and it was probably he who signed the crucifix, a very tarnished piece of which now hangs in the Pinacoteca of
Bologna; we also know that a certain Deodato Giovanello da Imola executed a Madonna for the church of S. Stefano before 1350(0, but with the exception of Vitale who seems to have been the actual founder of the Bolognese school of painting,
there are no other painters of any importance

whose works

have come down

mention
is

to us.
(-).

We are fairly well informed concerning Vitale

we have
of him
is in

The
in

earliest

document of 1334,

which he

spoken of as" Vidolino Ryme de Eqiiis pictore' (^). Bolognini tried to prove that he was related to the noble family of Cavalli. In the foregoing deed, he figuresas witness, from which we know that he was then at least twenty-five years of age, so that at the latest he was born in 1309. In 1359 his name still appears in the register of the parish of Sta. Maria Maggiore, and as those who had passed the age of seventy were not inscribed, he could not have been born before 1289 (^). His wife Giovanna di Lorenzo Merciaio died in 1357; they had one son, Francesco. Regarding his dated works, in the Gallery of Bologna there is one signed picture with the date 1320, but no one believes that the inscription, at least that part showing the date, is original. In 1330 he
(1)
(')

C. Ricci,

Guida

di

Bologna,

5t>i

ed.,

Bologna,

p. 92.

F.Filippiiii, Vitale da Bologna, Bolletino d'Arte del Minist. della Pubbl. Istr., VI, 1912, p. 13. L. Frati, Un opera ignota di Vitale da Bologna, L'Arte.

i9ii,p.442.
(^)

Orioli in Atti e

Mem.

della Soc. di Stor. Patr. per la

vol.

XXV p.

Romagna, Serie

III,

184.

(') The document of 1343 mentions that Vitale was "emancipatus" (free of his father's guardianship), which state a young man generally attained at the age of 18 or 20; Vitale had doubtless obtained this freedom a con-

siderable time before and

do not think that

this

word

furnishes any direct

indication concerning his age as

some

writers have believed.

THE SCHOOL OF BOLOGNA.

399

Fig. 202. Vitale,

Madonna. Pinacoteca, Bologna.

Photo Anderson.

adorned the chapel of Filippo degH Odofredi in the church ot S. Francesco, and Oretti, in his treatise on Bolognese painters mentions a the manuscript is preserved in the town Hbrary

400

THE SCHOOL OF BOLOGNA.

work

of the same year. Ten 3'ears later he decorated the chapel of S. Lorenzo and the "foresteria" {^).

His name
1343
is

is

fomid

in

picture of the

Madonna by him
it

deeds of 1338 and 1347 and an extant is dated 1345. A document of

reveals to us that Vitale

highl_v interesting as

was also a

sculptor, for in it he undertakes to execute four wooden statues for the Bishop of Ferrara. Another record informs us that in

1353 a picture costing 60 scudi was ordered from him; it is doubtless the one which is nowadays preserved in S. Salvatore
for the date
is

the same, although the

number
(-).

of saints does not

correspond
It is

to that specified in the contract

highly probable that Malvasia

Vitale's

named Franco Bolognese master only because he did not know the name of

another Bolognese painter of the preceding generation; Herr Brach, however, accepts this affirmation since it confirms his hypothesis that, through Oderisi da Gubbio, Bolognese painting was derived from that of Umbria, a theory without any foundation and, as
logical facts.
I

have already remarked, contradicted by chrono-

The

panel with the false date of 1320 comes from the church
is

of Sta. Maria del Monte and

in the Galler}' of

now catalogued under the no.

202).

203

Although the work is unVitale, the signature seems as little genuine as the doubtedly by date the form of the letters is not even that of the 14th century. It may be that the original signature has been copied but in
Bologna
(fig.
;

so doing the transcriber has mistaken the date. ^'Vitalis lie boiionia fecit anno MCCCXX", while a
in characters of the

We

now

see:

little

lower,

inscribed: ''Hoc opus fecit fieri

same period as the painting, the following is dna Blaxia paia (per anima)

magister Jolianis de Plaxenxia (Piacenza)".

The

Virgin

is

the vivacious Child

represented enthroned, holding with both hands Who stands on her knee; an angel kneels at

either side of the throne, the one to the right presenting a miniature devotee.

As we

cannot rely on the authenticit}' of the date inscribed on

(')
(^)

Gerevich, L. Frati,

Rassegna

d"'Arte, 1906, p. 165 note

I.

Un

polittico di Vitale

da Bologna, Rassegna d'Arte, 1909,

p.

171.

THE SCHOOL OF BOLOGNA.

401

Fig. 203. Vitale,

Madonna. Vatican Gallery.

Photo Anderson.

say if it is the oldest work that we think, however, it belongs to an earlier possess by that between 1345 and 1353 of which years we have period than
this picture,
it is

difficult to
I

this artist.

two dated
IV

paintings. 26

402

THE SCHOOL OF BOLOGNA.

which
is

characterized by a fairly marked Sienese influence, Vitale executed two other Madonnas. One of them will be found in the Vatican Gallery (no. 103, fig. 203); it
In this first manner,

has been considerably restored and a good deal painted over. The Virgin is represented in half-length figure holding the Child Who bestows a blessing on some members of a flagellant
order

who
:

kneel in adoration.
"

The

signature at the foot of the

Vitalis. de Bononia. F\ panel runs The other painting which I think has been executed at an early stage in Vitale's career is a little triptych in the Bologna Gallery (no. 351). It shows the Virgin and Child in the centre and nine

angels in each of the wings, but is less characteristic of the master's manner than the two other works.

agree with those who believe that Vitale collaborated in the decoration of the church of Pomposa but am of opinion that his part in the enterprise was limited to the ornamentation of the
I

apse not

all

of which, however,

is

from

his hand, for the large

central figure of the Redeemer displays a considerable difference in style to the rest of the decoration.

Signor Baldani makes what appears to me a big mistake in attributing the frescoes of the apse to Jacopo di Paolo and further I do not agree with him in ascribing the paintings in the nave to the same artist, but I shall return to this subject when dealing with the painters of Ferrara. Baldani argues that his attribution would have the advantage of taking away from Vitale, who, on account of the great number of Madonnas that he has
;

surnamed "Vitale delleMadonne",a grandiose composition which forms such a contrast to the subject of his predilection but to me this argument seems worthless because the painters represented what was ordered from them and their own personal inclination had nothing to do with the subjects
painted, has been
;

chosen.
of exactly the same opinion as Herr Brach and Signor Filippini who include in Vitale's activity here, not only the frescoes of the apse but the representation of the Last JudgI

Nor am

ment on the entry

wall,

which

betraying an influence of the the most I might admit that

work schools of Bologna and Rimini. At some figures in the lower part on
I

consider to be a Ferrarese

the right, portraying Hell, might be from this artist's hand.

THE SCHOOL OF BOLOGNA.

The
decoration of the apse
is

403
(')

fairly elaborate

On

the wall
;

we

see above at either side a figure of the Annunciation the conche is surrounded with a border containing a series of halflength figures, most of them carrying inscriptions, in medallions. Lower down on the left a half-length figure of the Virgin with the
is represented. The apsidal decoration, the right hand part of which is considerably damaged, shows the Saviour in a mandorla surrounded by four groups of angels, giving His blessing

Child

and holding an open book; from either side approaches a procession of male and female saints the one on the left is headed by the Virgin before whom kneels a monk. The four Evangelists writing at desks are depicted on a lower row; they are separated from the Church Doctors, who are represented reading, by two figures of saints. Still lower various scenes illustrate the
;

legend of St.Eustachius; we also see here the three holy priors, Benedict, Maurus and Guido. I think the frescoes at Pomposa must be of somewhat later
date than the above mentioned panels; in general the proportions are larger and the drawing a little harder which makes them

approximate to the Madonnas of S. Salvatore and S. Giovanni in Monte, which we shall come to shortly; but the refined technique and the general spirit of the works are still reminiscent
of the Sienese school.

very likely that of the two painters who worked at was the more important and, as will be an influence pointed out in the following chapter, he exercised
I

think

it

this

decoration Vitale

on

his fellow artist.

The grace and sweetness of Sienese art are not evident in the two Madonnas which I have just mentioned and which, I think, follow chronologically on the frescoes of Pomposa. The one
will

be found in the 6th chapel to the right in the church of S. Giovanni in Monte; it is often attributed to Lippo Dalmasio; the other which is called the "Madonna della Vittoria" is preserved in the 31^ chapel to the right in S. Salvatore, the church

which

also possesses the altar-piece of 1353. Cavalcaselle recognized the former as a work of Vitale's. The composition, which later date, is a favourite one with Lippo Dalmasio at a slightly
of this part of the church description that ^rar//, op. cit., gives least it is not complete. not very exact or at
(1)

The

is

404

THE SCHOOL OF BOLOGNA.

represents the "Madonna dell' Umilta" seated on the ground holding the Child on her knee.

The "Madonna

della Vittoria" has also

been ascribed

to

Lippo

Dalmasio, but this mistake has arisen from the fact that an inscription on the back of the panel with this artist's name has

wrongly been considered as a signature. Signor

the
first

to assign
in

it

to its
left

genuine author.
the Child Jesus

Filippini was The enthroned

is

Madonna holds

her

arm

Who

here of

clumsy form and unpleasing appearance.

picture is rich in decorative detail and the execution ver}' fine but the outlines are a little hard and, as I said before, the

The

Sienese grace has entirely disappeared.

Between these works and

the

Madonna

of 1345,

think

we

should place a httle fresco of the Virgin which adorns a niche to the left of the nave of the church of S. Martino (\). Here the Madonna is seated low on a cushion suckling the Infant Christ.

Four angels hold up a drapery behind her while two others kneel at the sides. Although a certain grace in the figure of the
Virgin and a general sweetness of feeling, reminiscent of Sienese art, are more obvious in this panel than in the two previous works, we notice here for the first time in Vitale's productions

and even for the first time in Bolognese painting that coarseness of execution and crude contrasts of light and shade which

become

the characteristics of the entire school.

"dei Denti", of 1345, which formerly of St. Apollonia, near the church of Mezhung oratory zaratta, was, for a time lost sight of, but has now been placed in the Davia Bargellini Gallery of Bologna (no. 129, fig. 204). It
in the

The Madonna, surnamed

was

the central panel of a polyptych that d'Agincourt reproduced with the four little lateral saints, two on either side one

above the other (-). The Virgin is represented enthroned, sitting on two pointed cushions as in old Byzantine pictures. The Child
is fairly vivacious grasps His mother's head-dress with His outstretched right hand; a miniature figure of an adorer kneels

Who
(')

G. Cantalamessa, Di un aftresco del secolo XIV, Lettere ed Arti (Bologna), 1889. O. Mantti, Archiv. Stor. dell' Arte, 1889, p. 427.
('-) d'Agincourt, op. cit IV-, p. 397 and Pittura, pi. 127. Ba/dfmtcci, op. cit., IV, p. 323. Ricci, Guida di Bologna, p. 85, gives the date as 1340, as we now see it, the last numerals having been effaced.
,

Fig. 204. Vitale,

Madonna,

1345.

Davia Bargellini Gallery,

Photo Parazzo.

Bologna.

4o6
at either side.

THE SCHOOL OF BOLOGNA.

The

pattern on the Virgin's cloak is composed of a repetition of an heraldic chimera. The t3'pe of the principal figure has not greatly changed, but the contours are hard and
rigid

and the refinement of execution, which was so marked

is

in

the master's early works,

here

little

evident.
"

The

signature

re2ids: ''Vitala(?)s fecit h. opus.

MCCC XL

Much more attractive is the polyptych of 1353 (fig. 205) in the right transept of the church of S. Salvatore, which, before the documents were brought to light, was attributed to a great
diversity of schools and to man}- difierent artists. It has been thought a work of the first half of the 13th centur}' (0, of the

Venetian school of the end of the

dei Crocifissi

14th, from the hand of Simone and from that of Cristoforo.

shows the Madonna kneeling before her Son a crown on her head; five angels look over the back of places the Saviour's throne. The lateral figures represent St. John the Baptist at whose feet we see a 3^oung bo}' kneeling in pra3-er,
centre

The

Who

and a holy bishop probabl}' St. Thomas of Canterbury- and not St. Augustine before whom kneels a monk, doubtless the prior, Riniero Ghislieri who, according to the contract, ordered the picture. To the extreme right and left are two little scenes those on the left are the Adoration of the Magi and an angel appearing to a hoi}' bishop, and those on the right the martyrdom of St. Catherine and two holy bishops seated together.

The figures are executed with more care than those in the pictures in the Davia Gallery and in S. Martino, and the proportions
are larger, but the fine technique of the Madonna in the Vatican Gallery and of the one with the false date of 1320 in the Pina-

coteca of Bologna, is absent. In the same manner Vitale has executed a picture on canvas in the Pinacoteca of Bologna (no. 328) representing against a rocky background St. Helen in adoration before the Cross while near by kneels a nun (fig. 206).

We
(')

have

now come

to the

end of the

list

of Vitale's works

(-),

di Stor. Patr.
(^)

Bolognini Amoriiii, and G. G. Roncagli, in Atti e Mem. della R. Deput. per la Romagna, Serie III vol I, 1883, p 451.
Baldani, op.
cit.,

p. 458,

assigns to

tiirn

a picture of the

Death of the

Madonna belonging to the art dealer Tavazzi in Rome; and no. 501 of the Pinacoteca, a Madonna which was formerl}' attributed to Vitale but which has been rightly restored to Lorenzo Monaco Toesca, L'Arte, 1904. p. 171).
(

be

"o

U O a a
ifi

en

o
>, "o
CI,

oJ

>
o

4o8

THE SCHOOL OF BOLOGNA.

because I do not think that the frescoes of the Nativity, the Ascension and the Virgin with angels, in the church of Mezzaratta that Malvasia, Brach and Filippini attribute to him, are from his hand; they seem to be of shghtly later date; besides for as far
as

we know

their

names

at

all,

the painters

who were active in

this

church, belong
certain

to a later generation.

number

of works that old writers attribute to Vitale

his

have disappeared. Oretti, in

manuscript treatise on Bolognese

painting that is preserved in the town library, speaks of a panel in the church of the Montalto college showing the figure of St.

Antony Abbot and

"

six scenes

from

his

life

that

was signed:

and of a fresco on the outside of the church reprethe same saint and dated 1330, to which I have already senting referred. Malvasia mentions two panels in the oratory of St.
Vitalis /.",

Apollonia, one representing St. Antony Abbot, St. James and a little angel, the other a holy bishop blessing a pilgrim, and in the church of S. Domenico a painting of the Virgin and St. John adoring the Divine Child in a niche in the choir and a fresco of
the Nativity in the cloister. At the end of the passage dealing with Cristoforo, the same author still cites a Madonna in the

church of Sta. Maria Maddalena agli Orfanelli; while lastly, Lanzi mentions two holy Benedictines and other figures of saints, which at his time, were to be found in the Malvezzi
collection.

Belonging more or less to Vitale's school are an Annunciation on two panels in the Bologna Gallery (nos. 384 and 385) a large number of scenes from the Life and Passion of Christ, from the
: ;

Annunciation till the Noli me tangere, in the same Gallery (nos. 257 and 258); and a Virgin and Child surrounded by angels, a

fragmentary painting, in the Museum of S. Stefano (i). How the Sienese elements were introduced into Vitale's art is a question that is impossible for us to answer. The mere fact that

from 1301 until 1315, the Sienese, Manno, miniaturist, painter and gold-smith, was active in Bologna does not solve the problem.

(')

Baldani, op.
cit.,

cit.,

p. 458, attributes this

i,

work

to Vitale's

own

hand.

associates with Vitale a figure of a seated in the Pesaro Gallery that I have already included in the Venetian bishop school.
Filippini, op.
p.

126 note

Fig. 206. Vitale, St.

Helen adoring the Cross. Pinacoteca, Bologna.

Photo Poppi.

410
Ill

THE SCHOOL OF BOLOGNA.

no trace of Sienese nevertheless be^'ond any doubt that the modelling
is

the Bolognese school of miniature there

it is

forms, but

and

feeling of Vitale's first

art.

works

clearly betray the influence of

Sienese

His treatment and

highl}-

developed sense of ornamentation

to seek for the origin of Vitale's technique in the school of miniature, which, in Bologna, was so important and certainly dominated that of painting. To this source we might

however, force us

change that took place inthesecondhalf of Vitale's we also note many cases in which the diminution of refinement is incontestable, and I think we can safely admit that Vitale was influenced by the miniaturist, Niccolo di Giacomo. We must not forget that although the number of Bolognese painters was fairly considerable towards the end of the 14th century, we hardh' find an}' contemporar}- with Vitale, so that our
also trace the

career, since in this branch

artist, in this

town abounding

in miniaturists,

was probably

rather isolated figure, and it is only natural that his works reflect the changes that miniature art underwent. During the latter half of Vitale's activity Bolognese miniature painting acquired a more fixed aspect on account of Niccolo di Giacomo's enormous production, for his numerous works, as well as the school that he

of painting in his native town

artist's

created, exercised a lasting influence on the art of miniature and ('). It was believed by some that this

career started in 1320, but this hypothesis is not supported by any facts. His first signed and dated work is a Gradual of 135 1 in the Estense Library of Modena, while his last, a register "dei
creditori del
in Bologna, dates from ^^^ that is the last time we find T395. 1399 mention of him. A resemblance in stj'le leads us to believe that the illuminations of certain codices prior to 1351 are from his hand, such for example as those of the "statuti della societa dei d rappieri' in the Bologna archives, which date from 1346.

Monte"

in the state

archives

He made

his will in

'

Some important miniaturesshowinga very marked connection with Niccolo di Giacomo's manner are seen in the "Olficium Ma-

For literature on Giacomo v. especiall}' the monographs of ;l/cr/(7^^s;/ Valeri, Baldani and Ciaccio cited at the beginning of the chapter.
(')

THE SCHOOL OF BOLOGNA.

riae Virginis" of 1349 at

41T

Kremsmunster (^). should, however, note the existence of a pseudo-Niccolo, a miniaturist who worked side b}' side with Niccolo di Giacomo and produced

We

tcrmamoummi
utabimnTinmai
Fig. 207. Niccolo di

Giacomo, the Ascension, Miniature. Library, Munich.

Photo Richn and
'liet-ie.

works strongly resembling

to a slightly earlier date
(-).

his,

but whose activities can be traced

(1)

KlosterNeiiwirth, Italienische Bilderhandschriften in Oesterreichisch

f.

bibliotheken, Repert.
(-)

Kunstwiss., 1886, pp. 386395.

Ciaccio, op.

cit.

412

THE SCHOOL OF BOLOGNA.

art of Niccolo di
in his

207) and of those who of elements but rarely found composed in miniature painting. The forms are strong and sturdy rather than graceful and elegant. The figures are large and well developed, the faces are without any beauty or spirituality the shape

The

Giacomo

(fig.

worked

manner

is

of the heads, as well as of the other parts of the body, and the features coarse.

is

heavy,

depicted with an exaggerated realism the gestures are natural but the artist has not attempted to make them pleas-

Action

is

ing.

The drawing

is

executed

ows

are large and dark.

The

vigorous strokes, and the shadtypes seem to have been borrowed

in

from Vitale, who, however, presents them in a more spiritual manner. With the miniaturists of Niccolo's group began the predominance of the realistic style in Bologna; it very soon replaced the more idealistic current which probably derived from the art of Oderisi and other miniaturists of the earlier generation. The first Bolognese painter who seems to have been inspired

much by the work of Vitale as the miniatures of Niccolo di Giacomo and his group was Cristoforo, concerning whom we possess a certain amount of information although but two of his works have survived. Cristoforo's name was known to Vasari who tells us that this artist was active in the church of Mezzaratta but that he is unaware whether he came from Modena or Ferrara (^). It is much more likely that he was born in Bologna where we find a painter of this name mentioned in documents of 1381, 1391 and 1403. In 1374 a Cristoforo was paid ten livres for the painting in the
as

Corradini chapel of the church of S. Francesco

(^),

and

in

1389

there existed in Bologna a painter and goldsmith of the name of "Cristoforo quondam Giacomo da Bologna, detto il Biondo" (^).

Torri"

Malvasia affirms very precisely that a canvas on the altar "de' in the church of the Celestine monks, representing the

Madonna between SS. Antony and Catherine, bore the inscription:

"Cristophorns pinxit Ravagexiiis de Savigno 1^82 fecit fieri'' if).

(^) (^)

Vasari-Milanesi,
Gerevich,
Zatti, op.

II,

p. 140.

Rassegna d'Arte,
cit.,

]9o6. p. 167 note 6.

(^j
('')

IV, p. 137.
cit
,

Malvasia, op.

I,

p. 32.

THE SCHOOL OF BOLOGNA.

413

D'Agincourt reproduces two paintings which he believes to have been executed b}- Cristoforo (^) but one of them, a fresco in the church of Mezzaratta showing Moses bearing the tables of the law to the people of Israel, is not, as we shall see, from his
a panel of the Madonna "della Misericordia" in the same church, one group of men and another of women, no doubt members of confraternities, kneel at the Virgin's feet. It

hand.

The

other

is

was signed: ''Cristophorus pinxit ij8o'\huX. as this inscription was written according to d'Agincourt on the back of the picture, he was rather doubtful about its authenticity; on the other hand
the facsimile that d'Agincourt reproduces of this signature is one we find on Cristoforo's little picture preserved in the Ferrara Gallery.
identical with the

In his manuscript, Oretti speaks of a

work

that Cristoforo

executed

in 1398.

Senator C. Ricci mentions a picture in S. Cristoforo at Monte Maggiore, signed and dated 1359 (^j while lastly Signor T. Ge;

revich cites a

Madonna with adorers

in the collection

of Signor

Novarra, showing the signature: "Croforus fecit ij^7 {^)- As the former of these two works seems to have disappeared (^) and the latter is unknown to the public, our judgment of Cristoforo's art must be based on the one signed painting that we have at our disposal viz. the panel in the Ferrara Gallery (fig. 208). This picture is divided horizontally into two parts, the upper of which shows the Saviour crucified between the Virgin and
at
St. John while Mary Magdalene kneels at the foot of the Cross, and the lower the faithful mourning over their Master's body.

Guerina

Below

this scene we read ''Xpoforiis fccif The elements which the artist has borrowed from
:

Vitale's art

and from that of contemporary miniatures are evident in the appearance of the figures as much as in the technique, only

was not himself a miniaturist as his figures clearly show. He was a true Bolognese artist and his manner particularly resembles that of the painters who come immediatel}' after
Cristoforo
(^)
('-)

d'Agincourt, op.
C. Ricci,

cit.,

VI, p. 420 and Pittura, pis.

CLVIII and CLX.

17.

(^)

Bologna, p. 121. 7". G^rmc/i, Cristoforo, in Thieme-Becker,Kunstler Lexikon,VIlI, pi

T. Gerevich, loc. cit.

Guida

di

(^)

414
him.

THE SCHOOL OF BOLOGNA.

The dramatic and somewhat crude reahsm
reaches a climax
in

that

we note

in

this picture

works. Of the numerous attributions made to Cristoforo, I do not

dei Crocifissi's

Simone

think that any of them are reliable(^). rather damaged Crucifixion with the Virgin, St. John, the Magdalene at the foot of the

Cross and a devotee, in the Schniitgen Museum, Cologne, seems, however, from his hand. Cavalcaselle's attribution to this artist of some frescoes representing the Madonna and Adoration of the Magi, of which but a fragment remains, in the bell-tower ofS. Andrea, Ferrara, has a special importance, since, if exact, it provides us with the proof that Cristoforo went to Ferrara to work. Cristoforo was an artist of some merit and it is chietly on account of the lack of his works that he takes such a very mediocre place in the Bolognese school. He is, however, of a certain importance because he is the connecting link between the first

and second generation of painters and it is to his art that the influence, emanating from the group of miniaturists, owes its
continued existence.
painters of the Trecento in Bologna are characterized the foreign elements that they introduced into the local art, by changing to a certain extent their manner of painting, so that they can hardly be called true Bolognese artists. They w^ere

Some

Jacopo Avanzi, an artist whom I shall call the pseudo-Jacopo Avanzi who was strongh' influenced by the painters of Rimini, and Andrea da Bologna who betrays a special familiarity with
(')

Malvasia ascribes

to Cristoforo several frescoes

St.

which have now

dis-

appeared; among them a Virgin and

Antony

in the sacristy of S

Dome-

nico; a similar painting transported from an old house to the church of S. Andrea dei Padri Penitenziari, and a Madonna between SS. Cosmo and

Damian

in Sta. Maria Maddalena degli Orfanelli. Laden/ii, in his catalogue of the Costabili collection, Ferrara (1838) whence the signed picture in the gallery originates^ attributes to Cristoforo the panels of the Crucifixion and

the Virgin's

dream in the Pinacoteca, which I include with the productions of Ferrara, and a panel with the figures of SS. Francis and Dominic from the
Corpus Domini monastery
in

Ferrara which has been

lost. Fi/ippiiii,

affreschi della cappella Bolognini, accepts Vasari's

and dAgincourt's

attri-

bution of
in S.

lieved that

some frescoes in the church of Mezzaratta. G't'r^t'/c// formerly beit was Cristoforo who executed Vitale's Coronation of the Virgin
p.

Salvatore (Rassegna dArte, 1906.

(

167I

and even

still

hesitatingly

ascribes to him the frescoes in the Bolognini chapel to which subject shall shortly return Thieme-Becker, Kunstler Lexikon, loc. cit.).

we

Fig. 208. Cristoforo, the Crucifixion

and the Faithful mourning over the

Photo
^Nliiiist.

Body

of Christ. Gallery. Ferrara.

del Pubbl. Istr.

4i6
the art of

THE SCHOOL OF BOLOGNA.

The Marches where, moreover, he worked
for a

considerable length of time.

We shall begin with the first of these artists.

older writers such as Vasari and Malvasia, confounded Jacopo Avanzi of Bologna with Jacopo d'Avanzo of Padua and Jacopo di Paolo of Bologna with whom we shall deal later on.

The

Even at the present time Signor Filippini tends to identify the two former artists (^). Of Jacopo Avanzi we possess but one document and one picture authenticated by the painter's signature (-). The document dates from T384 and records that an enamel perhaps an enamelled tile was painted by him for the loggia of the

Town Hall
his son,

further as Signor Baldani remarks, considering that

di Jacopo Avanzi, is mentioned in 1395 without the father's name being preceded b}' the word "quondam", it is probable that he was still alive at that date (^).

Bartolommeo

We

concerning Jacopo Avanzi. His signed work is preserved in the Colonna Galler3' in Rome; it represents the Saviour nailed to the Cross, above which a pelican is seen feeding its young, between the Virgin, St. John
else

know nothing

and the kneeling figure of Mary Magdalene. At the foot of the panel the inscription runs ''Jacobus de Avaiiciis de Bononia f."
:

(fig. 209).

utmost importance in the stud\' of Bolognese painting of the Trecento, namel}^ the authorship of the frescoes in the church of the "Casa de Mezza" or of Mezzaratta, just outside the city.
a question of the

We

must now consider

From

the information that

is

offered us in a

Guide

to

Bologna

of 1792, and b\" Malvasia, we learn that originally there were not less than three signatures of painters of the name of Jacopo.

(^) F. Filippini, Jacopo Avanzi pittore bolognese del 1300, Atti e Mem. della R. Deput. di Stor. Patr. per la Romagna, 1912, p. 31. (-) A picture in the Venice Accademia is signed ^'Jacopo Avanzi i}6f but

the signature
Virgin,
St.

and the picture, which shows the Saviour between the John the Evangelist and Nicodemus, belongs to the VenetianByzantine manner of the 14th century. Schiibring in Thieme-Becker, Kiinstler Lexikon, II, p. 270. mentions it as an authentic work of Jacopo
is false

Avanzi's.
(^)

iJfr/^aw/, op.

cit.,

p. 44.

THE SCHOOL OF BOLOGNA.

417

Fig. 209.

Rome. Jacopo Avanzi, the Crucifixion. Colonna Gallery,

Photo
1st.

Art. Graf.

IV

27

4i8

THE SCHOOL OF BOLOGNA.

Firstly the series of eight scenes from the life of Joseph on the right wall was signed according to the guide: ''Jacobus feci

and according

to

Malvasia: ''Jacobus Pauli f." Then to the

left

upper of which, illustrating the Saviour's youth, the Ascension and the Virgin and Child, bore, Malvasia tells us, the signature: "Jacobus ct Simeon /.", while on the lower, in which later incidents from the Life of Christ are represented, the same author Ye3.^:"Jacbus fecit" (M, which inscription has not yet entirely disappeared. Malvasia adds that the frescoes of this church were restored
in

of the entrance there are

two rows of

frescoes, the

1578.

These inscriptions do not always refer to the same Jacopo and I think it probable that the series of frescoes from the story
of Joseph
is

by Jacopo

di Paolo, a

Bolognese painter of the

following generation. That the Jacopo who, with Simone dei Crocifissi, signed a part of the other frescoes, was Jacopo Avanzi whose authentic

panel in the Colonna Gallery we have just considered, can hardly be admitted on account of the difference in style. Simone's share
in the decoration of this church is evident in certain of the figures which do not harmonize with the ensemble. Moreover we have not only the combined signature of Jacopo and Simone for some of the frescoes but. according to Malvasia, Simone's signature was found isolated on another part of this wall. I think, then, that for this piece of the decoration we must admit the collaboration of these two artists. There were other painters of the name of Jacopo, besides

Jacopo Avanzo, in Bologna during the 14th century. Firstly there was Jacopo di Paolo but he seems to have been active at too late a date to have collaborated with Simone dei Crocifissi.

As
he

for Jacopino de'

in

mer appears
left

for

Pappazoni or Jacopino de' Bavosi, the forBologna in 1365 when, with Andrea de' Bartoh, Pavia to work in the castle of Galeazzo Visconti (-),

(')

Malvasia, op.
cit.,
II,

cit.,

p. 28.

Vasari-Milanesi,

II,

pp. 141, 142 note

2.

Rosiniy

op.
p.

96.

(-) /".

Crowe and Cavalcaselle, op. cit.. Ill, p. 199. Brack, op. cit., Ricci, Guida di Bologna, pp. 120 and 240. Filippini, Bolletino d'Arte, 191 1, p. 57, and Jacobino de' Papazzoni pitp. 226.
6.

tore bolognese del' 300, Bolletino d'Arte, 1915, fasc.

THE SCHOOL OF BOLOGNA.

while the latter

419

is mentioned in 1368, 1371 and 1383 (^). It is that these tvv^o names refer to but one artist. It is a curipossible ous fact that in his second will Jacopino de' Bavosi left a candle

worth 20 sous to the Confraternity which adjoined the church of Mezzaratta, so that some connection between the artist and the church must have existed, and it is not impossible that he was the author of the frescoes signed Jacobus.

Simone made a contract to execute frescoes for this church, but as it was stipulated that the subjects of the paintings were to be taken from the Old Testament and
that in 1366

We

know

the frescoes

were

to

deed does not refer

occupied.

adorn the east wall, we can be sure that this to the works with which we are at present

but

Alalvasia gives a fairly detailed description of these frescoes many of them are almost completely effaced and others

have disappeared entirely. Of the combined work of Jacopo and Simone, the Circumcision of Jesus on the entry wall is in a good state of preservation
;

the composition comprises a large number of figures but they are for the greater part more characteristic of Simone's manner

than of Jacopo's On the left wall we see, above, some heads from an Adoration of the Magi; a Virgin amidst saints with an adorer kneeling at her feet, but only the last figure remains
clearly visible
(-)

which seems

to

a fragment of the Massacre of the Innocents be from Simone's hand the Ascension and the
;

Virgin with the Child. Of the scenes below, the first, of which only a few heads remain, cannot be interpreted; then we find
into the

the miracle of the paralysed man who is let down from the roof room where the Saviour heals the sick, a painting certainly by Simone; Christ curing other sick people combined with

the miracle at the pool of Bethseda (a fairly complete fresco)

(')

L. Frati, Jacopino de' Bavosi, pittore bolognese del secolo

XIV, L'Arte,

1911.P. 393.

Malvasia does not mention this fresco but instead describes one which to have been the Presentation in the Temple, under which appeared the signature of the two artists, Jacopo and Simone. Following on this were the Flight into Egypt, the Massacre of the Innocents and the Wedding at
(-)

seems

Cana.

420

THE SCHOOL OF BOLOGNA.

who was
taken in adulteiy brought before the

and the woman Lord (1).

The accuracy

of the information that

Malvasia furnishes

regarding the collaboration of the two artists has sometimes been questioned, but not only does the appearance of the painting
confirm
its

authenticity, but that the activity of the

is

two painters

was combined

ver}' evident in one ofthe pictures, which shows the name of only one ofthe artists. In the fresco ofthe miracle at the pool of Bethseda which Jacopo alone signed, two different

hands are clearly manifest, the one having executed the part on the left, the other the figures to the right, which are not only
different
in

appearance but also are of smaller proportions

altogether. The attribution of this part to Simone is indubitable. As for the figures that the painter Jacopo executed, we finci
that the proportions, the long shape of the faces, the sharp features and marked light effects resemble those in the works that I consider to be b}' the pseudo-Jacopo Avanzi; but it must be clear that even if we could attribute these panels and the frescoes at Mezzaratta to the same hand, it would in no way provide an}' connection with Jacopo Avanzi who signed the Crucifixion in Rome, even although a good many writers include it as a work of the above artist. Signor Filippini has rightly

protested against this error.

The artist to whom I attribute the panels I have just alluded to, was dominated b}' an influence of the Riminese school. His most typical work is a painting in the Vatican Gallery (no. loo) representing the death of St. Francis (fig. 210) (-). The dead saint
is

folded

stretched on his bier, his bare feet sandalled, his pierced hands above, two angels carry away his soul while behind is
;

a large number of followers. It is a work which clearl}" reveals that the origin of this master's art should be traced to the school of Rimini. The morphological t3'pes so peculiar to this

grouped

(^) Malvasia describes the fresco with the Miracle at the pool of Bethseda and says it showed Jacopo's signature then followed, according to him, the Resurrection of Lazarus, signed only by Simone, Lazarus at the rich man's table after which were other scenes, such as the Entry into Jerusalem and
;

the Last Supper. (-) F. M. Perkins, Rassegna d'Arte, 1906, p. 122. O. Si nil, L'Arte, 1921, p. loi, calls it a late work.

THE SCHOOL OF BOLOGNA.

421

Fig. 210.

Pseudo-Jacopo Avanzi, the Death of St. Francis. Vatican Gallery.

Photo Anderson

artistic school, the

sharp features and the elongated forms leave

to the truth of this statement.

us

in little

doubt as

Five predella panels, formerly in the Gozzadini collection, Bologna, nowin that of Mr. Piatt, Englewood, are, in this regard, just as
characteristic. They represent theNativity, underan openshelter, combined with the Adoration of the Magi (fig. 211), Mary Magda-

lene anointing the Saviour's feet, a Resurrection, an angel deliver-

422

THE SCHOOL OF BOLOGNA.

ing St. Catherine from her martyrdom on the wheel and the saint's
decapitation (^). An important crucifixion with many figures in the Acton collection, Florence, is executed in the same manner.

The other works

ner

b}'

the pseudo-Jacopo Avanzi, in

whose man-

detect no change, are preserved in the Pinacoteca of large pol^ptych (no. 159, fig. 212) shows, below in Bologna.

we

the centre, the Death of the Virgin and at either side, four small scenes arranged in two rows they represent St. Gregory and other saints pra3'ing on Traiano's tomb, the Annunciation, the
;

Nativity, the Adoration of the Magi, the Flight into Egypt, the Saviour at the age of twelve teaching in the Temple, the Ascen-

sion and Pentecost. Higher up, we findcentralh', the Presentation in the Temple while the six lateral panels show full-length figures of saints. In the terminals we see, in the larger central one the

Virgin supporting the dead body of her Son over His tomb, and in those at the sides, six half-length figures of saints. Another
painting of the Death of the Virgin in the same Galler}^ (no. 170) has man}' points in common with the principal scene of the above
polj'ptych
(-).

separately" certain connection

damaged Coronation of the Virgin with framed figures of saints is a work b}' the same artist.
rather

A between the art of the pseudo-Jacopo Avanzi and that of the real master of this name who signed the panel in the Colonna collection is evident in an altar-piece showing the Coronation of the Virgin and the Crucifixion (no. 161) and even more marked in a panel of the Crucifixion with several figures, and the pelican above the Cross (no. 160).
I

think

we

should attribute yet another Crucifixion

in

the

Bologna
(')

Gallery (no. 380) to the

pseudo-Jacopo

('").

Perkins, op. cit., and Rassegnad'Arte, 1911, p. 145. Baldaiii, op. cit., p. 451. Attributed to Simone dei Crocifissi by Mr. Langfon Douglas in Crowe and Cavalcaselle, op. cit.. Ill, p. 196 note. wlio does not differ(^) The following attributions made by Signer Baldaui, entiate between the two artists, are more doubtful Bologna, Pinacoteca, nos. 363 and 364, two panels with an angel and two saints sometimes
(-')
:

wrongly attributed to Simone dei Crocitissi (C'roive mid Cavalcaselle, ed. Langton Douglas, III and Filippiiii, op. cit., p. 96 note) no. 230, a Last Judgment with the Pieta below. I think these are sooner school works. As such Signer Baldaui rightly cites: no. 167, the martyrdom of St. Cristina; no. 383 St. Gregory writing at his desk. O. Siren. L'Arte, 1921, p. 25, wrongly attributes to Jacopo Avanzi a polyptych in the Vatican Gallery (no. 6) representing scenes from the Life of Christ. He believes it to be a 3-outhful
;

production.

THE SCHOOL OF BOLOGNA.

423

Fig. 211.

Pseudo-Jacopo Avanzi, the Nativity and the Adoration Piatt Collection, Englewood, N.J.

ot the

Magi.

424

THE SCHOOL OF BOLOGNA.

All the writers who, in studying Jacopo Avanzi, confound him with the pseudo-Jacopo agree in finding an influence of the Riminese painters in the works that have just been mentioned. This
is

incontestable. Moreov^er there are other examples of this

in-

fluence in Bolognese art. It is particularly to be noted in the miniatures of the "Canzone delle Virtu e delle Scienze" at Chantilly,

which were executed before 1349, since Luchino Visconti is mentioned as being still aliv^e (^). M. L. Dorez who has published this
manuscript(-)described the miniatures as Bolognese but executed under a Sienese influence. Signor Baldani on the other hand rightly discovers in them a resemblance to Baronzio's art. The subjects represented correspond to those with which Niccolo di

manuscript of 1354, now in the Ambrosiana and Signor Baldani concludes that perhaps Baronzio executed a series of frescoes in Bologna in which the virtues and sciences were depicted in a similar manner but which have entirely disappeared. This is obviously only a somewhat daring conjecture, but we have already seen thatRiminese artists were active in Bologna, at least it was Francesco da Rimini who adorned some walls of the S. Francesco monastery of this city where other Riminese artists as well are mentioned (^). Consequently Riminese elements in the work of a Bolognese painter are by no means surprising. Certain iconographical details in the pseudo-Jacopo's works, to which so far I have made no allusion, demonstrate to what an extent the artist was inspired b}^ the examples of this school. Thus, for instance, in one of the

Giacomo

illustrated a

Librar}',

Milan,

panels in the Piatt collection, we find the scenes of the Nativity and Adoration of the Magi combined, a peculiarity which, as I

have already remarked, the Riminese painters borrowed from

Roman school of the 13th century. In the panel of the death of St. Francis and in the large polypt3'ch in the Bologna Gallery (^no. 159) we note the gold texture in the clothing, so characteristhe
tic

of Riminese painting.

Moreover the picture signed by Jacopo Avanzi show's an iconographical peculiarity taken from the same school, viz. the
(')
(-)

F.

/v7/)!)/m/,

Bolletinod' Arte del Minist. della Pubbl.

cit.

Istr.,

L. Dorez, op.

miniatures to
(^)

Signor Filippini ascribes, without Andrea da Bologna.

cit.

an}"

V, 191 1, p. 59. grounds, these

Baldani, op.

p. ^28.

THE SCHOOL OF BOLOGNA.

Cross
to

425

which the Saviour is attached is made from the branches

for

of a tree.

Nevertheless I see no serious reason Avanzi and the pseudo-Jacopo Avanzi

confounding Jacopo

for they are

two

artists

Fig. 212.

Pseudo-Jacopo Avanzi, Polypt3'ch. Pinacoteca, Bologna.

Photo
Alinari.

whose style and temperament are utterly different, and furthermore the pseudo-Jacopo most probably belonged to thegeneration preceding Avanzi 's. The Riminese school flourished, as we saw,
at the

beginning of the

first

half of the Trecento and the activity

it

of an artist

who was

so directly inspired by

cannot be placed

426

THE SCHOOL OF BOLOGNA.

later than the beginning of the second half of the 14th century, while we have ev^ery reason to believe that Jacopo Avanzi was

At the most we might admit that the pseudoAvanzi was the master of the genuine artist of this Jacopo name, but this is only h3'pothetical and we can m no way be sure
still

alive in 1395.

about
It

it.

me possible that the painter who signed the frescoes church of Mezzaratta can be identified with the pseudoJacopo Avanzi; it is certainl}' rather curious that he, too, was called Jacopo, but, on the other hand, this coincidence may very
seems
to
in the

well be the only reason for the confusion which these

personalities
It is this

two artistic

have suffered. erroneous identification that has been the cause of the general unjustl}' severe judgment that has been pronounced on Jacopo Avanzo(^). Whilst the the pseudo-Jacopo reveals himself with the exception of the beautiful panels in the Piatt and Acton collections as a rather mediocre adherent of the Riminese

school, the real Jacopo Avanzi must, on the strength of the figure of St. John in his signed panel, be considered an artist of exceptional merits, displaying a vigour of draughtsmanship and ver}' advanced plastic effects which force us to qualify him as one of

the immediate precursors of the 15111 century- Florentine artists. All this, however, does not make me accept Signor Filippini's

hypothesis that the Jacopo Avanzi

Colonna

Galler}",

was

the

who signed the panel in the artist who worked with Altichiero in

points out that in order to differentiate these two artists, we should not take into account the pictures in the Bologna Galler}' which have been wrongl}' ascribed to the
rightl}'

Padua, but he

former.
painter whom

Jacopo Avanzi, just as much as that of the have called the pseudo-Jacopo Avanzi, constitutes an alien element in the Bolognese school. In neither one nor the other do we find those forms which at a later date characterize the art of this city, although the strong oppositions of light and shade that are displayed in the works ofthe pseudo-Jacopo show
art of the true
I
(')

The

Mr. F. M. Perkins, on the other hand,

is

of opinion that Jacopo Avanzi

the least gifted ofthe early painters of Bologna, if not the most talented of them all" [Crowe and Cavalcaselle, ed. Hutton, II, p. 159 note 5)

was "not

but he too identifies the pseudo and the real Jacopo Avanzi.

THE SCHOOL OF BOLOGNA.

427

Fig. 213.

Andrea da Bologna,

the Decapitation of St Catherine.

Photo Aiinaii.

S. Francesco, Assisi.

a faint connection with the chiaroscuro effects of the Bolognese painters of subsequent generations.

Almost as estranged from the general movement of the Bolognese school as these two painters was 3'et a third, Andrea da
Bologna
(^).

Cj F. Filippini, Andrea da Bologna miniatore e pittore del Bollet. d'Arte del Minist. della Pubbl. Istr., 191 1, p. 50.

XIV

secolo,

428

THE SCHOOL OF BOLOGNA.

Mention is made of him for the first time in 1368 when he was charged with the decoration of the tomb of the Spanish Cardinal Albornoz who, in 1362, had ordered the construction of the chapel
opposite the entrance in the Lower Church of S. Francesco, Assisi. The cardinal died in 1367 and was buried in this chapel. It was in all probability at this time that Andrea decorated the
entire chapel, for which work he received the sum of 450 florins (M. There are two extant works that he signed and dated,

the one the polyptych at Fermo of 1369, the other the of Pausola of 1372, both in The Marches.

Madonna
to us.

No

other facts concerning the artist have

in the

come

An

church of S. Francesco in Bologna in the Andrea worked first half of the 14th century and a painter called Andrea de' BartoH went to Pavia in 1365 to decorate the palace of Galeazzo Visconti(-),butin neither case do I think the record refers to our artist, the first on account of the date, the second because of the

name.

The decoration of the chapel, dedicated to St. Catherine, the Lower Church of Assisi is fairly important. The intrados
the entrance arch
side, five of
is

in

of

adorned with

which are bishops. At

six figures, three on either the feet of one of them kneels

the cardinal founder.

The

illustrations of the St.

Catherine legend

(')

The documents concerning

the decoration of this chapel

were found

in

Bologna by Signor sometimes attributed

were Filippini. Prior to their discovery the frescoes to a certain Pace di Bologna. This is a mistake, even

although traces of Pace's activity are found elsewhere in the church of S. Francesco and the inscription on the cardinal''s tomb was painted by him. He was employed on the more ornamental part of the decoration, together with Giovanni di Maestro Nicola and Angelino di Corrado di Novarello.

Vasari who confounds him with Pace da Faenza (ed. Milanesi, \, p. 405) informs us that he adorned the chapel of S. Antonio. The sum required for this decoration was bequeathed only in 1360 (C. Fea, Descrizione etc. della Basilica, etc. di S. Francesco d' Assisi, Roma, 1820, p. 1 1) while the painter Pace is mentioned in a register of the accounts of the church in 1354. {G. Frafini, Storia della basilica e del convento di S. Francesco in Assisi. Prato, Thode, Franz v. Assisi 1882, p. 192). This confirms Fasar/'s statements v.

Anfange der Kunst der Renaissance in Italien, 21'' ed., Berlin, 1904, p. 301. Regarding Cardinal Albornoz's activities at Assisi, v. also Fil'ppiui, Rassegna d'Arte Umbra, 1910, p. 55.
u. die
{^)

F.

Fi/ipp/iii,

op.

cit.,

p. 57.

THE SCHOOL OF BOLOGNA.

429

Fig. 2T4.

Andrea da Bologna, Polyptych.

1369. Gallery,

Fermo.
Photo Alinari.

430

THE SCHOOL OF BOLOGNA.

begin below on the right, where we see her conversion and her mystical marriage. Above is depicted the saint at the court of Maxencius; on the left she is represented in dispute with the
to philosophers who, below, are burnt at the stake. Returning the right wall we find the Empress Faustina visiting her in prison and the beheading of Faustina, while opposite the frescoes show the angels delivering St. Catherine from her martyrdom on the

wheel, her decapitation, and angels burying her on Mount Sinai the borders between the fres(fig. 213). The groins of the vault, coes and the window embrasures are adorned with figures of
saints

and the cardinal's coat of arms. Signor Filippini is of opinion that the same artist also designed the window decoration but there is no sufficient reason for believing this to be true (^). In a passage, leading to the first chapel to the right of the nave of
the

same church, which

is

is

known

as the oratory of S. Lorenzo,

there

hand

a representation of the martyrdom of this saint from the of the same artist, to whom, moreover, it has been attributed,
critics find that
(-).
it

although some

only betrays a connection with

this painter's art

Andrea da Bologna's second authentic work is a polyptych in the Fermo Gallery (fig. 214). The principal panel is occupied by an image of the enthroned Madonna at whose feet we read ''MCCCLXVlUde Bononia Nat. Andreas fccir. On the panels
:

adjoining the central one we see on the right St. Catherine with the wheel and to the left a group of nuns presented by two holy monks. On the extreme left is represented the nativity of St.John while next to it we find the father writing down the
(fig.

215),

name of his son (fig. 216). The corresponding panels on the right show two visions of St. John the Evangelist on the Island of
Patmos. In the
(^)

left lateral

terminals

we

see an angel appearing

vitrate del' 300 nella Basilica inferiore d'Assisi, Rassegna d'Arte, 1909, p. 153. E. Giitsti, Le vitrate di S. Francesco in Assisi,

/ Cristqfani,

Le

Milan (1911),
Assisi,
(-)
I,

p. 300.

B. Kleinschtnidt,
53. Thode, loc.

Der Basilika von

cit.,

S.

Francesco

in

Berlin, 1915, p. 237.

cit., p.

Filippini, op.

associates with the painter

who

executed the frescoes in the St. Catherine chapel, a painting of the Madonna enthroned between SS. Francis and Antony which we find on the wall to the left of the entrance in the Lower Church. It is a work executed in the manner of Ottaviano Nelli probably by Ceccolo di Giovanni as we shall see in

Vol.

V and bears no

resemblance

to the frescoes in the chapel.

THE SCHOOL OF BOLOGNA.

431

Fig. 215.

The

Nativity of St. John the Baptist. Detail of fig. 214.

Photo Alinari.

432

THE SCHOOL OF BOLOGNA.

Meeting at the Golden Gate and the Baptism two scenes are placed in the interior of a house

to Zacharias, the

of Christ; the

first

and are rather unskilfull}' rendered. To the right are three illustrations from the life of a hoh' bishop, and in the centre the Crucifixion with the Virgin and St. John at the sides, and over the Cross a pelican in its nest. The pedestal of the picture is adorned with twelve medallions containing half-length figures, many of which, however, are badl}' damaged or have entirel}'
disappeared.
picture of 1372 is a Madonna of Humihty it is found in the Town Hall of Pausula but belongs to the church of S. Agos;

The

is

a profusion of decorative detail the Virgin represented sitting on the ground nursing the Child. Below the signature runs: ''Dc Bononia Natiis Andreas .fatii A. D.
tino
(fig.

217).

With

MCCCLXXir.
Of
the various w^orks attributed to Andrea,
I

can only accept

Death of the Virgin in the Ancona Galler}' (no. 14, made by Signor L. Venturi, and this not without a fig. 218) certain reserve, since the technique is here more typically Bolognese than in the signed or documented works. The Virgin's bier is surrounded b}" Apostles while in the background the
that of the

Saviour in an aureole, accompanied b}' angels, holds the image of His Mother's soul(^). A peculiarity of this painting is the dominating cherr3'-red colour. On the question as to whether Andrea da Bologna belongs to the Bolognese school or to that of The Marches, opinion is
divided. Signor Baldani for instance, denies that the artist belonged to the Bolognese group of painters, and according to him

butions with which

Le Marche, L'Arte, 1915, p. 13. The other attrido not agree are a Coronation of the Virgin with six lateral figures made by Signori Astolfi and Colasaiiti.i L'Arte, 1902, p. 193 and 1907, p. 4131 which I have alread}^ included in the Venetian school (v. Vol. IV. p. 88) a polyptych representing the Madonna. Nativity, Adoration of the Magi, Resurrection and Ascension in the Ascoli Piceno Gallery (^.
(1)

L. Venturi,

traverse
I

J^eniitri,

Storia

dell'

Arte

italiana. VII, p. 184

rightly ascribes this

p. loi,

gives to

work to a Andrea a triptych

L. J 'en f tin', op. cit., p. 14, pupil of Andrea's. O. Siren, L'Arte, 1921, in the Johnson collection, Philadelphia, and
;

somewhat

hesitatingly a Nativity in the Vatican Gallery (no. 172). Filippini, op. cit., believes, as I have already said, that Andrea executed the miniatures of the codex of the "Canzone delle virtu e dalle scienze" at Chantilly.

THE SCHOOL OP^ BOLOGNA.

433

Fig. 216. Zacharias writing the

name of his

Son. Detail ot

fig.

213.

Photo Alinari.

IV

28

434

THE SCHOOL OF BOLOGNA.

the signatures on the two works in The Marches only state that the master was born in Bologna from which it may be inferred that there was a difference between the city of his birth and the

one

in

which he resided. Senator C. Ricci

{^)

also finds that the

connection between the painting of The Marches and Andrea's art is evident while Mr. Perkins (-) thinks that he was inspired

by Francescuccio Ghis^i, one of the artists whose productions are very typical of this school with which we shall deal in the next volume. Signor Venturi, on the other hand, considers Andrea as
belonging to the Bolognese school nevertheless he described the frescoes at Assisi (before the discovery of the document proving them to be by Andrea) as the work of a ''Marchegiano" who had borrowed certain elements from Romagnole paintings and whose
;

art

was not devoid

{*)

of a Sienese influence

(^j.

Signor Colasanti

is

of opinion that Andrea's connection with

The Marches has been

exaggerated

while Signor Filippini finds that Andrea's art is composed of Giottesque and Sienese factors (^). This difference of opinion regarding an artist who so obviously

belongs to a definite school, seems to me incomprehensible. The Madonna of Humility at Pausula is nothing but a free copy of the of pictures by Allegretto Nuzi and Ghissi, the two chief artists
the school of The Marches.

Not only

is

even

to the

moon

at the Virgin's feet

the composition identical but we find the same

tendency to emphasize the contours and an almost complete lack

of plasticity.

The
ly

outline plays the

this

most important part

in the art of
is

The

Marches and from

Marchegian.

standpoint Andrea's Madonna

said of the figures in the

thorough-

The same may be

Fermo polyptych,

and we may further note here the peculiar proportions which are so characteristic of this school, in which the upper part of the body is often too long. In the frescoes of Assisi, however, we find certain persons whose general appearance and, above all, whose

C i?/Va,
1906.
(-)

La

pittura antica alia

mostra

di

Macerata, Emporium, March,

F.

M. Perkins. Rassegna d'Arte.

cit.,

1906, p. 51, coll. 2 note 2.

(^)

A. Venturi, op.
Colasanti, op.
Filippini, op.

V,

p. 862,

(*) (^)

cit.

cit.,

p. 58.

**
*.* *

*^*i^ *^t*..

^'^^L.

AmiMtiiJS^k'Mi

Fig. 217.

Andrea da Bologna, Madonna,

Pausula.

1372.

Town Hall,
del.

Photo Minist.

Pubbl.

istr.

436
realistic

THE SCHOOL OF BOLOGNA.

and not always beautiful facial expression show more connection with the Bolognese manner; this is also manifest in the Ancona panel. Moreover the Pausula Madonna, whose form
is

more robust than we find in painting of The Marches, clearly reveals the Bolognese origin of the artist. I admit, consequently, that the master was a native of the town after which he is named, but working chiefly in The Marches, he was influenced by the
art of this region. This would also explain the Sienese elements that we have observed in his works, because the school of The Marches w^as

founded by Allegretto Nuzi,

in all probabilit}^ a pupil of

Bernardo

Daddi who, among the Florentine artists of the period, was the one most inspired b}' Sienese painting. Andrea's sojourn in The Marches must have been of considerable length since already in the frescoes at Assisi which were executed some 3'ears before the two pictures still to be found in The Marches, we note a
fairl}'

strong influence of the Marchegian school. Nevertheless Andrea never entirely lost the characteristics of the art of his native town. It is to Bologna that he owes the

dramatic animation and realism of action evident

at Assisi,

in the frescoes

and also a certain coarseness, which we meet within works of some of his compatriots, such as Simone and Jacopo di Paolo, and from which the painters of The Marches were quite free. He was, however, in constant touch with Bologna which
the

explains

how

Cardinal Albornoz,

who

resided there, selected

Andrea
to

for the decoration of the chapel

which he had ordered

be constructed. It is in the second half of the I4thcentur3' that we find a prodigious pictorial output in Bologna, manifest not only in painting itself but also in miniature art, innumerable specimens of which
are scattered throughout the different European libraries (^). Simultaneously' with this abundance of production we note that
the quality deteriorates, and the Bolognese art of the second half of the Trecento is characterized by a negligence and coarseness

One of the artists active at this period was a certain Beltranimo who mentioned in documents of 1369 and 1370, in the latter of which 3-ears he had passed the age of 25. There exists a poem in honour of this artist, /-. Fratiy Beltranimo da Bologna, pittore del Trecento. L'Arte, 1916, p. 161.
0}
is

THE SCHOOL OF BOLOGNA.

437

Fig. 218.

Andrea da Bologna,

the

Death of the Virgin. Gallery, Ancona.

Fhoto Minist.
del. Pubbl. Istr

438

THE SCHOOL OF BOLOGNA.

show
that the art of painting

had developed into a veritable industr3\ The redeeming qualities of Bolognese works are the animated action, the realism and the dramatic force, even when these effects are obtained with an absolute
of execution which

disregard of the aesthetic.

In miniature, an art in which the fineness of execution is often one of the principal qualities, the coarse clumsy forms are even more evident than in the frescoes and the panels; the best are those in which we find reminiscences of Niccolo di Giacomo's art (fig. 219) (^); while the worst are of an almost barbarous

appearance
is

(fig.

220).

The most
Simone

characteristic

member

of this

new group

of artists concon-

dei Crocifissi

siderable number, for

whose signed works we possess in he was a fairl}- productive artist, and

cerning whom we have several documents. Unfortunately there are but few of his works that can be dated w^th an}^ precision.

His name appears for the first time in a record of 1355 in which he is mentioned as "Magister Simon quondam Philippi pictor",
being one of the "ventiquinquene
di

hominum

capelle S.

Domini

quartero porte S. Proculi" (-)

He was the son of a shoemaker called Filippo di Benvenuti. In 1359 he married Donella di Gerardino di Giovanni di Conte di Cavalli, a relation of the painter, Vitale, and had two daughters.

He

is

mentioned again

in

1363 and

in

1365

when

his father-

in-law, Dalmasio, a painter and the father of Lippo Dalmasio, appointed him his attorne}'. In 1366 we find him signing aeontract

with the prior and the "massaro" of the confraternit}' adjoining the church of Mezzaratta in which he undertakes to execute five frescoes representing scenes from the Old Testament on the east wall of this church, receiving for each one the

G. Leidiiiger, Meisterwerke der Buchmalerei am Handschriften der Bayerischen Staatsbibliothek Munchen, Munchen, 1920, p. 29, attributes the
(^)

miniature that
clearl}- a

I reproduce to the Veronese school, but in my opinion it is Bolognese miniature reminiscent of Niccolo di Giacomo's art. cura della R. Deput. di Stor. {') Baldani, Documenti e Studi pubbl. per Patr. per la Romagna, III, p. 460. For other documents, v. L. Frati, Dalmasio e Lippo de' Scannabechi e Simone dei Crocifissi, Atti e Mem. della R. Deput.

di Stor. Patr.

per

la

Romagna, Serie

III,

vol.

XXVII,

19C9, p. 209.

THE SCHOOL OF BOLOGNA.

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439

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Photo. Riehn and Tietze.

440

THE SCHOOL OF BOLOGNA.

of 25
lire
(}).

sum

In 1380 he

was

elected magistrate for the

months of September and October, Simone made two wills, one in 1397 and the other in 1399, in both of which the miniaturist, Niccolo di Giacomo, is nominated executor (-). Simone at this time was living in the parish of S. Damiano. His testament leads us to suppose that the proceeds of his great activity were considerable. He expresses therein the wish to be buried near the church of S. Domenico. We find the artist's name on only one dated work, the crucifix in the church of S. Giacomo Maggiore which bears the date 1370; Malvasia, however, informs us that at the head of the stair-

way

of the "foresteria" in the monastery of S. Francesco there

was a Coronation of the Virgin signed and dated 1377, but this work has since disappeared (^). Seeking for other dates concerning the artist,
in the

can admit that the picture of Urban V Bologna Gallery possesses to such a marked degree the
I

think

we

assets of a genuine portrait that we may safely say it was executed during his pontificate, consequently between 1362 and
1370. It is probably the head of the same Pope that we find at the foot of another picture in the Bologna Gallery; while a Pieta

Davia Bargellini Gallery was executed in accordance with the will of Giovanni di Eithinl who died in 1368 (^).
in the
It is very regrettable that we have no more precise indication regarding the evolution of Simone's art which shows a good deal of diversity, and it would have been of the utmost importance had we been able to establish a more exact chronology of

his productions.

Nevertheless we can distinguish fairly clearly two manners, one of which betrays a certain dependence on the preceding generation of artists, and especially on Vitale, for which reason we may suppose it to be Simone's first manner; while the other

shows many of

Bolognese school of painting

the characteristics peculiar to the subsequent in which the coarseness of drawing,

(^) I do not know why Signor Baldaiii, op. cit., p. 464, doubts whether it was Simone who executed these frescoes. (^) Baldani, op. cit., makes the mistake of reversing the roles when he says that Niccolo di Giacomo was the testator and Simone the executor.

(^j
("*)

Malvasia, op.
Ricci,

cit.,

p. 30. p. 85.

Guida

di

Bologna,

THE SCHOOL OF BOLOGNA.

441

Fig. 220.

Bolognese Miniature^

2"'^

half of the 14'h century. Decretales

Gregorii IX, Library, Munich.

Photo Riehn and Tietze

442

THE SCHOOL OF BOLOGNA.

and a general lack of beauty are the predomart

the large shadows inating features.

between the paintand that peculiar to Simone dei Crocifissi, are to be found in a few small panels in the Museum of Nancy (France), representing the Crucifixion and some scenes from the lives of martyrs (fig. 221). These paintings undoubtedh" belong to the Bolognese school on account of the drawing of the faces and the helmeted soldiers w^hich we find later in Simone's productions, but the types are too subtle and the drawing too fine for us to ascribe them with certaint}' to this artist; the}' might, however, be a work of his youth.

Examples of the
first

which was

transitional

ing of the

half of the 14th century

Although the

facial

types in the large poh'ptych

in the

Bologna

Galler\' (no. 474,fig. 222) have already acquired a certain amount of individualit}', Vitale's influence is still manifest. The principal

panel shows the Coronation of the X'irgin with angels looking over the back of the throne and a tin}' figure of the donor kneeling below. Each of the six lateral panels is occupied by a figure of a saint. Higher, we see in the centre the Crucifixion and at the sides six

smaller figures of saints. The terminals show centrally the Resurrection of Christ and a third series of saints, this time still
smaller.
It is

recorded that originallv

this altar-piece

possessed a

composed of five illustrations from the Life of Christ (^). This large polypt^'ch does not lack either fineness of execution, find that same Sienese grace of form or nicety of feeling. element which made Vitale's paintings so attractive and which
predella

We

produces something of the same effect here. At the foot of the central panel we read: "Symoji dc Bononia fecit hoc opus\ It is one of the two signatures in which the artist calls himself after
town; the other was on a work mentioned byMalvasia which has since been lost. Another Coronation of the Virgin in the same Galler}' (no. 164, fig. 223) shows a considerable fineness of execution and feeling but the forms have become less graceful. The Saviour is depicted sitting on the same long seat as the Virgin who clasps
his native
(M Oretti's

manuscript furnishes us with

this fact, v. G^r^r/V/t,

Rassegna

d'Arte, 1906, p. 167.

THE SCHOOL OF BOLOGNA.

His
left

443
right.

hand as he places the crown on her head with His

figures, behind whom is seen a cross, are enclosed in an elliptical aureole surrounded by angels. Below their feet the words '^Syuion fecif are inscribed.

The two
:

Fig. 221.

Simone

dei Crocifissi

(?),

two

hol}^ Mart3'rs

taken to prison.
Photo BuUoz.

Museum, Nancy.

The

first

of the three paintings which can be dated

more

or less approximately, is the image of Pope Urban V in the Pinacoteca of Bologna (no. 340, fig. 224). The Pontiff is depicted full-face, bestowing a blessing and holding the portraits of SS.
Peter and Paul; a litde angel is seen behind either shoulder while higher up two other angels place the papal tiara on his head, towards which the Holy Ghost descends.The signature "Symon
:

fecif, and the inscription: ''Beatus Urbanus papa

qiiintus'" 3X&

444

THE SCHOOL OF BOLOGNA.

Fig. 222.

Simone

dei Crocifissi, Polyptych. Pinacoteca, Bologna.

Photo Anderson.

painted at the foot of the panel. A very reahstic detail and one which the painter has made very evident is the Pope's squint. The second picture is the Pieta in the DaviaBargelHni Gallery in w^hich Giovanni di Eithinl, who died in 1368, is represented,

THE SCHOOL OF BOLOGNA.

445

Fig. 223.

Simone

dei Crocifissi. the

Coronation of the Virgin.

Photo Perazzo.

Pinacoteca, Bologna.

while the third, which can be dated exactly, is a large crucifix the of the Giottesque type in the chapel of the Cari family behind the choir of S. Giacomo Maggiore. third on the right

We
John

find

God

at the sides

the Father represented above, the Virgin and St. and two figures at the foot of the Cross where

the painter has inscribed his

name and

the date:

''

Symon fecit

hoc opus An.

MCCCLXX".

446

THE SCHOOL OF BOLOGNA.

There
is

crucifix in the
S. Stefano;

a very similar Museum of

it

is

perhaps

even a little larger. Of the two figures at the

foot of the Cross one
is

here that of

St.

Mary

Magdalene. The artist has again signed this work but without giving
the date.

We can, howadmit that these ever, two crosses were executed about the same time,
because not only their
appearance, but also the technique is identical.
In
all

the

works of this

little

is

group the treatment thorough and the

is

drawing correct but there no trace of elements due to a Sienese influence; these have been replaced

by a vivacity of expression and a somewhat

vulgar

individuality of

facial types.

The

graceful

forms have also under-

gone a change, being now larger and more robust. There are some works in which this tendency is
not yet very pronounced. The first of these is a
little

picture of a curious shape in the Bologna

Gallery (no. 162, fig. 225) which may also

Fig. 224.

Simone dei Crocifissi, Pope Urban V. Gallery, Bologna.

Photo Poppi.

THE SCHOOL OF BOLOGNA.

447

date from the time of Urban V, at least one would say that the bust depicted on the right as pendant to that of St. Theresa is

an image of

this Pontiff.

The Saviour and

the Virgin are seated

Fig. 225.

Simone

dei Crocifissi, the Crucifixion and Christ and the Virgin Photo Perazzo. enthroned amidst saints. Gallery, Bologna,

in the centre in the

present the see Our Lord on the Cross between the Virgin, St. John, Mary Magdalene, St. Antony Abbot and St. Augustine, while to the

donors who

midst of the kneeling Apostles two saints kneel one on either side. Above we
;

extreme

left and right are the figures of the Annunciation. The of the signature "Symon fecit hoc opus' which we position find below the principal figures, proves that this picture is not
:

448

THE SCHOOL OF BOLOGNA.

a fragment as the busts at the sides might have otherwise led

us to suppose.
In the collection of the senator, Count Giovanni Gozzadini, which was broken up in 1906, there was an unsigned picture by Simone showing the Coronation of the Virgin and the Crucifixion, with the Saviour and the Apostles in the predella, and above, the Trinity, adored by four angels, and the figures of the Annunciation in the lateral pinnacles (M. It was a characteristic work of Simone's and bore a strong resemblance to the foregoing
picture.

A
little

still

rather pleasing

heavy and the

facial t3'pes

work but one in which the forms are a somewhat vulgar is a Coron-

ation of the Virgin in the

fig.

226)

Museum of Troyes (France) (no. 269, The embroidered curtain which forms a background (-).
is

held up by four of the nine angels whose heads appear behind the back of the throne. The Twelv^e Apostles kneel in adoration at the sides.
to the principal figures

Comparing another large polyptych

(no. 163) with the one

in the Caller}' of

Bologna

we have

already considered (no. 474)

we

observ^e a marked decadence in Simone's art. It is again the Coronation of the \Mrgin which comprises the principal part of this altar-piece; seven angels look on from above while higher up we see the Crucifixion with the X'irgin, St. John and Mary

Magdalene. In either row there are six lateral saints, those of the lower one are full-length figures while those in the pinnacles are only half-length. The polypt3'ch came originally from the monastery of S. Michele in Bosco.

Another comparison which should be made

is

that

the Crucifixion in the first big pol^'pt^'ch (no. 474), executed under Vitale's influence, and a panel representing the

between which was

a slight

same subject
will

in the

author's collection
in the

(fig.

227).

Only

change composition, but the technique has altered considerably. There is certainly no lack of dramatic force
be noted
the exaggerated facial expressions are in some instances grimaces, while the methods that the artist has employed to obtain certain effects are somewhat crude, the thick
in this picture
;

(^)

Baldani, op.

cit.,

reproduces

it,

pi.

X.

(^)

Formerly

in the et les

Campana
musees

collection, v. P. Pedrizet et R. Jean,

p. 34. no. 337.

La

galerie

Campana

francais, Bordeaux, 1907,

THE SCHOOL OF BOLOGNA.

449

Fig.226.

Simonedei Crocifissi. the Coronation of the Virgin. Museum, Troyes.

Photo Bulloz.

IV

29

450

THE SCHOOL OF BOLOGNA.

outlines and large shadows being particularly prominent. It is to this manner in the artist's career that belong those frescoes in

the church of Mezzaratta with

which we have dealt in connection

with Jacopo Avanzi. The figures to the right of the scene of the miracle at the pool of Bethseda, for example, show a striking resemblance to those of the above-mentioned panel. To the same

group of works belongs a picture of the Madonna

cordia, preserved The erect figure of the Virgin, beside holds her cloak open above the adorers,
in the villa of

della Miseri(^).

Prince Potenziani at Rieti

whom we see six

angels,

two groups, the men

to the

left,

who are arranged in the women to the right. Li spite

of the coarseness of the drawing, the painting is interesting on account of the marked individuality and animation of the faces.

The work is signed ^Synion pinxit hoc opiis\ In some of Simone's productions we note an even more inferior technique and an absolute lack of desire to create a work of any
:

artistic

value; they have

all

the appearance of mediocre provin-

cial pictures.

The most
career
is

characteristic production of this stage in Simone's a Coronation of the Virgin, painted on canvas, in the
(fig.

Museum
ugly.

of Pesaro

228)

the eight angels looking

and (-). The two principal figures down on them from above are equally

signature, "Syinoii piiixif\ leaves us, however, in no doubt as to its being an authentic work. Coronation of the Virgin which I saw recentl}^ for sale in Florence is certainly from the

The

hand of Simone, and but little superior to the foregoing work. To this same manner, which was probably that of Simone's old age, belong two panels in the Museum of Compiegne (France), a Pope representing a saint being crowned wdth a mitre by the same beaten to death at the and a saint perhaps (fig. 229) altar before which he had been saying mass (^). The two panels,

(1)

U. Giio/i,

Un

dipinto sconosciuto di

Simone

de' Crocifissi.

Rassegna
e
il

d'Arte, 1912, p. 47. {-) G. Vaccnj, Pesaro,

Bergamo,

1909,

108. L. Scrra,

La Pinacoteca

Museo
(^)

di

Pesaro, 2"^

ed.,

Pesaro, 1920,

p. 14.

Formerly in the Campana collection, v. Perdrizct ct Jean, op. cit., p. 24, nos. 175 176. These authors are of opinion that the scenes illustrate the life of St. Thomas a Becket but this hardly seems likely as this archbishop was killed b}' the sword of a soldier.

THE SCHOOL OF BOLOGNA.

which

451

originally seem to have belonged to one altar-piece, are as crude in their technique as the canvas at Pesaro (^).

(') There is no lack of Simone's works, among which I shall cite the following: i?o/o^;w, Pinacoteca, Madonna and ten angels signed "Sy/wo/m/ hoc opus'' (unnumbered) Sta. Maria Incoronata, Coronation of the Virgin on
;

the altar (Ricci, Guida etc., p. 113); the dispersed Gozzadini collection, a Coronation of the Virgin signed "Simon piitxit hoc opits" which was acquired

by Mr. Langton Douglas

selle ed. L.

(v.

Baldani, op.

Douglas,
(v.

III,

p. 196 note)

cit., p. 465 and Crowe and Cavalcawhile anotiier Coronation of the Virgin,

showing the same

Japs, Berlin
Uffizi, no.

signature, passed from this collection into

thatofHerr
Florence,

Baldani and

Crowe and

Cavalcaselle, loc.

cit.).

260 (old number), the Nativity, signed "Synion pi ".Modena, Pinacoteca, no. 24, Madonna in the midst of ten angels, signed "Sywo///fr/7 hoc opns". Paris (for sale in 1923) triptych with the Virgin in the central panel and a saint in each of the wings.

The following paintings are executed in Simone's manner: Bo/og>ni, Pinacoteca, no 601, seven scenes from the life of the Madonna; S. Martino, right wall, fragment of a Crucifixion; Museum of S. Stefano, three figures of
saints,

collection, SS.
^6^]).

two panels each with three saints, and the Entombment; Gozzadini Andrew, Antony and the Annunciation (Baldani, op. cit., p.

Faensa, Pinacoteca, half-length figure of the dead Saviour. /?o/^, (for sale in 1909, Baldani, op. cit., p. 466), triptych, the Crucifixion in the centre with three saints and a figure of the Annunciation in each wing. Some works inspired by Simone's manner are: Bologna, Pinacoteca,

Bernard dei Tolomei, monks and nuns; S. Giovanni in Monte, chapel to the right, a crucifix S. Domenico cloister (now an elementary school), a fragment of the Trinity (the word "Peiriis'' is found on this paintno. 166, St.
'i
;

Guida etc.. p. 6 r, informs us that the signature read "Petriis Johannis" and believes in accordance with Crowe and Cavalcaselle that it is the signature ofPietro di Giovanni de Tovaglis who was active between 1410 and 1453. Baldani, op. cit., p. 470, is of the contrary opinion and does not think that the signature has anything to do with this artist); Museum of S. Steiano, crucifix with four saints below, considerably damaged Gozzadini collection, SS. Francis, John the Baptist and above Petronius andZamas. Florence, (for sale in 1922, the same was for sale in Rome in 1918) an imporing. C. Ricci,
;

tant panel of the Crucifixion with the three crucified, a large people and St. Francis at the foot of the central cross.

number of

A certain number of works are known to us only from old records. In Malvasia op. cit., p. 30, we find, besides the frescoes at Mezzaratta of which the Resurrection of Lazarus was signed, and the Coronation of the Virgin of 1377 that I have already mentioned, a crucifix in S. Martino (apparently a different work from the Crucifixion that I have just included with Simone's school works); another in S. Pietro signed "Simon fecit hoc o/z^s"; a Madonna in S. Petronio a Coronation of the Virgin in Sta. Margherita and a painting of the titular saint on the altar of the same church; a Madonna pinch;

452

THE SCHOOL OF BOLOGNA.

at

Simone dei Crocifissi's work it may seem extraordinary that his surname was taken from the subject of the Crucifixion since the number of Coronations of the Virgin
Glancing back
that he has depicted
is

frequenc}^ with which Venetian school which had for

The

far greater. this subject

it

appears recalls the

a special predilection. The complex form of his polyptychs may also be accounted for by his knowledge of this school, the works of which were not rare in Bologna. His manner of painting however is in no way Venetian but derives directly from the older Bolognese artists whose style he disfigured with his coarseness ot technique. In
his

vigorous forms and popular dramatic feeling we find elements

direct Giottesque tradition to

borrowed from the

It is

which the

t3'pe

of his crucifixes also belongs.

art his

enormous output that has made us qualify Simone's as an industr}' and although he was a fairly gifted painter, paintings as a whole offer us but little artistic enjoyment.
his de'

Lippo Dalmasio
manifestly
safely sa\- he

Scannabecchi
b}'

('),

in

one of his works,

the

is

so

influenced

Simone
father,

dei Crocifissi that

is

we may

was

his pupil, a fact that

it is

was Simone's nephew. His

true,

more likely as he was also a painter.

ing the Child's ear. in the subterranean church of S. Michele in Bosco (the annotator ofMalvasia's text states that this picture was in the Pinacoteca

but there

is no work in the collection corresponding to this description although one of the polyptychs (no. 163) comes from this church); it was signed "StiHon de Bononia fecit hoc opus" which is the same as the inscription on the other polyptych in the Gallery (no. 474). Malvasia further mentions some frescoes in the cloister of S. Domenico, in which two Barons Alemanni were represented receiving fiefs from the people a Madonna in Sta. Maria
;

Maddalena

agli Orfanelli (p. 32).

The annotator

states that a

Madonna

in

the portico dei Bolognini of S. Stefano, attributed by Malvasia to Lippo Dalmasio (p. 35), was, according to the signature, a work from Simone's hand and only restored by Lippo; the subject however would point to

Lippo and not Simone as

its

author.

Malvasia also speaks of two Coronations of the Virgin and a Madonna in the Vatican but these works have disappeared. Laderchi, Descrizione della Ouadreria Costabili a Ferrara, Ferrara, 1837, mentions a triptych representing the Virgin and some saints, showing Simone's signature. (') L. Fratti, Dalmasio e Lippo de' Scannabecchi.

THE SCHOOL OF BOLOGNA.

He was
he
is

453

various records of him

Dalmasio and was born about 1324 ('). There are in Bologna while in 1365, 1380 and 1384 mentioned in Pistoia. In 1365 when he left for Pistoia he
called

Fig. 227.

Simone

dei Crocifissi, the Crucifixion. Author's Collection.

we saw, Simone to direct his affairs in Bologna. was born about 1352 and he must have accompanied his Lippo father to Pistoia since his wife, Antonia di Paolo Sali, was a
appointed, as
native of that town.
(M L.Fratti, op.
c\t.

Scannabecchi family,

v. Gtiidiriiti,

Zani, Enciclopedia, XVII, p. 93. For the origin of the Cose notabile di Bologna, I, p. 428.

Fig. 228

Simone

dei Crocifissi, the Coronation of the Vii-gin.

Museum, Pesaro.
Photo Minist.
del. Pubbl. Istr.

THE SCHOOL OF BOLOGNA.

He had
As
five children;

455
1410
(^)

he made his will

in

and died

before 1421.
for his

works, Mai vasia

oil

(-)

mentions a Madonna of 1376

painted with

colours in Sta. Maria di Borgo Panicale and

Fig. 229.

Simone

dei Crocifissi, a Saint ordained Bisliop.

Museum,
Photo Bulloz.

Compiegne.

another dated 1391 near the church of S. Andrea. In 1393 he a Madonna for the painted, together with Antonio Otonello, the dragon (^). altar of S. Petronio and a St. George with

(')
(-)

T. Gerevich,

Rassegna d'Arte,
cit.,
I,

1906, p. 178 note

i.

Malvasia, op.

p. 35.

as 1395; Bolognini Ainorini, op. cit., p. 17, gives the year others but corrected by L. Frafti, L' A rte, 1910, p. 216. repeated by
(3)

this is

456

THE SCHOOL OF BOLOGNA.

No doubt the date at the foot of a little panel of the Coronation of the Virgin in the Pinacoteca of Bologna (no. 500) should read 1394, although the 9 not being very clear some writers have
misread
it

as 1324

The

date 1397

is

which is impossible. seen on a signed Madonna intheMisericordia

church and MaK^asia records a painting of 1400 in the Bolognetti Palace, another of 1404 in the church of S. Pietro (^) and one of 1405 in the Guidalotti chapel. Two years later Lippo signed a Madonna on a pillar of the church of S. Petronio ''Lippus Dalmaxii pinsit 140^'. This fresco was white washed in 1859 (-) after its discovery it was detached from the wall and brought to the little museum of the church but the inscription has disappeared. In 1409 he made another contract to execute a crucifix. Malvasia
:

mentions a Madonna of the same date that was preserved in the church of Ceredolo. This writer dwells at considerable length on Lippo and even reproduces his portrait. He informs us that this artist invented oil-painting, that he was extremely pious and always said his prayers before starting to paint and that he

became a monk. According to him, Pope Clement VIII granted special indulgence for his Madonna over the door of the church of S. Procolo, while several popes possessed Madonnas from his hand. At least part of this account is false forweknow that Lippo
never joined a monastic order. Malvasia, however, also speaks of Guido Reni's admiration for Lippo's art and this, naturally, may
contain
truth. It seems certain that Lippo was just as an artist as his uncle, Simone. Fewer of his works productive have survived, but Malvasia enumerates more than thirty paintings extant at his time and does not even include in this list some of those which we still possess. Others are mentioned by Bolog-

more

nini

Amorini.
Lippo's works that have come down to us there is said, that reveals him as a faithful follower of Simone
;

Among
one, as
I

dei Crocifissi

it is

the Coronation of the Virgin in the Pinacoteca

of Bologna (no. 500, fig. 230), consequently not only the style but also the subject reminds us of Simone. The composition too.
(1)

Vasari-Milanesi, op.

cit.,

II,

p. 15,

seems

to place this painting in the

in the signature as

church of S. Francesco.
(-) Vasari-Milanesi, "dal Maxii".

II,

p. 15.

Malvasia gives the name

Fig. 230.

Lippo Dalmasio, the Coronation of the Virgin.

Gallery, Bologna.
photo Perazzo.

458
is

THE SCHOOL OF BOLOGNA.

row of angels' heads appear behind The apex of the panel is adorned with a God the Father bestowing a blessing and
:

similar to this artist's, for a

the back of the throne.

half-length figure of

holding an open book.

The

Dalmase f. per Redolfo di

inscription at the foot runs "1J94 di 24 de Avrilc Lipo di uibertini". The panel was probabl}"
.
. .

the centre piece of a tript3xh. It is the oldest of the three dated works that we possess from Lippo's hand. The style and the

coarse execution strongl}- recall Simone's art. In another dated work which Lippo painted only three years later there is no trace of Simone's influence and we have every reason to believe that the change in the painter's manner was rather sudden and radical in nature. This work, which bears
the type of \'irgin that Lippo has most frequently represented. It is preserved on the second altar to the right in the church of the Misericordia (fig. 231).

the date 1397,

shows

Virgin, seated on a low cushion in a flowering field, is suckling the Child Jesus a circle of stars surrounds her head
;

The

while a luminous glory

''

background forms an aureole. The signature: Lippiis Dahnassi bononiae{?) iJ9~'\ is inscribed on a plain strip in the lower right-hand corner. The appearance of the \'irgin is more reminiscent of \'itale than of Simone; the
in the

sweetness of the expression too is quite Sienese but the spirit of the work is more modern than Vitale conceived it. The iconois that of the Madonna of Humility which Andrea da Bologna adopted when he worked in The Marches. A detail never missing in the Madonnas of Allegretto Nuzi and Francescuccio Ghissi, and which Andrea borrowed from them, is the moon at the X'irgin's feet. It is seen in Lippo's panel in the

graphical type

is

National Gallery (no. 742, fig. 232) in which however the Virgin turned towards the right, while the Child apparently plays with her veil. In each of the upper corners beyond the aureole
angels are depicted. In Cavalcaselle's time this The picture belonged to the Ercolani collection in Bologna. is somewhat harder than that of the foregoing technique
three
little

panel.

There
In the

number of similar Madonnas in Bologna. Pinacoteca an unnumbered panel shows the almost lifeis

a certain

sized Virgin sitting on a cushion

among

flowers, surrounded

THE SCHOOL OF BOLOGNA.

459

g!fcs>;.^i^

ii

.T^aaao

Fig. 231.

Lippo Dalmasio, Madonna. Misericordia Church, Bologna.

Photo Poppi.

460

THE SCHOOL OF BOLOGNA.

Fig 232. Lippo Dalmasio, Madonna. National Gallery, London.

eight angels, it is signed: ''Lippits Dal maxii fecif\ Another picture in the same collection (no. 752I, in which, as in the London panel, three angels are seen above on either side, is also signed
b}'

Spanish College, a considerably damaged fresco the Madonna of Humility, again turned towards the representing right, bears the signature: ''Lipns Dalmaxii pinxif\ This, however, was not the only type of Madonna that Lippo

by Lippo.

In the

THE SCHOOL OF BOLOGNA.

461

Fig. 233.

Lippo Dalmasio, Triptych. College of Sta. Croce, Bologna.

Photo Perazzo.

portrayed, for he painted her enthroned in majest}- in the fresco of 1407 which was detached from one of the pillars in S. Petronio donor and is now preserved in the museum of this church.

462

THE SCHOOL OF BOLOGNA.

kneels in adoration at her feet; four angelic musicians escort the central figure, while above, God the Father and more angels are
depicted.

type belongs the triptych in the College of Sta. Croce (fig, 233). Two angels kneel at the sides of the throne on which the Virgin is seated holding the Child standing on her knee.
this

To

Each of the wings is occupied by two figures of saints, while the terminal above each pair, is adorned with a medallion containing
a bust.

On

the pedestal of the throne

we

read

''
:

Lipus

Da Imax ii

pisif.
In the lunette over the entrance of S. Procolo

we

find a fresco

of the Virgin and Child in benediction between St. Benedict and the Pope St. Sixtus. This mural painting is mentioned by Vasari and Malvasia, the latter affirming that it is painted in oil colours.
It is

certainly among the best of Lippo's works that have survived. Perhaps of even finer quality is the so-called "Madonna del Veluto" which adorns the first chapel to the right in S.

Domenico; but this charming picture is very tarnished and seems to have undergone a certain amount of restoration (M. A fragmentary fresco in the cloister of S. Domenico shows Mary Magdalene
at the Saviour's feet.

No

trace

now

remains of the

signature of which Senator Ricci '' niaxii f ". letters

still

discerned the following

(') The following works ma}' still be attributed to Lippo Bologna \n the chapel outside S. Bartolommeo, a very damaged fresco which w^as detached from the now demolished church of Sta. Maria di Porta; Sta. Maria della
:

Purificazione, in a little room near the choir, a Madonna; Sta. Maria dell' Orazione, the repainted Madonna on the altar may be a production of

Lippo's.

A signed panel of the Virgin

cit.,

and Child was

cit., I,

for sale in

Rome

in

1909
to

(Baldani, op.

p. 478). Rosini, op.

by Lippo, referring
found.

to

it

in Vol.

II,

opp. p. 20, reproduces a p. 226, without saying where

Madonna
it is

be

As school works may be cited: Bologna, Pinacoteca, no. 225, an altar-piece from the church of S Marco showing the Coronation of the Virgin, the Crucifixion and saints; no. 232, in which again the Coronation of the Virgin is represented as well as St. Ursula and her virgins and twenty-two other divisions most of which are occupied by saints the Crocifisso church, which
;

belongs to the S. Stefano group of buildings, a Madonna; S. Stefano Museum, Madonna with the Child, sitting rather low^ BaMai//]op. cit., p. 480, also ascribes to this school two panels, each showing a figure of the Annunciation, in the Gallery of Ravenna.

THE SCHOOL OF BOLOGNA.

463

As Signer A. Venturi points out (^j, it is important to note that a fresco representing the Madonna humbly seated nursing the Child in the midst of four angels, two of whom are playing musical instruments, in the Palazzo Pubblico of Pistoia is a
work from
the

hand of Lippo Dalmasio.

to Pistoia

It is

one of his

less fine
it

productions, rather approaching Simone's manner, and as

is

with his father, that is to some time prior to the 3'ear of his first dated work, we may say infer that his more refined manner, showing a connection with Vitale's art, was subsequent to the other and coarser style.

probable that

Lippo went

Lippo Dalmasio was one of the artists who largely augmented the already considerable number ofBolognese paintings of the end of the 14th century. His temperament must have been very
different

from Simone's

he apparently had no sense of dramatic His technique is generally anything very monotonous.

force

his

Madonnas
;

are alwa3'S sweet and unsophisticated and

is

sometimes a

little rustic.

but coarse but his art

Vasari further relates that Lippo was a good draughtsman and taught drawing to Galante da Bologna who, however, surpassed his master in this art. Malvasia, on the other hand, finds
that the latter

was

the feebler of the two.

Among the Bolognese artists of the end of the 14th century, Jacopo di Paolo was the most vulgar. According to Signor Frati (^)
he probably descended from Orso, a painter active at Reggio in the 13th century who was his great-grandfather; the latter's son, Zanello, was also a painter (1270 74) for in 1357, we find record
of a Niccolo di Maestro Paolo pittore di Maestro Zanello di Orso di Reggio, the aforesaid Niccolo being Jacopo's brother; and their genealogy consequentl}^ the same. Jacopo di Paolo is mentioned in documents of 1390, 1393, 1394, 1395 and 1400, and again in 1402 when he is charged to make a wooden model of
the church of S. Petronio. hi 1425 he painted a cupola in the campanile of S. Pietro while in 1426 his name is recorded for the
last

time together with that of his son, Orazio.

The document

Venturi, op. cit., V, p. 948. Baldani. op. cit., p. 471. R. Frati, L'Arte, 1914, p. 263.
(*)

(-)

Una

famiglia di pittori Bolognesi,

464

THE SCHOOL OF BOLOGNA.

of 1393 informs us that he undertook to make sketches of six figures for the Venetian sculptor, Maestro Paolo (^).

Jacopo's signed works, we possess a Coronation of the Virgin and a Crucifixion in thePinacoteca of Bologna, an Annun-

Of

ciation in the

Museo

the choir of S.

Civico, part of the altar-piece in a chapel ot GiacomoMaggiore, and the frescoes in the church
^'

I have alread}' mentioned; appeared Jacopus fecit ox Jacobus Pauli f^ Lastly Crowe and Cavalcaselle profess that a Coronation of the Virgin in the Louvre showed the signature: ''Jacobus Pauli fecif h\ii2.\. the present time there is no trace of an}' such picture.

of Mezzaratta, under which, as

the signature:

Jacopo

di

Paolo's Crucifixion in the Pinacoteca of Bologna

(no. 10, fig. 234) marks him as an extremely poor artist. The three crucified figures, as well as those below, are ugh' both in

form and

drawing are numerous, the colours are unattractive and relief and plasticity are entirely missing. The work is signed below: ''Jacobus PaitU f. The Coronation of the Virgin in the same Galler}- (no. 11,
in feature, the faults in the
fig.

235) is scarcely more pleasing. The composition resembles that of Simone, with a cluster of angels above the back of the

throne, only here the Virgin is depicted kneehng before the Saviour. The signature is identical with the one on the foregoing
panel.

The Annunciation in the Museo Civico (no. 221) on the other hand, is of much finer quality. The incident is seen taking place
Gothic building; the forms are more graceful but the pointed, almost grimacing features are ver}' characteristic of this master. The signature is again the same but the name of the donor:
in a
"

Jacobus De B/anchiIis\
(-).

who

is

seen kneeling to the

left, is

also

inscribed

We find the artist's name: "Jacobus Pau/i-f." under the CoronLa fabbrica di S. Petronio, Bologna, 1889, p. 4. I see no J''. A. Gatti, (1) reason in this information for attributing to the same artist as Sgr. FiHppini does (Bolletino d'Arte del Minist. della Pubbl. Istr., July-August, 1916) the no large altar-piece of carved wood in the Bolognini chapel which display's connection with this master's style. from the notarial archives and it is possible (-) This picture was brought that is was painted originally for the oratory of S. Gabriele in the commune
of Baregella.

THE SCHOOL OF BOLOGNA.

46:

ation of the Virgin of the altar-piece in the Cari chapel of S. Giacomo Maggiore, the greater part of which was executed by Lorenzo Veneziano. In this case the Virgin is seated at the

Fig. 234.

Jacopo

di Paolo, the Crucifixion. Gallery,

Bologna.
Photo Perazzo.

see no reason for Signor Baldani to doubt the authenticity of this signature since the painting differs but little in style from the artist's other works, while the types of the

Saviour's side.

figures
IV

and the faces are the same. The saints beside the Coron30

466

THE SCHOOL OF BOLOGNA.

and the figures
in the

ation, the Crucifixion

pinnacles are also

Jacopo's work.
Lastly, the signature, ''Jacobus f' that was found under the frescoes illustrating the life of St. Joseph, high up on the right wall in the church of Mezzaratta, is undoubtedly that of Jacopo
di Paolo,
it is

although the paintings are very badl}' damaged and only here and there that we are able to discover a figure

sufficiently well

preserved

to

conform

this assertion.

think this

decoration

is

a production of the artist's least pleasing manner.

Among

the

works which may be ascribed

to

Jacopo

di

Paolo, but which are not authenticated by his signature, I shall first mention two panels in the Bologna Pinacoteca (nos. 367

and 368) which no doubt formerly belonged to one large picture. SignorBaldani is of opinion that they formed the wings of a triptych, the centre piece of which was the Crucifixion in the same
Gallery (no.
of the panels
10).

Certainly the style corresponds perfectly. Each

saints, St. James

shows below two

with

St.

Michael

and

St.

Peter with the Baptist, and above a figure of the Annun-

ciation.

more pleasing in appearance are the figures of SS. Peter and Paul, Bartholomew and Roch in two other litde panels in the same collection (nos. 268 and 269). The only other work in
Slightly
this
di

Gallery that I think we are justified in attributing to Jacopa Paolo is a picture representing St. Romuald's vision (no. 168) (^). A half-length figure of St. John in the museum of S. Stefano is finely modelled but the facial type is too reminiscent of our artist
it

for us not to attribute

to him.

A triptych, showing the Madonna,

four saints, the Annunciation and the Pieta, in the same museum, is probably also a work from his hand.

two saints Bartholomew and Constantine may, I think, be assigned to our artist, although the drawing is of better quality and displays certain Gothic effects, absent in his other works (-j.
in the

A panel

Museum

of Pesaro, representing the

(V)

C.Ricci,

Guida

etc., p. 120.

Fi/ippnii calls this picture a school

work

of

Jacopo Avanzi. This work has already been attributed

(-')

to him b}' G. Vaccaj, op. cit., p. L. Serra, in his catalogue of the Museum, assignes it to the school of ji']. Bologna or that of Siena. . Bntnelli, Rassegna marchegiana per le Arti etc.,

1923, p. 331, believes this picture to

be Bolognese but not by Jacopo diPaolo>

THE SCHOOL OF BOLOGNA.

467

Fig. 235.

Jacopo

di

Paolo,

tlie

Coronation of the Virgin. Gallery, Bologna.

Photo Perazzo.

468

THE SCHOOL OF BOLOGNA.

panel showing a somewhat violent composition of the Crucifixion, formerl}- in the Chillingworth collection (sold at Lucerne in 1922) bears some resemblance to the painting of this
subject in the Pinocoteca of Bologna, in spite of the fact that the execution is less commonplace and here and there shows a certain

Gothicism of line

(^).

In attributing to Jacopo the frescoes illustrating the Apocal3'pse and the Old Testament on the right hand wall of the nave of the

church at Pomposa, Herr Brach commits rather a grave mistake (^), and although Signor Baldani in part shares this opinion(^), I think these paintings belong to quite another school and to a different period. Nor do I believe that Jacopo di Paolo's hand can be discerned in an}' frescoes in the Mezzaratta church other
than those representing incidents from the stor}' of St. Joseph, even although Senator Ricci holds him responsible for almost all the frescoes on the right wall (^) and Signor Baldani believes that he executed the Nativity over the entrance (''). Lastly Signor Filippini ascribes to him a mural painting of the Calvar}' and the Crucifixion in the Crocifisso church, and the frescoes in the Bolognini chapel of S. Petronio (^). As for Jacopo di Paolo's lost works,
sia,

weknow^ through Malva-

that there once existed a Crucifixion

the facade of the sacristy

SS. Naborre e Felice, There is not one of Jacopo di Paolo's productions but ranks this painter as the weakest and most vulgar of the Bolognese artists of the end of the 14th century. He belongs to a generation slightl}' later than Simone's and even than Lippo Dalmasio's. B}' making certain unfounded attributions some wTiters have at(^)

and an Annunciation on day a tower of which work was signed and dated 1384 (').

in this writer's

cifix; no. 233, a

cited, in the Galleiy of Bologna, no. 191, a cruCoronation of the Virgin; no. 270, two saints, one carrj'ing a cross, the other a book; and a panel of a holy bishop in the S. Stefano

As

school

work may be

Museum.
(-) (^)

Brach, op.
C. Ricci,

cit.,

p. 109.
p. 472.

Baldani, op.

cit.,

(*)
(*)
(*')

Guida

etc., p.

240.

Baldani, op.
Filippini.

cit.,

p. 446.

Gli affreschi
Istr.,
cit., I,

della cappella Bolognini, Bollet. d'Arte del

fasc.

Minist. della Pubbl.

(')

X, 1916,

78.

Malvasia, op.

pp. 3031.

THE SCHOOL OF BOLOGNA.

469

tempted to raise the standard of this artist's painting, but if we judge him from his authentic works only, he can never be considered anything but a vory mediocre artist. Jacopo di Paolo's art is a clear proof of the fact that the style of the Trecento persisted well into the 15th century. None of his works, with the exception of the Chillingworth Crucifixion,

shows any
Italy,

about the even

new manner that made its appearance year 1400 or, as in some of the regions in Northern
trace of the
earlier.

The works of the two anonymous painters whose productions we find on the walls of the Mezzaratta church, are too important
for us merely to enumerate ings that will be given at the

them in the list of Bolognese paintend of this chapter. To one of them we owe the charmingcompositionof the Nativity with numerous angels surrounding the central group which we find on the wall above the entrance. The type and grace of the figures are reminiscent of Vitale to whom, moreover, Herr Brach ascribes it; Signor Baldani believes it to be by Jacopo di Paolo. It seems

however to be a production marked shadows, as well as

rather hard and a
fissi's
little

of the following generation. The the folds of the drapery which are

heavy, remind us of Simone dei Croci-

contemporaries.

Formerly there existed in the church of Mezzaratta a series of scenes from the Old Testament. In Cavalcaselle's time a fair number of them still remained although some had already been detached (^). Nowadays only two frescoes remain plainly visible law and bringing they represent Moses receiving the tables of the them to the Israelites, and Korah swallowed up by the earth
;

while Moses and Aaron look on. The artist who executed these frescoes {^) was probably Simone's contemporary but his com-

and movements positions are more concise while his expressions of a reminiscence of Giottesare more moderate and not devoid The artistic value of these paintings is con-

que

simplicity. siderable.

In the Bolognini chapel, the fourth to the of S. Petronio, we find a series of frescoes in
(1)
(2)

left,

in the

church
ot

which elements

Croive Olid CavalcascUe, III, p 199 note 5. F. FiUppini, Gli affreschi della cappella Bolognini, repeats d'Agincoitrt's erroneous attribution to Cristoforo da Bologna.

470

THE SCHOOL OF BOLOGNA.

the cosmopolitan Gothic manner are already noticeable but as these features are manifest only in a very ruciimentar}' stage, and because the technique and spirit of the work belong entirely to

the 14th century Bolognese school, I think they should be dealt with here, even though the date of their execution is rather in

advance of the period

to

which

this

volume

is

devoted.

are able to determine the exact date of these paintings (^) for Bartolommeo Bolognini in a will, made in 1408, bequeathed
the mone}^ for this decoration in case he died before it was finished. As, on the one hand, we see a representation of the
election of John XXIII which took place in May 1410, when Bartolommeo Bolognini was still alive, and on the other we know from an annotation that in October 141 1 the decoration of the

We

chapel

was

terminated,

we

are consequently provided with dates

between which the frescoes must have been executed. They have been attributed to Buffalmacco, Vitale, Giovanni da Modena, who worked in a chapel nearby, to Antonio Alberti da Ferrara, to Francesco Lola and lasth', b}- Signor Filippini, to Jacopo di Paolo, but I do not think that we have sufficient grounds for any of these attributions not one of which, in my opinion, is correct, not even the last, for the excellent master to whom we

owe

these frescoes surpasses b}' far the very mediocre Jacopo di Paolo. Although his figures are full of life and vigour he does not represent, except in the scene of Hell, grimacing faces; his outlines are graceful

Gothic, plastic effects are well marked. These peculiarities as well as the individualit}' of his t3'pes characterize the artist of the Bolognini chapel. Moreover

and

slightl}-

it

is

not

difficult to

determine to which group of painters he be-

longs, but

we

shall return to this subject later on.

The principal representations in the Bolognini chapel comprise the illustrations of the history of the Eastern Kings, Paradise and Hell. The first of these subjects is depicted in an elaborate
and detailed manner. Above we find the preparation for the vo3'age, the harnessed animals awaiting the travellers; the second picture shows the crossing of a river, one of the horses represented rearing. In the second row we see the Wise Men jourL. Frati,

(')

La cappella Bolognini
p. 214. F. Filippini,

nella Basilica di S. Petronio a Bologna,

L'Arte, 1910.

Gli affreschi della cappella Bolognini.

THE SCHOOL OF BOLOGNA.

471

Fig. 236.

Bolognese School, Detail of the Journey of the Magi,

S. Petronio.

circa 1410.

Bologna.
Photo Minist.
del.

Pubbl.

Istr.

nejang through a rock}' landscape

wild.

in

The mounted

travellers,

who

are escorted

which animals are running by soldiers and

servants, are guided by the Star of the East that shines in the sky (fig. 236). On the adjacent fresco is the scene of their meeting

with Herod

(fig.

237).

Lower down, Herod

is

represented taking

472

THE SCHOOL OF BOLOGNA.

counsel in his palace which has the form of an open loggia, in another division of which the three Wise Men sit waiting the
result of the consultation.

The second

fresco here shows, in the

midst of

confusion, the departure of the Kings and their suite from Herod's palace, some are depicted mounting while

much

others are seen galloping away. On the fourth row we find the Adoration of the Magi cfig. 238I. Melchior, the oldest of the three Kings, havnng taken oft' his crown, prostrates himself to kiss the feet of the Child Christ Who sits on His Mother's knee before an open shed; the second looks into a box that a servant holds open for him while the third has just taken from the hands of another servant an object that looks like a reliquary. Their return by sea forms the subject of the last fresco. One
of the

two vessels
it,

is still

charging
sails. In

a sailor

who

attached to the shore, they are busy has climbed on the mast prepares the

the midst of the

crowd
see

that

fills

up the larger

boat,

we

can distinguish the three Magi gravely conversing together.

On

the wall opposite

we

Heaven and

Bartolommeo had indicated

is

in his will. In the

Hell represented as upper half the Al-

who is crowned by the Saviour, surrounded by the different hierarchies of angels. Lower down rows of saints seated on benches are arranged at either side while the archangel Michael stands in the centre of the foreground with sword and balance. In the lower half Hell is represented in seven divisions according to the seven capital sins in each of the compartments, naked figures are seen undergoing the torments of their particular sin (fig. 239). Lucifer seated in the centre devours the damned. As SignorFilippini remarks, the composition of this picture is somewhat different from the other 14th century representations of Purgatory that have survived, and does not seem to be directly
mighty, over-looking the Virgin
;

inspired b}' Dante's Inferno. The election of Pope John

XXIII adorns the upper part of the

seated in the centre in the midst of

window arch

the Pontiff

is

two bishops kneeling at his feet. Lower down on the arch some scenes from the life of St. Petronius, the titular saint, are represented, while opposite on the entrance wall we
the cardinals with
find part of a composition of the Last

Judgment
is

the midst of angels.

The

intrados below

the Saviour in decorated with busts

:

THE SCHOOL OF BOLOGNA.

473

Fig. 23;

ese School, the Meeting of the Magi and Herod, circa 1410. S. Petronio, Bologna.
Photo Miuist.
del. Tvibhl. Jsar.

and full-length figures of the Fathers of the Church, prophets and saints, and the angles of the vault \Aath eight figures of saints. As other works from the hand of the master of the Bolognini in the sacristy of chapel, we might cite two detached frescoes

474

THE SCHOOL OF BOLOGNA.

the Crocifisso church; the}' belong to the S. Stefano group and represent Christ carrying the Cross and the Crucifixion; both

scenes are
frescoes

A
dise

shown in dramatic and crowded compositions. These were detached from the walls of the church in 1675 (^). picture in the Pinacoteca of Bologna (no. 229), on which Paradepicted in a composition identical to that
in the
;

is

Bolognini

chapel, has also been ascribed to this master ("-) this is not entirely impossible although the figures of this picture bear more resemblance to Lippo Dalmasio's, than those in the fresco in the

Bolognini chapel. The decoration of the Bolognini chapel really belongs to that branch of painting which we have qualified as "scenes de genre"

and which we have met with

in

Padua and Wrona but here

the

technique of the painting is Bolognese. The characteristics of this art are noted in the rich costumes of the time, the individuality

of the faces, the hunting dogs in several scenes in which

the}' are quite out of place, and the irreligious feeling pervading the entire series and making of each scene an image of every-day
life.

A
;

great

many

realistic details are also

borrowed from

daily

very evident in the manner in which the Magi greet Herod. The oldest shakes him by the hand in a friendly way, while the tw^o others salute him with a rustic gesture such as country
life

this is

people

still employ when they wish to show their respect ('). The movement seems lo have disarranged the crown of one of the Kings. Many of the objects are executed in relief, a peculi-

arity

especially in Gothic painting of the beginning of the 15'^ century, as for instance in the works of Gentile da Fabriano. The marked contrast of light and shade, however, in this decoris
is

we find

thoroughly Bolognese. Another characteristic of this the exaggerated realism, and although we do not find here actual grimaces, as in Jacopo di Paolo's works, the artist, with courageous veracity, represents many very ugly male faces.
ation

school

C. Ricci, La pittura romanica nell' Emilia, Atti e Mem. dell. R. Dep. di Stor. Patr., serie III, vol. IV, p. 55. F. Fi/ippiiii, Cappella Bolognini. This critic attributes, as I have already said, these frescoes to Jacopo di Paolo.

According
(-')

to old writers this

decoration dates from 11 15

\. d'Agiiicoiirf,

Pittura, pi. 89.

Filippini, op.
cit.

(^)

A very similar gesture is seen on a fresco at Treviso, compare fig.

105.

THE SCHOOL OF BOLOGNA.

475

Fig. 238.

Bolognese School, the Adoration of the Magi,

S. Petronio,

circa 141 o
del.

Bologna.

Photo Minist.

Pubbl,

Istr.

Moreover

the vigorous drawing and coarse technique, devoid of an}' finesse, that characterize Bolognese artists, are not absent from these frescoes. It may be conjectured that the master possessed a fantastic imagination, for the landscape in some of the

scenes, the view on the storn\v sea, and the strange gloomy expression of many of the faces are certainl}' of his own invention. The master of the Bolognini chapel introduced in a rudiment-

ary manner the elements of the cosmopolitan Gothic style of the

476

THE SCHOOL OF BOLOGNA.

beginning of the 15th centur}^ examples of which we find in this church in the paintings of Giovanni da Modena and Francesco Lola, and although these two artists worked only a few years their productions the former in 1420, the later in 1419 later

show such

marked evolution of this style that we can hardly consider them as belonging to the Bolognese school of the
a

Trecento. Their right place

elsewhere.

is

with the

artistic creations of the

following century and for that reason they

will

be treated

contemporary of these two artists, however, who painted alongside Francesco Lola, worked entirely in the manner ot the 14th century. It was Luca da Perugia who signed a fresco in the in the church of S. the second to the right Pepoli chapel and 241) ('). The Virgin is seated on an imPetronio (figs. 240 posing architectural throne escorted by three saints on either side a fourth on the left, St. Bartholomew, presents the donor, who kneels in adoration before the Child, Who bends towards him bestowing a blessing. The signature ''Luca da Peruxia ./>." is written on the seat of the throne while below, a long inscription

"Bartholotneus de tells us by whom the fresco was ordered Mcdiolano Mercarius pro aniuia sua MCCCCXVII de meiise
:

junr. At Perugia there is mention of an artist called Luca d' Antonio diMona between 1407 and 14161-) but we have nothing to justify our identif3'ing him with the aforesaid painter, whose st3de moreno way resembles that in vogue in Perugia at that time. Nor does it betray the artist's adherence to the Bolognese school the form of the throne and the appearance of the figures sooner recall certain of the frescoes in Padua, Verona and Lornbard}^
over
in
;

We should perhaps seek for the explanation of this

in the fact that the

little

problem

donor was of Milanese

origin.

A polyptych in the museum of S. Stefano, representing the Coronation of the Virgin and four saints in the lateral panels, is
der (') F. Cavasza, Rassegna d'Arte, 1905, p. 161. W. Bombe, Geschichte PeruginerMalerei, Berlin, 1912. p. 76, believes that this artist was influenced by Nelli; I do not think that this is the case although Nelli, as also Luca, shows a certain connection with the art of Northern Italy. U. Gnoli, Rassegna
d'Arte, 1914, p. 248.
(-)

A. /?055/ ,Giornale d'Erudizione artistica (Perugia),

II,

p. 311.

THE SCHOOL OF BOLOGNA.

477

Fig. 239.

Bolognese School, Detail of Hell,

circa 1410. S. Petronio, Bologna.

Photo Minist.
del.

Pubbl.

Istr.

of slightly earlier date.

The

signature at the foot of the central

picture has been read in man}" different ways (') but seems to be: '^Giovanni di Caneld\ This artist is among the poorest

members of
(')

the Bolognese school; his picture betrays a certain

Moschetti,

op.

cit.,

p. 470. Ricci,

Rassegna d'Arte, 1903, p. 33. Tesfi, op. cit., I, p. 296. Boldani, Guida etc., p. 95. Filippini, Rassegna d'Arte, 1912, p. 103.

a. D.

c
OX)

o
+-

Oh

c c o
-a

.5

Ph

d -r w
fch

THE SCHOOL OF BOLOGNA.

knowledge of
the

479

works of Simone

dei Crocifissi

and Lippo

Dalmasio. This, together with the slight element of Gothicism, dates the painting to about 1400 (^).

Fig. 241. Detailof fig. 240.

Photo Poppi.

The history of Bolognese painting of the 14111 century is varied but somewhat inconsistent. Summing it up in a few words we
thinks that this master might be the son oi^'Canelhis between 1277 and 1280; the picture in this case pictor", would have to be placed at the beginning of the 14th century whereas it
(')

Filippitii, loc. cit.,

who was

active

really dates

from about a hundred years

later.

480

THE SCHOOL OF BOLOGNA.

sa}' that

having sprung from the art of miniature we note Vitale the first figure of any importance reminiscences of this origin together with Sienese elements. The genuine st3'le of Bolognese painting seems to have been created by the miniaturist, Niccolo di Giacomo, but such artists as the pseudo-Jacopo Avanzi and Andrea da Bologna introduced features foreign to the Bolognese school, the former being

might

in the

works of

inspired b}' Riminese painting, the latter by the school of The Marches. In the second half of the 14th century, miniatures

as well as painting deteriorated in qualit}' on account of the

enormous production, and although painters like Simone retain certain merits such as a vital and dramatic rendering, their
vulgar technique
is

their great shortcoming.

Lippo Dalmasio seems to reviv^e Vitale's types, but with Jacopo di Paolo Bolognese painting sinks ver}^ low. The master of the Bolognini chapel sooner belongs to the group of painters who, especially in Padua and Verona, created "scenes de genre",
although his technique
is

thoroughly Bolognese

0).

works of the I4'''centur3' are: Bologna, Phiacoteca, (') Other Bolognese no. 169, the Last Supper; no. 589, the Madonna humbly seated holding the Child with six prophets in the predella Gothic elements are evident in the
;

contours of this picture which dates from about i40o;Museo Civico. no. 191, crucifix belonging to the Giottesque tradition with the pelican above and
the Virgin and St. John in the lateral terminals; no. 196, crucifix with a sculptured central figure; the figures of the Virgin and St. John belong to the Giottesque current and date from the first half of the i4tiicentur3f no. 208,
;

a half-length figure of the Saviour showing an influence of the school of The Marches; no. 202, a Madonna with the dead Christ between the Virgin and
St. John on the predella; nos. 209210, the Nativity and the Flight into Egypt, beautiful paintings of the earl}' Bolognese school. In /'/??c/;/r/r/'^s 0/ .60/0^7?^ Certosa delle Madonne, several figures representing the Virgin; S. Clemente (Collegio di Spagna), figures of Urban V, St. Catherine and an
:

the Virgin

adorer; Crocifisso, on the wall to the right of the door, a repainted fresco of between two saints of the end of the 14'^ century; in the crypt,

Homo and a restored Madonna; S. Domenico, 5'^ chapel on the right, a transferred and repainted fresco of the Madonna, called "della Febre", nursing the Child (Ricci, Guida etc., p. 52, ascribes it to the 15'^^ centur}'; I think it dates from about 1400 and belongs to Lippo Dalmasio's type of
anEcce
S. Francesco, 5'*^ chapel behind the choir, a crucifix after Simone's model but of slighth' later date and executed in very clear colours; S. Giovanni a Monte, between the 5th and the 6'h chapels, a Pieta with a sculptured central figure, the others painted; 6th chapel, a Madonna on the

Madonna)

THE SCHOOL OF BOLOGNA.

altar (the little crucifix
;

481

on the left has been included with the works of Simone's school) between the choir and the first chapel to the left, a damaged fresco of the Madonna seated on an elaborate throne, probably of the
beginning of the
15th century; S. Giuseppe, sacrist\', a crucifix; S. Isaia, sacristy, a fresco of the Madonna: Sta. Maria della Purificazione, in a little

room near the choir, we find, besides Lippo Dalmasio's Madonna, a fresco of the same subject Sta. Maria dei Servi, 4''' chapel on the left behind the choir, Madonna and saints, a ruined canvas of the end of the i4':h centur}';
;

chapel, remains of a fresco; S. Martino, in the left aisle, some fragmentary frescoes executed under a Riminese influence, some of the figures belong to a representation of the Last Judgment; 2"'^i chapel on the right, a repainted figure of St. Onuphrius S. Petronio, some figures of saints on the
1'
:

to the early 15'h centur}'; S. Stefano, or restored figures of saints of no importance damaged except for the image of a holy warrior on one of the pillars Museum of S. Stelano, four panels with scenes from the life of St. Benedict showing the pseudo-Jacopo Avanzi's influence; two fine triptychs and several inpillars,

most of them however belong

in the courtyard,

significant

panels

works; Sala Casa Gualandi

della

Compagnia
5),

dei

(via Farini no.

a fresco of the

Lombardi, some unimportant Madonna and some

fragmentary paintings in the court^-ard. Outside Bologna we find in Boston, Fine Arts Museum, no. 23, a Nativitj^ attributed to Giotto's school which seems sooner to be an early Bolognese work; Fiesole, Bandini Museum, Nativity, the Arrival of the Magi, the Presentation in the Temple, the Massacre of the Innocents; four predella panels showing the vulgar dramatic realism of Simone dei Crocifissi's school; Imola, in the bell tower of S. Domenico, a series of frescoes with the Madonna and half-length figures of saints Fossignano (near Imola), S. Michele, a Madonna (L. Orsini, Imola, Bergamo, 1907, pp. 99 and 45) Lo^2a'oH, Victoria and Albert Museum (143 1869), dipt3'ch with six scenes from the 1864, a little painted box with the Baptism and the history of Christ; (351 birth of St. John on the lid and eighteen figures of saints on the four sides; two gilt glasses in the same museum seem to me Bolognese work. They were reproduced by P. Toesca in L'Arte, 1908, p. 52. who ascribes one of them to the school of the miniaturist, Niccolo di Giacomo. Rome, Vatican Gallery, no. 15, Crucifixion and other scenes from the history of Christ,
: ;

probably early
states that
it is

1^^^ century work (O. Siren, L'Arte, 1912, p. loi, rightly reminiscent of Jacopo di Paolo); Capperoni coll, Crucifixion

with several assistants and two adorers; the late Sterbini collection, a Calvary bearing some resemblance to the earl}^ works of Simone dei Crocifissi (A. Venturi, L'Arte, 1905, p. 427, attributes it to Simone Martini); for sale 1924, a half-length figure of the Madonna in the manner of Vitale
Turin,

Museo

Civico, gilt glass diptych with the Nativity and the Crucifixion
252).

(Toesca, op.

cit.. p.

IV

31

CHAPTER
PAINTING
IN

VII.

FERRARA AND OTHER LITTLE CENTRES IN EMILIA.

In Emilia

we

those of Rimini,

find some other centres of painting besides Modena and Bologna, but they are much less

important and their productions are not alwa^'s sufficiently characteristic for us to classify them.

We

have some records of the existence of very early

Ferrara
(M.

artistic
di S.

activity in

Gelasio

di

Niccolo della Masnada

in

Giorgio

(^1

seems

to

have worked

1242 and

pupil of Theophanes, a Greek, living in works that are attributed to him looks of earlier date than the
15th century. the 14111 century painters active in Ferrara, Vasari

have been the but none of the Venice,

to

Among

mentions Giotto (^). Besides there is record ofa Franciscan monk called Donato Brasavola who died in 1353 and to whom a St. Antony of Padua in the church of S. Francesco, Padua, has, for reasons unknown to me, been attributed; and a certain Laudadio Rambaldo who is mentioned as the author of a considerably restored Madonna that was found under the whitewash in the court of the Casde of Ferrara. This painter flourished about the year 1380 and is known to have worked at Castel Tedaldo, near
Ferrara
(^).

Lastly Vasari speaks of "Galasso ferrarese'' who worked with Jacopo and Simone in the church of Mezzaratta in 1404. He informs us that their signatures were inscribed at the foot of the
Bantfaldi, Vite de' pittori e scultori ferrarese, 2 vols, Ferrara, 1844. La pittura ferrarese, Ferrara, 1856. The Same, Catalogo istorico dei pittori ferraresi, Ferrara, 2 vols. Citiade/la, Documenti riguardanti la storia artistica di Ferrara, 1866. E. G. Gardner, The Painters of the School
(')

Laderchi,

of Ferrara, London, 1901.

(-)

La

11

si

dweWs

at

some

op.

cit..

p. 214,

and the

artist

length on this painter, v. Croive and Cavalcaselle, Gelasio in Thieme-Becker, Kiinstler Lexikon,

XIllp.357(^)

Vasari- Milane^i,
Croive

I,

p.

388
op.
cit.,

(*)

and Cavalcaselle,

p. 215.

PAINTING IN FERRARA AND OTHER ETC.

frescoes which the}' executed and
that Galasso

483

painted the

Passion scenes
in the

(^).

The most important Ferrarese work is the series of frescoes church of the Abbey of Pomposa where previously we found some paintings of the Riminese school. Herr Brach (^j has
already remarked that the mural decoration here does not all belong to the same school. The church is richly adorned with frescoes. On the entrance wall we see a large composition of the

Last Judgment; high up on either side of the nave are three long rows of scenes while an image of the Saviour in majesty decorates the apse. The site of the representation of the Last

Judgment is quite in accordance with the and is found also on the entrance wall

old Byzantine tradition

in S.

Angelo

in

Formis

near Capua, Sta. Maria in Vescovis, in the mosaic at Torcello and in Giotto's decoration in the Arena chapel, Padua.

The composition is divided into five rows (fig. 242) the four lowest of which do not display any unusual features: the Saviour
within an aureole
is

right

above and six to the left below whom we see on the one side the Saved and on the other the Damned. The latter are being forced
at either side,
;

seated in the middle; angelic trumpeters fly below are the Twelve Apostles, six to the

into Hell, while opposite, Paradise is depicted by three patriarchs carrying the souls of the Good, followed by a naked figure which is painted on the adjacent wall. An isolated picture close
to these figures into his order.

shows

a holy

monk
tier,

apparently receiving a friar

from an iconographical standhighest is very unusual. Here we find an erect figure of the Saviour point, a row of in an elliptical mandorla escorted by some angels figures is placed below at either side over the one on the left is the city of Jerusalem while over that on the right a mandorla is borne to heaven by angels. This last representation is very damaged but the instruments of the Passion seem to be enclosed in the aureole. The whole of this upper part digresses from the
; ;

The

Vasari-Milaiiesi, II, p. 139 et seq. The biographer informs us that the (^) belief existed that Galasso painted with oil colours. Perhaps he confounds

with this artist, the Ferrarese painter, Galassi, of the following generation, an account of whose life he gives onl}' in the first edition [I'asari-Milanesi,
III, p.
(-)

89)

in the others
cit
,

it is

Brach, op.

p. 52, v. also G.

replaced by that of the older Galasso. Agmili. Ferrara e Pomposa, Bergamo,

1906, p. 102.

484
traditional

PAINTING IN FERRARA AND

iconography of the subject. As
I
I

said in the previous

chapter, Vitale to

some

of the figures in the fi'esco of Hell are possibly

by

attributed the apsidal decoration. to all tradition also is the manner in which the scenes Contrary from the Old and New Testaments are placed in the church.

whom

Instead of painting the one opposite the other as was done during the is^h century (Upper Church, Assisi and Sta. Maria in Ves-

we find here the Old Testament illustrated on the highest of each of the walls, the Gospels on the second and the Apocal3"pse on the third. Beginning on the left, we see first Adam
covis),

row

and Eve

on the ground eating the forbidden fruit, followed immediatel}^ by Cain's fratricidal act. We then find Noah's ark floating on the water, the three angels visiting Abraham, Abraham receiving them and serving them at table. Esau's discovery
sitting

of his brother's deception is shown in two episodes firstl3\}acob bringing the dish to Isaac who is seated under a baldaquin, and
;

then going out of the house in search of his brother.

;

Then comes

Jacob sleeping on the ground having a dream the vision of the angels showing him a ladder is represented at the same time. Joseph^s dream is depicted in the same wa}' following on this is
;

Joseph sold by his brothers, together with the brothers telling the news to Jacob the brothers before Joseph with Benjamin who is accused ot the theft; and lastly Jacob with his sons
;

kneeling at his

feet.
;

two frescoes on the opposite wall have disappeared which is considerabl}' damaged might represent, as Herr Brach believes, the exodus from Egypt: an angel guides a group of people who are led b}' two men, Moses and Aaron. Then come Moses kneeling with Aaron receiving the tables of the law,
first

The

the third,

men

(? Brach), Joshua ordering course, Daniel praying in the lion's den, an angel fl3'ing towards him Elijah borne to heaven in a fier}' chariot and a scene from the history of the Maccabees. Some ot

carr3nng the

Ark

of the covenant

the sun to interrupt

its

these frescoes are in ver}* poor condition. The New Testament cycle is much better preserved. To the left we see the Annunciation together with the Visitation, the
Nativity, Christ being bathed for the first time and, the Message to the Shepherds (fig. 243) the Adoration of the Magi in which
;

the angel appearing to

them

in their

sleep

is

represented; the

OTHER LITTLE CExNTRES IN EMILIA.

485

Fig. 242. Ferrarese School, Last

Judgment, circa 1350

60

Abbe}^ Church,
Pubbl.
Istr.

Pomposa.
Photo
Miiiist. del.

Massacre of the Innocents with the Flight into Egypt

in the

back-

ground (fig. 244); the Presentation in the Temple; the Baptism of Christ; (fig. 245), the Wedding at Cana; (fig. 246), the Saviour
curing the

woman suffering from

gout;

(fig.

247) and the Resur-

486

PAINTING IN FERRARA AND

60. Fig. 243. Ferrarese School, the Nativity, circa 1350

PompOSa.
rection of the

Abbey Church,
del.

Photo Minist.

Pubbl. 1mi.

young man ofNain. On

the other side are depicted

the Resurrection of Lazarus, the Entry into Jerusalem (fig. 248), the Last Supper, the Prayer on the Mount of Olives with the mo-

ment when Christ asks the three

disciples not to sleep but to

OTHER LITTLE CENTRES IN EMILIA.

487

Fig. 244. Ferrarese School, the Adoration of the Magi and the Massacre of the Innocents, circa 1350 60. Abbey Church, Pomposa.
Photo Minist.
del.

Pubbl.

Istr

watch, the Betrayal of Judas in which we see St. Peter cutting off Malchus' car; the Crucifixion in an elaborate and dramatic

composition
chre; Noli

(fig.

249)

the Descent from the Cross with the

;

the H0I3' the Doubting tangere; Ascension and Pentecost.

Entombment (damaged)

Women at the Empty SepulThomas (damaged);

the

me

488

PAINTING IN FERRARA ETC.

Fig. 245. Ferrarese School, the Baptism, circa 1350 60.

Pomposa.

Abbey Church,
del.

Photo Minist.

Fubb'.

Istr.

^
CO

g o

^
o
to CO

OS

<L)

.5

(U

CO

490

PAINTING

IN

FERRARA

ETC.

Fig. 247. Ferrarese School, Christ cures the

gouty person, circa 1350 60.

Photo Minist.
del.

Abbey Church, Pomposa.

Pubbl.

Istr.

On
which

the third
I

row

there are sixteen scenes from the Apocal3'pse

shall not detail.

They have been

Brach.

The

artist display's a

coes ot this

row

are

among

interpreted b}' Herr deal of fantas}' and the fresgreat the finest in the church.

I have just said, is Vitale da Bologna, except perhaps for the central figure of b}' Christ which might be from the same hand as the frescoes in the

Besides the decoration of the apse which, as

nave,

we

find at the

end of the

left

wall of the

same church an

492

PAINTING IN FERRARA AND

enthroned Virgin with the Child between four saints, two erect and two kneeling, and a monk in adoration, and on the wall opposite some remains of fresco painting. The Christological scenes that adorn the w^alls of the nave show certain iconographical peculiarities. I have already re-

marked on

the unusual site that the

Old and

New

Testament

scenes occupy. Further the development of illustrations from the Apocalypse is very rare although Cimabue did also represent a good many scenes in the Upper Church of Assisi.The attitu-

des of Adam and Eve seated under a tree instead of standing, and of Isaac sitting on a chair instead of reclining on a couch are
original in the

and uncommon features; these are even more numerous New Testament representations.
apparition of the angel to the Eastern Kings during their
is

The
not

journey
ass, or

know another

rare, at least in 14th century iconography, while I do painting of the Flight into Egypt without the
it

does here, a place of secondary importance in the background of the Massacre of the Innocents. In the scene of the Baptism, Christ is represented standing on a
dragon, and m the portrayal of the Wedding at Cana the artist has invented an original means of filling the jars with water which, turned into wine, is drawn from a spout below. This procedure is presented in a manner that makes it look sooner like a

one which takes, as

bearer sleight of hand than a holy miracle. The way in which the with a stick as he bends under the weight of the supports himself
curiously-shaped water barrel is very realistic. The Resurrection of Lazarus shows some resemblance to Giovanni da Milano's composition of this subject; the revived man is seen stepping from his coffin which has a curiousl}^ flat appearance. The Last

Supper
is

is

taken at a round table but this

is

the persistence of a

very old tradition rather than a new element. The Entombment curiously presented one person standing in the tomb pulls the body of Christ towards him by the arm. From all these details it is evident that the artist followed an
;

independent iconography and not the traditional one of the 13th century which the painters of Rimini, the Florentines, the Sienese and the Bolognese all observed. Nor is it Giottesque while there is only one detail in the Resurrection of Lazarus that links this

master with Lombard

art.

OTHER LITTLE CENTRES IN EMILIA.

493

Fig. 249. Ferrarese School, the Crucifixion, circa 1350 60.

Pomposa.

Abbey Church,
del.

Phoio Minist.

Pubbl. Uir.

494

PAINTING

IN

FERRARA AND

This iconographical independence leads us to suppose that the artist who worked here did not belong to any of the more important centres but was a local minor master who profited from the productions that the two greater artists, Giuliano da Rimini and Vitale da Bologna, had left in this church {^). His painting is an
intermingling of elements borrowed from the works of these two artists and although rendered with but little grace, it is full of an
exceptional force and vitality. It is in the very peculiar type of his figures that this mingling of styles is most evident. The gener-

reminds us of Vitale's; some of his female figures in particular possess a sweetness and regularity of feature which, together with a certain breadth of form, result
al

appearance of

his figures

types very reminiscent of Vitale. The large, strongly marked shadows are also characteristic of the Bolognese school, although
in

Vitale himself did not exaggerate this peculiarity. On the other hand the elongated proportions and sharp features which we find side by side with the types borrowed from

seem to have found their origin in Giuliano da Rimini's manner; sometimes we even find the two distinct factors united in the same figure, as for example when he shows us the
Vitale's art,

long necks of the Riminese painters on the large heavy bodies

of the Bolognese. In spite of the fact that our artist's figures are rather
Several
critics

stiff and

have pronounced their opinion of this artist's manner. Brack, op. cit., pp. 52 and 106, is not very precise. He beheves that two artists, both dependent on the Sienese tradition, worked here, one of them having executed the frescoes in the nave, the other the Last Judgment and the decoration of the choir. Later, when he says that the latter are by Vitale da Bologna, he apparenth' onl}^ alludes to the paintings in the choir and no longer includes the Last Judgment. This, in fact, as I remarked in the previous chapter, seems to be the correct opinion, for Vitale executed only the frescoes in the apse, while those in the nave and the Last Judgment are without any doubt from one hand. It will be recalled that Filippiiii, op. cit., gives
(')

this fresco as well as the apsidal decoration to Vitale,

doubts

Gardner, op. cit., p. 2, are Ferrarese. Brack, op. cit., p. 109, ascribes the scenes from the Old Testament and the Apocalypse on the right oi the nave to Jacopo di Paolo da Bologna. Apart from the fact that there is
if

the frescoes at

Pomposa

no reason for attributing the frescoes in the nave to two different hands there is absolutely nothing in them that reminds us of this painter as Bandani, op. cit., p. 473, has already remarked. On the other hand this writer
assigns to him the decoration of the apse.

OTHER LITTLE CENTRES LN EMILL'\.

495

Fi?.

2:;o.

Ferrarese School, the Crucifixion. Pasini Collection,

Rome

496

PAINTING

IN

PTRRARA AND

angular, not only in their movements but also in their drapery, they are much more imposing than those of Bolognese painting,

another qualit}' that he has acquired from the school of Rimini. His types are ver}' easily recognized and it is just this
this is
is

and

that enables us to affirm that the painter who worked in the nave the same as the painter who decorated the entrance wall. The

characteristic appearance of some of the old men especially, with their high foreheads, curved mouths and piercing looks, convin-

ces us

we

are not led astra}'. In his love of minor details, as for

at Cana, his works may be de genre" of Northern Italian artists. approximated I know of onl}- one other picture which ma}' be grouped with the Pomposa frescoes and which may possibly be from the same

instance in the scene of the

Wedding

to the "scenes

hand.

It is a little panel in the Pasini collection, Rome, representthe Crucifixion (fig. 250). Four little angels fly around the ing Crucified the \'irgin and St. John stand mourning below, Mary
;

Magdalene embraces the foot of the Cross while more to the sides are the figures of SS. Catherine and Christopher. The large and somewhat coarse technique that the artist employed in the
execution of his frescoes
is

mensions. The contrast of light and shade in the mural decoration.

not suited to a painting of small diis even stronger than

There are two panels in the town galler}' which for along time were attributed to Cristoforo da Ferrara. It has, however, been
well established that the

was

painter of the name of Cristoforo not a native of Ferrara but of Bologna. Furthermore, as
in

one of Cristoforo's two signed works hangs

the

same

gallery,

just alongside the two pictures in question, a glance suffices to prove that they are not from the same hand.

One

of these panels (no. 22)

shows

the Virgin

dreaming of the

we see the (fig. 257). Against a rocky landscape Madonna lying asleep in bed near which a woman sits reading. From the body of the recumbent figure springs a tree on which
Crucifixion

the Saviour

is

crucified

six angels

hover round the Redeemer

while a pelican feeding its young is depicted at the top of the tree. This little picture is also the outcome of a mixture of Riminese and Bolognese elements. Not onh'is the form of the panel practically the same as that of the terminal of Baronzio's signed
picture at Urbino and of another

work

of his school at Stras-

OTHER LITTLE CENTRES IN EMILIA.

497

Fig. 251. Ferrarese School, the Virgin's

Dream. 2"^ half of the

photo Minist.

i4''i
del.

century.
Pubbi.
istr.

Gallery, Ferrara.

bourg, but the beauty of line, the grace and the refined execution are all qualities borrowed from the Riminese school. On the other hand, the strong shadows remind us of the technique of
IV

32

498

PAINTING IN FERRARA ETC.

shows no connection with

the Bolognese artists, and although the master of this panel the painter who was active at Pomis

posa, his art derives from the same two sources. The other little panel in the same Gallery (no. 21)

less pleas-

ing but church.

little

it

bears more resemblance to the frescoes of the abbatial

;

subject of the painting is again the Crucifixion two angels fly under the arms of the Crucified, Mar}^ Magdalene clasps His feet while the Virgin and St. John stand, one on
either side
(fig.

The

ing

in a

very

252). The artist has expressed his dramatic feelforcible manner; the light and shade effects are

strongly contrasted. The other 14th centur}^ paintings that we find at Ferrara do not belong to any well defined group. There is a certain num-

ber of detached frescoes

that of the Martiri,

in the different

churches, especially
;

in

and

in the

town gallery but

for the greater

part they are of little artistic value and only interesting because they reveal that not only the Bolognese manner, but also the

Madonna with

Florentine and the Sienese schools, had adherents in Ferrara. the Child and a Coronation of the Virgin are executed by a descendant of the Giottesque tradition, while a

group of saints (fig. 253) and some other fragments from the church of Sta. Caterina seem to have been inspired by Sienese art (^). This is also evident in a beautiful picture of the Madonna nursing the Child which is preserved on the 5th altar in S. Domenthe Estense Palace, now the University, Cavalcaselle found some mural decoration representing battle scenes and disputes, which still exist, although others that he mentions in the churches of S. Polinare and S. Guglielmo have apparently
ico.

In

disappeared

(-).

A group of painters seems to have existed at Faenza but few traces of their activity have survived. Vasari speaks ofOttaviano and Pace da Faenza as Giotto's pupils (^). According to him, the former worked in the churches of S.
('!

(1)
(^)

Agiie/li, op. cit, p. 3i.

Crou^'e and Cavalcaselle, op. cit., Ill, p. 215 16. C) A. Messeri e A.Calzi, Faenza nella storia e nell'arte Faenza, i909,p.38x.
(*)

Vasari-Milanesi,

p. 404.

Fig. 252. Ferrarese School, the Crucifixion, 2"^ half of the

i4tii

century.
Pubbi.
istr.

Gallery, Ferrara.

Photo Minist.

del.

500

PAINTING

IN

FERRARA ETC.

Giorgio of Ferrara and S. Francesco of Faenza; he produced

some other paintings in this town "where he lived and died", and was also active in Bologna (\).Vasari affirms that Pace worked with Giotto for a long time. There were frescoes from his hand on the facade of S. Giovanni Decollato in Bologna, while
a tree of the Cross and a panel with scenes from the lives of the Redeemer and the Virgin in the church of S. Francesco at Forli

displayed his
S.

skill in

depicting small figures.

The same

writer

states with less certaint}' that

Antonio

at

Pace also adorned the chapel of Assisi with scenes from the saint's legend for a

Duke From

of Spoleto who, together with his son, is buried there. the same' source we learn that in an old register of the

the name of the town is not given painters' corporation Francesco detto di Maestro Giotto is mentioned as being a pupil of Pace's. Lanzi speaks of a Madonna b}' Pace in the old Tem

plar's

Faenza while a picture in the town galler}' representing the Virgin, many saints and four scenes from the Passion has, without an}' reason, been ascribed to him. We possess one signed work by Bittino or Bitino da Faenza and another which ma}' be attributed to him. This artist passed
church
at

a considerable part of his life in Rimini (-). He is mentioned there in 1398 when he married, while his picture in S. Giuliano dates probabl}' from 1409. His family, then,

must have

settled in this town, for of his three sons, the eldest.

Villa Galletti at

At one time there was a mediocre work of the Florentine school in the Torre del Gallo, near Florence. It represented the Virgin with four angels and for some quite unknown reason, was attributed to Ottaviano da Faenza and to the 3'ear 1390.
(^)

Toinni, pp. cit., IV, p. 394. The Same. Atti e Mem. della R. Dep. di Stor. (-) Patr. per la Romagna, 1863, I1-, p. 159. G. S. Battagliiii, Descrizione della tavola dipinta in 1409 del Maestro Bittino, Firenze, 1886. The Same, Di Bittino

da Faenza e della scuola romagnola etc., Ravenna, 1890. Brach, op. cit., p. 114. Thieiue-Becker, Kiinstler Lexikon, IV, p. 73. F. Filippini, Gli aftreschi neir abside di S. Agostino in Rimini. I have alread}' remarked in the chapter on Riminese painters that this writer makes a great mistake in attributing to Bittino the frescoes in S. Agostino of Rimini which are about a hundred years older. His critical remarks on Bittino being based on this hypothesis, are consequently without an}- value. Thus, Bittino was not a member of the Riminese school as Signor Filippini affirms, while the frescoes in S. Agostino
are certainly a production of this school.

'a

m
CI,

a u V
CO
(N

bo

502

PAINTING IN FERRARA AND

Ambrogio, worked there and /^/^ son, Lattanzio da Rimini, was a fairly good painter of the 15th century. Bittino died before 1427.
signed picture shows, in the centre St. Julian with a little devotee, while around are eleven scenes from his legend, arranged in three rows. The spandrels are adorned with medallions
containing busts of the four Doctors of the Church, the four Evangelists and two saints, (fig. 254). At the feet of the principal
figure the following is inscribed on six lines: ^^Bithms fecit hoc abbas M. Sci Jiiliani sub ano domini opus fecit fieri die Sim
. . .

The

Mil.
is

Fill

".

The

first line

written in characters a

little

different

with the painter's name from the others but I do

the authenticity of
^'

not think that for this reason

the inscription. As for the date Tonini read
.

we need doubt
it

Miles .... sixty years ago as CCCVIlir It is obviousl}" a C that is missing and this is confirmed b}' the fact that there was a prior called Simon between
:

1401 and 1427 at the monastery of S. Giuliano.

it

Although the form of the principal figure and the drawing of seem somewhat coarse, the surrounding small scenes are

finely executed. In spite of the fact that Cavalcaselle's dictum that these paintings belong to Orcagna's school has been con-

tradicted b}' many, I think his affirmation is not far from the truth. In the form of the figures, the architecture and the com-

position there are certainly more factors reminiscent of Florence than of Bologna, whence Lanzi and Brach believe Bittino's art
is

derived.

The only Bolognese

feature to be noted in this

work

is

the colouring. The costumes and the slight Gothic line of certain of the figures herald the international Gothic style that

nourished some years later. The other work which I think

be ascribed to Bittino is much less pleasing, showing more resemblance to the central figure of the above panel. It is a little painting in the Faenza Gallery and represents SS. Vite the Martyr and John the Baptist. The supposition that it is a production of an earlier stage in the

may

master's career

is

ver}- likely true (M.

Herr Brach who hesitatingly attributes (') An hypothesis propounded by also to Bittino the panel of the Virgin with six saints below in the same RimiGallery, a work that I have already classified as a production of the
nese school,
v. p. 281.

OTHER LITTLE CENTRES IN EMILIA.

503

Fig. 254. Bittino da Faenza, St. Julian and scenes S. Giuliano, Rimini.

from

his legend, 1409.

Photo Brogi.

According
Forli.

to

Vasari a certain painter called Guglielmo da

Forli or degli Organi

was

a pupil of Giotto's and

worked

at

Among

other things, he decorated the walls of the choir of

504
S.

PAINTING IN FERRARA AND

(^),

while Lanzi speaks of his frescoes in S. Francesco but no trace of his works has survived. Some unimportant
paintings in the sacrist}' of the Servi church, in the Chapter Room of the Cathedral and a Madonna delle grazie in the Cathedral itself

Domenico

have, however, been attributed to him without any reason

(^).

painter, Bestello da Forli,

is

recorded
in

in

Ravenna between

1350 and 1360 and another, Baldassare,

caselle

1354 at Forli. Caval-

thought that it was possibly the latter painter who executed the only 14th century work of some importance in the town.
It

a fresco that has been transported from the church "di Schiavonia" to the gallery, and represents the figures of SS. Peter, Jerome, Paul and Augustine, one of the adoring Kings
is

and a servant holding the horses, the fragmentary remains of a scene of the Adoration of the Magi (^). It is a beautiful work in which the figures are imposing and the execution fine. Generally
speaking
Rimini.
it

may

be said that the artist

the Florentine school but

was

was inspired chiefly by also slightly influenced by that of

in his

No
is

Bolognese elements are evident

the only other

work.
find a series

Parma

town in Emilia where we

of 14th century paintings of any importance. Here the niches of the Baptistery, the walls and cupola of which are covered with a magnificent cycle of 13th century frescoes, are adorned with
14th century paintings, probably concealing others of the original decoration which, moreover, are still seen in sixteen of the niches. They are by different artists and vary considerably in
quality. Signor Testi has described them in detail (^). Following his description, I shall mention the subjects depicted. They are

Madonna of the Misericordia, one beside each of these there are some standing other, figures of saints and above, the figures of the Annunciation. An inscription below tells us that this decoration was executed in
firstly the

Crucifixion and a

below the

It is

1398 (or 1399) for the confraternity of the Living and the Dead. a painting of little artistic merit, executed in a coarse manner with reminiscences of the Lombard style. In the next niche
(^)
(^) (')
(^)

Vasari-Milanesi,

Crowe and
Idem,
L. Testi,

I, p. 405. Cavalcaselle, ed. E. Htittoii,

j

I,

p.

317 note.
1916, p. 247 et seq

p. 317. Brac/i, op. cit., p.

17.

Le Baptistere de Parme, Florence,

OTHER LITTLE CENTRES IN EMILIA.

we

505

find a representation of the Madonna seated on a Gothic throne between a holy pope and bishop, a painting which reveals

through the restoration, a fairl}^ refined execution, it dates probably from the second quarter of the 14th century. Of an inferior quality and slightly later period is the decoration

where we see the Virgin adored by a holy followed by saints, while below others are depicted separately framed. The signature ''Bartolinus De Placentia fecit"' is
of the following niche

monk

inscribed

We shall presently find this painter in Piacenza.

below the figures of SS. John the Baptist and Lucy

(/).

Signor Testi has pointed out that as the other frescoes are painted on a different surface they are probably not by the same hand, as was stated by Lopez, in his description of the Baptistery. The appearance of the paintings, moreover, confirms this hypo-

The Nativity in the adjacent recess shows two holy women, St. Joseph and a shepherd adoring the Child Christ. A fairly large number of angels above announce the glad tidings
thesis.

to

the shepherds while

among whom we

below there are two rows of saints recognize St. Martin and St. Michael on

horseback. Like the preceding fresco, this also is rather provincial in appearance; the Nativity, however, is depicted with a good deal of animation. Of little better quality are the frescoes
in the

following niche; they represent, above, a large erect figure of the Saviour and His Baptism and on two rows below a series
of scenes, among which are the baptism and mystical marriage of St. Catherine. In style these works show a certain connection

with the Bolognese school. Then follows another representation of the enthroned Virgin, this time nursing the Child, and escorted by three saints below, three of the five figures which were once probably represented, alone remain. Formerly the signature: ''Nicolaus Dc Rcio
;

could be read here. Signori Bertoni and Vicini with a Niccolo whose name they found recorded at Modena between 1363 and 1377 ("'). but this

(Reggio) fecif have identified

(-)

this painter

(1)

Rosini, Storia della pittura italiana,

II,

I,

p. 206. T/tieiiic-Becker,

Kunstler

Lexikon,
(^)
(^)

p. 557.
cit., I,

Rosini, op. G. Bertoni

p. 206. Testi, op. cit., p. 253.

E. P. Vicini, Niccolo da Reggio, Rassegna d'Arte, 1903,

p. 158.

5o6

PAINTING IN FERRARA AND

decoration, which is rather crude, seems to be of earlier date. Of the two painters who decorated the next niche one shows

again a certain knowledge of Bolognese art. He has depicted, in two rows, thePra3^er on the Mount of Olives, the Flagellation, the Mocking of Christ and the Calvary. Lower down another artist, working in a more Gothic manner and possessing a finer technique, executed the figure of St. Ursula accompanied b}' her
virgins and a scene of the Circumcision in a st3'le bearing a certain resemblance to Lombard painting. The}' date from the

second half of the 14th

centur}-.

somewhat heterogeneous ensemble of frescoes. Above we find a Pieta and the figures of SS. Wilgefort (\( and Catherine; lower down an image of St. Christopher with the date 1350, six little scenes of works of mere}' and two figures of saints. These paintings, which are of little importance, are by different artists and do not all belong to the same period. Then we see St. George killing the dragon and lower the Baptism of Christ, which in manner recalls the Nativit}'. In the next niche but one there are several frescoes, all very mediocre work, the most important being that of the Coronation of the Virgin dated 1361. The decoration of the second niche from here has preserved, in
following recess contains a
its original qualities. Here the Virgin, in an architectural frame, is enthroned between an angel and St. John the Baptist who presents a kneeling bishop who,

The

spite of the restoration,

many

of

according

to the inscription, is

Cardinal Gherardo Bianchi

who

died in 1302. In this case it must be a commemorative painting because the work can hardly have been executed before 1320 at
the very earhest. The fineness of the technique recalls the Sienese school or certain productions of the Perugian miniaturists. This collection of examples of the pictorial production during
this

the 14th century proves that there was no school in Parma at can perceive the proximity of Bologna, the art of epoch.

We

which town influenced Parmesan painters.

though onl}- to a certain degree the

in the different chapels of the

Although the decoration

Cathe-

dral leads us to believe that there

must have been a considerable

(^)

Testi, op.

cit.,

p. 256.

OTHER LITTLE CENTRES IN EMILIA.

artistic activity in

507

tury, there are

Parma at the very beginning of the 15th cenno other works of any importance dating from
town
(^).

the 14th centur}' in the

The town

we

of Piacenza possessed the painter Bertolino whom have found active in Parma. Rosini reproduces a fresco which

adorns a lunette in the wall to the left of the entrance of the Cathedral as a certain work of Bertolino's, without however giving the reasons which have led him to this attribution. The

which shows a certain Gothicism in feeling and proportions, dates from about 1400. It represents the Virgin enthroned in the midst of four saints,
painting,

holding on her knee the naked Child Who bestows a blessing on an adoring bishop (-). Signor Toesca has alread}' drawn our
it may have been the same painter a considerabl}' repainted reliquary in the Museum of Piacenza with the figure of a saint seated on the ground on the upper part and St. Catherine on the lower part {^}.

attention to the fact that

who adorned

Elsewhere in Piacenza we find paintings of an earlier period. Above the door of the sacrist}^ of the Cathedral, a lunette contains a half-length figure of the X^irgin carr5'ing the Child between

two angels

a production probabl}' of the beginning of the 14th century since, in looking at it, we feel that the B3'zantine fresco in the lateral apse of the tradition is not far distant.
(^),

Cathedral representing the Resurrection of the Dead is of a less archaic style, while one of St. George carrying the delivered princess pillion on his horse is executed in a more Northern

Gothic manner

(^).

Rosini and, before him, Lanzi mention some representations from the life of St. Antonino (and not of St. Antony since lost

of several Parmesan painters of the 14^^ century are Gallerie Nazionali Italiane, I, p. 21. L. Testi, Bolletino d'Arte, 1910, p. 57 note 3, informs us in a general manner that 14'^' centurycastles around Parma, but paintings are to be found in the churches and
(1)

mentioned

The names in Le

these are entirelj'

(2) (^)
(^)
{'")

unknown
p. 393.
p. 144.

to

me.

Rosini, op.

cit., II, cit.,

cit.,
cit.,

p. 53. Toesca,

La

pittura lombarda, p. 392.

Toesca, op.
Toesca, op.

Toesca, op.

p. 150.

5o8

PAINTING IN FERRARA ETC.

as Lanzi says) in the church dedicated to this saint in Piaceiiza(^), Some beautiful frescoes have been discovered in the church of the

Abbey
(-),

cenza

of Chiaravalle della Colomba, near Alseno di Piathey represent the Crucifixion, a mitred saint assisted
in

by two acolytes celebrating mess, and a holy bishop

tion. It is in the

benedic-

Crucifixion particularly that we note certain elements borrowed from the painting of the end of the 13th cenral figure,

tury; such, for example, as the proportions and form of the centwhile the gestures of some of the assistants remind

us of those in Cimabue's big fresco in the Upper Church of Assisi. The technique of the entire decoration, as well as the facial

expressions and the general spirit of the work, points sooner to a Sienese influence.
of these paintings, which date from the first half of the 14th century, was a skilful painter and one familiar with the important artistic currents of Central Italy.

The author

This rapid survey of Emilian painting outside Bologna, Rimini and Modena, suffices, I think, to prove that outside these three
important centres, there were, with the exception perhaps of the little group at Ferrara, no other local schools. Further it may be
stated that although

we

discover traces of the influence of the

Riminese and Bolognese painters they did not entirely dominate

where we find works inspired by Lombard, Florentine, Sienese and other artists, giving a heterogenous character to the native production.
the artistic activity in Emilia,

(')

(-)

Rosini, op. cit., II, p. 228. G. Bertitssi, La badia di Chiaravalle della

p. 306.

Colomba

e gli aftreschi

recentemente scoperti, L'Arte, 1903,

ADDITIONS AND CORRECTIONS.

p. 43 g^^ line from above Paolo.

Giovanni

di

Paolo should read Jacopo

di

been told, should still p. 57. To the works of Lorenzo Veneziano, I have be added a panel in the collection ot Prof. Mather of the University of Princetown (U.S.A.), representing the enthroned Madonna with the Crucifixion above and the Twelve Apostles in three rows below. The painting is unknown to me.
note I, 6'h to 3"^ line from below should read Sitpino, Un dipinto Barnaba d. M., Rivista d'Arte, 1905, p. 13, assigns to him a Crucifixion and Annunciation in the Gallery- of Pisa which is a production of the Pisan school to which he had previously attributed it (Campo Santo, p. 68), while
p. 382,
:

di

Thode, Repert.

f.

Kunstwiss., 1888.

p. 21,

ascribed

it

to the

Master of the

Ti^iumph of Death.

INDICES

INDICES
iconographical index, indicating New and Old Testament and hagiographical scenes and other important representations will be found at the end of volume V.

An

Compound names
of the
first

divided

b}' di, de, del, etc., will

be found under the

letter

name,

all

the others under that of the second.

GEOGRAPHICAL INDEX
The ciphers in brackets are those of the museum catalogues. Illustrated descriptions are indicated by bold faced numbers.

Ajaccio.

Museum,

the

Master

Pirano altar-piece, wings of a polypt3-ch

of the disappeared
23.

Gallery, school of

Giovanni da Milano,
,

Madonna

(13) 238-'.

Ascoli Piceno.
Gallery, Andrea da Bologna,

Alba (Piedmontl.
Giovanni Battista. Bariiaba da Modeiia, Madonna, from S. Francesco 379, 380. Alessandria. Cathedral, Piedmontese school,
S.

school of Assisi.

polypt^'ch 432'.

Giovanni da Milano. paintings

222. Sta. Chiara, Madonna, crucifix and St. Clare, of the 13'^ cent., 222*. S.Francesco, Upper Church, Cavallini and helpers, frescoes 304'-',

frescoes 276.

Alseno di Piacenza v. Chiaravalle. Amsterdam. Lanz coll., Giovanni da Milano,

Crucifixion
238'-'.

Ancona.
Caller}', Andrea da Bologna, Death of the Virgin 432, 436. S. Angelo in Formis (near Capua).

Benedictine

fresco of the Last

Judgment

483.
fres-

Angara (Lago Maggiore). Castle, Lombard school,

Aquileia.

coes of battle scenes 210, 269.

Baptister}', fresco fragments 98. Basilica^ fresco fi^agments 98.

353; Cimabue, apocalyptic scenes 493; Crucifixion 509; Giotto and helpers, St. Francis cjxle 16, 298, 346,352; Roman sclwol of the cent Old and New Testaij*^'^ ment scenes 484. Lower Church, Angelino di Corrado di Novarello, Giovanni di Maestro Nicola, Pace da Bologna, active 428' Pace da Faenza, active 501 Andrea da Bologna, frescoes the St. Catherine chapel 428, 428 -430, 434; idem, (wrongly attributed to), windows in that chapel 430; Ceccolo di Giovanni (.^), Ma352,
, ;

Arbe
S.

(Dalmatia). Cathedral, Venetian school. Madonna 95; poh'pt3'ch 95.

donna and
school of

saints 430'^; Giotto, frescoes from the

;

Arcangelo
V.

di

Romagna.

Jacobello di i?o//o///o,polypt3xh, Venice, Accademia.

childhood of Christ 222-', 351 miracle of Mary Magdalene 226; Maestro di S.Francesco, St. Francis
cycle 16.

Arezzo.
Badia, Segna di Bonaventura,
crucifix

Avigliano (Piedmont).
338^

Avignon

Castle, profane frescoes 273. 277.

IV

33

514
Bagnacavallo.
Pieve, Gittliano coes 310 312.

GEOGRAPHICAL INDEX.
da
Ri/niiii, fres-

Baltimore.
Caterino, polj'p tych 62 64. 78, 80; J^enesiaiio, Lorenzo, sc/iooloj ~, tript\'ch 58'.
coll.,

nardo triptych 1^1064) 164 Chovanni da Mila no, school of , Mourning under the Cross 238'-'; / eneziano Lorenzo t\vo saints
,
;

Walters

54
(

Bohemian

school,

Madonna

1624) 117^; Florentine school of the

Bassano.
Martiiicl/o, active 100.

Cathedral, Guarieiilo, school of

,

Madonna and

saints, crucifix

cent.. Last Judgment and 5 other scenes 291I. Print Cabinet, Giovanni da Milano, attrib. to drawing of the Crucifixion 238. von Kaufmann

jjth

118. S. Francesco, Guariento, school Annunciation 118. of S. Francesco Monastery, Gua-

coll. (dispersed),

of

Baron zio, manner

coll., S/-

Nativity 340. Japs

riento, frescoes 116; Giiarieiito, school of frescoes of St. Antony's legend 118. Museum, Guariento, crucifix 119, 115,117; Guariento, school of marriage of St. Catherine 118.
,

moiie dei Crocifissi, Coronation of the Virgin from the Gozzadini coll.. Bologna 45 1^

Bohemia
J

356, 356-, 363.

Bologna 09, 367. 387, 393,394-481. v. Borgo Panicale, Credolo. Ottaviano da Faenza. active 500.

Bellano.
S. Giorgio, Siinone

Churches,Monasteries

etc.

manner of
saints 258.

da Corbetta, Madonna and two

S.Andrea dei PadriPenitenziari,

Cristoforo, lost detached 414'; Dalmasio, Lippo

fresco
,

lost

Bellinzona.
S. Biagio,

Lombard school,

fres-

coes 254

Madonna, once near this church 455. S. Apollonia, Viiale, Madonna, V. Davia Bargellini Gallery; two
lost

Belluno

100.

panels of saints 408.

,

Cathedral, Sinione da Cusighe,

lost altar-piece 100. S. Martino, Sinione lost altar-piece 100''.
sighe,

da Cusighe,

Bartolommeo, Dalmasio, detached fresco from Lippo Sta. Maria di Porta 462^ Certosa della Madonna. BologS.

Pagani famiU', Siinone da Cualtar-piece from S Bartolommeo in Salce, v. Venice, Accademia.

nese sc/iool, different representations of the Madonna 480^ S. Clemente (of the Spanish College) Bolognese school, frescoes

Bergamo.
Maria Maggiore, GiottesqneLonibard school, tree S. Bonaventura 218, 220; in the CamSta.

of

Pope Urban V,

St.

Catherine

and adorer

480'. S. Cristoforo at Monte Maggiore, Cristoforo, lost picture 413.

panile,

frescoes, wrongl}' attrib.

to Pierino

de Nova 218'-'. Sta. Marta Convent, Lombard

Lippo

Crocifisso church, school of

Dalmasio, Madonna
,

school, frescoes, v. Gallery. Gallery, Lombard school, de-

462'; Jacopo di Paolo, (wrongly attrib. to). Calvary and Crucifixion

tached devotional frescoes 255 257 frescoes from the Sta. Marta
;

468; Bolognese school, two frescoes of the Madonna and one of the Ecce

Homo 480'.
S.

convent
Berletta.

266^.

Domenico,

Cristoforo, lost
; ,

Metropolitana, Serafmi Paolo Madonna and two pictures of the Lord 389. Berlin. Kaiser Friedrich Museum, Bar,

frescoes in the sacristy 414' i)<7/Madonna del masio, Lippo Veluto 462 Fitale,]ost panels 408;

Bolognese school,

Madonna

delle

naba da Modena, Madonna

;

(1171)

370,372,372; Battistada Vicensai?). figures of saints 108 Daddi, Ber-

Febre 480'. S. Domenico, cloister, Dalmasio, fresco fragments 462; , Lippo Veneziano, Lorenzo , active 403

Pietro di Gioi'anni di Tovaglis

(?),

GEOGRAPHICAL INDEX.
fragment of the Holy Trinity 451';
Simoiie dei Crocifissi, lost fresco 452; Vitale, lost fresco 40, 408. S. Francesco, Andrea da Bologna, active 428: Cristojoro, active
school,fTesco fragments

515
and figures

of St. Onuphrius 480'.

Mezzarata church 404, 416, 420, 438; Cristojoro, active 412; frescoes, (wrongly attrib. to), 413.414'; lost Madonna della Misericordia

412; Dalniasio, Lippo , active

4561
;

(?)
;

Vitale, active 399, 400, 408 Bolog)iese school, crucifix 480'. S. Francesco Monaster}^, Francesco da Rimini, lost frescoes 346.

352, 424

Simone

dei Crocifissi, lost

Coronation of the Virgin 440; S. Giacomo Maggiore, Jacopo di Paolo, Coronation of the Virgin; Crucifixion and saint 43, 465; Venesiano, Lorenzo , lost altarpiece 41 43; panels of a polyptych 42, 43

413; Gallasso, diCi\\e and frescoes^ (wrongl}^ attrib. to\ 482; Jacopo, different signatures of that name 416; Jacopo [pseiido- Jacopo Avanzi{?), frescoes 419, 420, 482; Jacopo di Paolo, frescoes 418, 464,
466, 468; Venesiano, Lorenzo , active (?) 41 Simone dei Crocifissi, frescoes 418. 419, 450, 451, 482; Bolognese school, frescoes of the Nativity, the Ascension the Vir;

Simone dei Crocijissi, crucifix 440, 445. S. Giovanni DecoUato. Pace da

;

gin

and Old Testament scenes

Faenza.lost frescoes on facade 500. S. Giovanni in Monte, Sitnone dei Crocifissi, school of crucifix,

^o8. 468, 469. S. Michele in Bosco, Simone dei Crocifissi, lost Madonna 451'.

451 1. 480^;

403; Bolognesc school, panel and fresco of the Madonna, 480'. Guidalotti Dalniasio, chapel,
lost painting 456. Lippo S. Giuseppe, Bolognese school,
,

Vitale,

Madonna

Misericordia church, Dalniasio, Lippo Madonna 456, 458. Montalto College, church of
.

Vitale, lost St.

Antony Abbot
Crucifixion

408.

SS. Narborre e Felice, Jacopo

di

Paolo,

lost

and

Annunciation 468.

crucifix 480'. S. Isaia, Bolognese school, fresco

Madonna (now
church)^

S. Petronio, Dalniasio, Lippo , in Museum of this

of the

Madonna

480'.

S. Marco, Dalniasio, Lippo , Coronation of the Virgin, v.

lost Madonna and St. George 455; makes crucifix 456; (Movanni da Modena, active 476; Jacopo di Paolo, makes model

Gallery.
Sta.

Margherita,

Simone

dei

for

of the church 463 designs statues Maestro Paolo 464; wooden

;

Crocifissi, lost

Coronation of the
Vitale,

Virgin 4511.
Sta.
Sta.

Maria del Monte^

v. Gallery.

Madonna,

Maria dell' Orazione, DalMadonna 462. masio, Lippo , Sta. Maria di Porta, Dalniasio, Z,/)!>/'o, fresco, v.S.Bartolommeo. Sta. Maria della Purificazione, Madonna Dalniasio, Lippo 462^ 480I Bolognese school, fresco of the Madonna 480^ Sta. Maria Maddalena agli Orfanelli, Cristoforo, lost Madonna and

carved altar attrib. to him 464'; active 476; Litca Lola Francesco da Perugia, fresco of the Virgin and saints 476; Maes'ro Paolo, attrib. to , wooden carved altar

464';

Simone

dei

Crocifissi, lost

Madonna

451^; Bolognese school of the 14th and ijth cent., figures of saints on the pillars 480^; Bolognese school 0/ oIj. 1410, frescoes in the Bolognini chapel, 414I
468. S.

saints
408. S.
fissi,

Simone

dei Crocifissi, lost

lost

480. Petronio. Museum of the Machurch. Dalniasio, Lippo donna from a pillar of the church

469476,

Madonna;

Jltalc,

Madonna

Martino, Simone dei Crocilost Crucifixion 451^

Crocifissi,

dei

Simone school of , frag;

456, 461. S. Pietro, Dalniasio. Lippo , lost painting 456 Jacopo di Paolo, active 463; Simone dei Crocifissi,
;

ments of a Crucifixion

451'; Vitale,

lost Crucifixion 451^. S. Procolo, Dalniasio, Lippo

Madonna

404,

406:

Bolognese

Madonna

456. 462.

5i6
S.

GEOGRAPHICAL INDEX.
Salvatore, Vitale,

Madonna
|
!

403, 404; polyptych 400, 403, 406, 414'. S. Stefano, Deodaio Giovaiiel/o da linola, lost Madonna 398; Simone dei Crocifissi, Madonna 451'; Bolognese school, figures of saints in the courtyard 480'.

Simone dei Cnicifissi. portrait of Pope Urban V (340) 440, 443; Crucifixion, Christ and the Virgin {162) 440, 446; polyptych (474) 442
448, 451'; Coronation of the Virgin (164) 442; polyptych (163) 448,

452'

Stefano, Museum of the church, Avansi, pseiido-Jacopo, four scenes from the sc/iool of life of St. Benedict 480'; Da/masio, Madonna school of Lippo Giovanni di Canelo, pol^'p462I tych 82, 477; Jacopo di Paolo, St. John 466; idem {.^), triptych 466 idem, school of , two saints 468I Simone dei Crocifissi, crucifix three 446; idem, manner of
S.

Madonna and ten angels (no number) 451^; if^gm, maimer of scenes from the life of the Virgin
; ,

St. (601) 451'; idem, school of Bernard dei Tolomei (166) 451^;
,

Tommaso da Modena, school of Lord's Supper, three Madonnas and four saints 367^; Veneziano.
,

Lorenzo

two saints 42, 43, 46; lit ale. Madonna from Sta. Maria del Monte (203) 398, 400, 403. 406
,

saints and two panels each with three saints 45 1 ': idem, school of

triptych (351) 402,403; St. Helen 1328) 406; idem, school o/ .Annunciation (384, 385) 408; scenes from the Lord's history (,257, 258)

crucifix 451^;

'dale,

school of ,

Madonna
two

408; triptychs

Bolognese school,

and some other

408; Bolognese school. Lord's Supper (169)480'; Madonna of HumilParaity and prophets (589 480'
;

panels 480'.

Public and Private Collections.

Gallery, Avansi, pseitdo-Jacopo 426; polyptych (159) 422. 424; Death of the Virgin (170) 422; Coronation of the Virgin 422; Coronation of the Virgin and Crucifixion 161 422 Crucifixion 160) 422; Crucifixion (380) 422; idem, school of angel and two saints

dise (229) 474; Riminese school, Crucifixion (231) 288, 292. Museo Civico. Jacopo di Paolo, Annunciation from the notarial

archives (221) 464; two Giollesqiie crucifixes 191, 196 480I Bolognese school, the Saviour (208) 480' Madonna and Pieta (202) 480^ Nativity
.
(

and Flight
480I.

in

Egypt

(209,

210)

como,

State Archives, Niccolo di Giaminiatures in difterent

ledgers 410.

(363, 364) 422-'; Last Judgment and Pieta (230) 422^; martyrdom of
St. Cristina(i67) 422'^; St.

Davia Bargellini Gallery,

Vitale,

Madonna from

S.

ApoUonia

400,

Gregory

(383) 422^;

Dalmasio, Lippo .Coronation of the Virgin (500), 456, 456; Madonna (no number) 458; Madonna (752) 460; idem, school Coronation of the Virgin, of

404, 406; Simone dei Crocifissi, Pieta 440. 444. Ercolani coll. (dispersed), Z)c7////^sio,

Madonna, v. London, Lippo National Cj?\\Q\'Y,Franco da Bolog,

and saints from S. Marco (225) 462'; Coronation of the Virgin. St. Ursula and other saints (232) ^62^ Jacopo di Paolo,
Crucifixion
;

na, (wrongly attrib. to), Madonna 397; Veneziano, Lorenzo, signed

picture 41, 42.

coll. Gozzadini (dispersed), five Avanzi, psendo-Jacopo

Crucifixion (10) 464, 464, 466, 468; Coronation of the Virgin (11)464,

465; two tript^'ch wings (367,368) 466; four saints (268, 269) 466; St. Romuald's vision (168) 466: idem, school of , crucifix 191) 468'; Coronation of the Virgin (270)
1

predella panels, v. Englewood, Piatt coll.; Jacohello di Bonomo, attrib. to -, triptych Qf; Simone dei Crocefissi, Coronation of the Crucifixion and other Virgin,

i\.6&^;Monaco, Lorenzo , Madonna (501) 406Petnis, crucifix 398;

;

representations 448; Coronation of the Virgin, v. London, Langton Douglas coll.; Coronation ot the Virgin, v. Berlin, Japs coll.;

GEOGRAPHICAL INDEX.
two saints and idem, manner of the Annunciation 451 '; idem, school tour saints 451'. of Gualandi coll. (dispersed), Giovanni da Bologna, Coronation of
,

517

Carapione. Sta. Maria de^Ghirli, Lombard school, scenes trom the lives of
the

Lord and
V.

Capua
Carpi.
393-

the Baptist 264, 265. S. Angelo-in-Formis.

Virgin 82. Malvezzi coll. (dispersed), Franco da Bologna, alt rib to a painting 397; Vitale, two holy Benetlie

Sagra church, difterent frescoes

dictines 408.

Carpineta (near Cesena). Parish church, Maestro Paolo,

Madonna

6,

12,

Public and Private Buildings.

15.

Town

Castel S. Pietro (near Como). Parish church, Giottes(jiie- Lom-

Hall, Avanzi,

paints a tile for the Notarial Archives,

Jacopo , 416.
,

bard

school, frescoes 220.

Jacopo di
v.

Paolo,
Civico.

Annunciation^

Museo

Sta. Croce College, Dalmasio, Lippo ~, triptych 462. Spanish College, Dalmasio, Madonna of Humility Lippo 460, V. S Clemente. Compagnia dei Lombardi, Bosome panels school, lognese
,

Castel Tedaldo (near Ferrara'. Randmldo,Laitdadio .active 482. Castelbarco (near Verona). Battle scenes 181, 210, 269. Castelnuovo (near Recanati). MaSta. Gnlielnins, Maria,

donna

38.

Caversago (near Como) 221. Cazzano (near Verona).

S.

Felice,

Maestro

Cigogna,

480^.

frescoes 180; Giottesqiie- Veronese school. Crucifixion 200'.

Palazzo Bolognetti, Dalmasio, lost painting 456. Lippo Casa Gualandi, Bolognese school,

Cesena v Carpineta.
Cesi (Umbria).

Town

fresco of the IVIadonna and some fresco fragments in the court-

of

Hall,

Madonna and
delle

Cavallini, school saints 312^

yard 480^ Borgo Panicale (near Bologna). Parish church. Dalmasio, Lippo lost Madonna 455.
,

Chantilly (France). Musee Conde, Codex of the

Canzone

Virtu

delle

Scienze 424, 432^

Bormio.
Parish church and priest's house,

Chiaravalle della Colomba (near Alseno di Piacenza). Abbey church, Crucifixion and
saints 508.

Lombard school,
Boston.
Fine Arts

frescoes 266*.

Museum, Barnaba

da Modena, Madonna from the Langton Douglas coll.. London (2)

368 372; Bolognese school, Nativity
(23) 480-.

Chioggia. Oratory of S. Martino, Master of the Pirano altar-piece, polyptych 19-23. Cividale.

da Rimini, Madonna and saints, trom Urbania 300, 306, 338^.

Gardner

coll.,

Giiiliaiio

Tempietto, fresco 104. Colalto. Riininese school, frescoes 202,

Brescia.

342344, 366, 367. Cologne.

Schniitzen Museum, Cristoforo, Crucifixion 414.

Martinengo Gallery, Veneziano, Lorenzo four saints (12) 56 Brianzale (near Lecco). Budapest.
,

Castle.

Lombard school, protane

\Vallraf-RichartzMuseum,G//?anodaRimini,attrib /o Passionscenes (disappeared) 350'^; Zo/r//,

paintings 265, 269. Gallery, Master 0/ St Cecily, Madonna and saints school of Taddeo di Bartolo, (41) 350^;

zetti,

school of
V.

Madonna 382'.
Castel
S.

Como
S.

Carvesago,

Pietro.

Abondio,

Giottesque-Lom-

Madonna

(29) -^2}.

bard

school, frescoes 216.

5i8
Broletto,

GEOGRAPHICAL INDEX.
Lombard
school, fres-

of

coes from Sta. Margherita. scenes from the legends o'l SS. Liberata e Faustina and another fresco
212. 216.

St. Catherine (from the Earl of Southesk's coll) 29; Riminese

,

school. Adoration ciation I592), 350. Englewood (U. S. A.)

Piatt,

and

Annun-

Compiegne (France). Museum, Simone dei Crocifissi, two scenes from the legend of a saint, from the Campana coll. 450Corrubio (near Verona). S. Martino, Maestro Cicogna,
frescoes 179.

Jacopo
zadini
122'.

coll..
,

Avanzi,

pseiido-

5 panels

coll.,

Semitecolo,

manner of Madonna
,

from the GozBologna 421, 424;

Fabriano

392.
school,

Cortina d'Ampezzo. Palazzo del Capitano

Giustizia, Giotto, sibyls 102.

della

Faenza 498 504.

Gallery, Marc/iegian detached frescoes 351.

school of ,

Cracow.^^
Czajtoryski Museum, Giovanni da Mdano, school of Madonna and saints 238-'. Credolo (near Bologna).
,

Parish church, Dalniasio, Lippo

,

lost

Madonna

456.

Cremona.
S.

bard

Giottesqite-Loiiischool, Madonna 218.

Agostino,

S. Ottaviano da Francesco, Faenza, active 498. Old Templars' church, Pace da Faenza, lost Madonna 500. Gallery, Bitfino da Faenza, at t rib. to two saints 502; P^r^ da Faema, (wrongly attrib. to), Madonna, saints and Passion scenes 500 Simone dei Crocifissi, manner of dead Saviour 451; Riminese school, Madonna and

saints

Cathedral,

Lombard

279283,

292. 502'.
school,

school,

Fano.
S.

scenes from the Old Testament 265, 269; Casella,Polidoro~ ,attrib. to , Madonna and donor 218^ Crevola d'OssoIa. S5dva Castle, Pieiro, son of Pietro da Xovarra, active 273. Curzola (Dalmatia). Concezione, Veneto-Bysantine school, polyptych 95. I Ognissanti, 'eneto-Bysantine school, CI ucihx 95 pol3'ptych 95. Cusighe. Parish church. Simone da Cusighe,
;

Domenico, Riminese
v.

frescoes 350.

Fernio
S.

Torre

di

Palma.

Angelo, Jacobello di Bonomo, school of , Coronation of the Virgin and saints 86, 87, 432'. Gallery, Venetian school, Coronation of the Virgin 87 Andrea da Bologna, polvptvch 428, 430
;

434.

Ferrara
V.

384, 386, 402, 412,

482498.

Castel Tedaldo.

lost frescoes

100.

Dalmatia 98. Darmstadt.

Library, Petrarch codex
208.
126'',

Gelasio di Xiccolo della Masnada de S. Giorgio, active 482. Giotto, active 482. St. Andrea, bell-tower, Cristoforo (?), fresco remains 414.
Sta. Caterina,frescoes,v. Gallery.

Dignano

(Istria).

Cathedral,

Blessed Leo

J'enetian school, the Bembo from S. Se4.

Cathedral, Serafmi, Serajino active 384.

rarese

bastiano, Venice

Corpus Domini monastery, />;-school, SS. Francis and

v. Costabili coll.

Domodossola.
S.

Dominic,

Quirico,

Lombard
266^.

school,

Madonna and saints Dovera (near Lodi).

Domenico, Ferrarese school. Madonna, 498. S. Giorgio, Ottaviano da FaenS.

Oratorio, Lotnbard school, Annunciation 266"'.

za, active 500.

lost frescoes 498. Martiri ch\wcf\, Ferr a rese school, detached frescoes, 498. S. Polinare, lost frescoes 498.

S Guglielmo,

Emilia 355-508. Edinburgh. Caller}', Maestro Paolo, school

GEOGRAPHICAL INDEX.
Galler}-, A Ibereiigo, JacoheUo-[?),

519
230:

saints (180183), 84; Cristoforo, Crucifixion and Entombment from the Costabili coll.

sixteen

Caterina 221, 228, 228', triptych 234, 235, 240.

413, 414^; Ferrarese school. of the Virgin (22) 414^, 496; Crucifixion '21) 414^498, both from the CostatiiUi coll.:
(23)

Dream

Giovanni da Milano and Andrea da Firense, SS. Paul and John folloiver of

Home Museum,

detached frescoes, Madonna and Child (5), Coronation of the Virgin (no number) and others (i 4) 498; group of saints, detached fresco from Sta. Caterina (6) 498.

the Baptist (75, 76) 238-. Pitti Palace, portraits of the .Scala family, v. Vienna, coll. of the late Archduke Ferdinand of Austria.
Uffizi,

altar-piece

Giovanni da Milano. from the Ognissanti

Costabili coll. (dispersed), Crisfoforo. Crucifixion and Entomb-

ment, v. Gallery; idem, attrib.to , SS. Francis and Dominic from

the

church (32) 222, 230^ 241; idem, school of two saints (storeroom 4696) 238-'; Simon f dei Crocifissi, Nativitv (disappeared,

Corpus Domini monastery

;

414I; Siiiioiie del Crocifissi. tript3'ch 451I Ferrarese school, Dream of the Virgin, Crucifixion, v. Gallery. Castle, courtj^ard, Ramhaldo,

Old Cat. 260) 451I. Acton coll., Avansi, pseitdoCrucifixion 422; Gio, Jacopo vanni da Milano (?), Madonna and

saints

238'-.

Laiididio,
482.

attrib. to

Madonna

Galletti coll., at Torre del Gallo, Florentine school. Madonna 500'.

Estense Palace, v. University. University, formerly the Estense Palace, Ferrarese school, battle scenes 498.
Fiesole.

de Marquard coll., dispersed, Giovanni da Milano, Madonna, (since been for sale in Florence and Rome) 235, 235^ Pedulli coll., Barnaba da Modena,

Madonna
sale in

382'.

For

1924 Sinione dei

Bandini
scliool,

Museum,

Bologiiese

four panels with scenes from the Life of the Lord 480I. Florence 124, 128. 170. Carmine, i'liiu'anui da Milano, polyptych 234 idem {?), fresco of the Madonna and saints in the
;

Crocifissi, Coronation of theVirgin 450; in 1922 idem, school of

Crucifixion
in

(previously

for sale

Rome).
Guglielmo da Forli, active 503.

Forli.

cloister 234. Sta. Caterina convent, Giovanni da Milano, Pieta, v. S. Gerolamo,

Cathedral, Madonna delleGrazie 504; frescoes in the Chapter

Room
S.
S.

504.

Domenico,
Francesco,
;

Guglielmo Guglielmo

da da

Accademia.
Cathedral, Giotto, active 215. Sta.Croce, Gaddi, Taddeo,{vescoes in the Baroncelli chapel 116, 224, 225; Giovanni da Milano, lost panel 222; idem and helpers, frescoes in the Rinuccini chapel
221.

Forli, active 504.

Forli, active 504 Pace da Faensa, lost tree of the Cross and scenes from the lives of the Redeemer

and the Virgin 501.

Schiavonia church, Baldassare,
attrib. to

224228,

230.

234,

238-,

frescoes, v. Gallery.

242, 243; Maso, frescoes of the S. Silvestro legend 160; S. Gerolamo, Giovanni da Milano, Pieta, V. Sta. Caterina con-

vent and Accademia. Ognissanti, Giovanni da Milano,

altar-piece, v. Uffizi.

Servi church, frescoes 504. Gallery, Baldassare, attrib. to , fresco from the Schiavonia church 504. Fossignano (nearlmola). S. Michele, Bolognese school, Madonna 480^

Frankfort
Accademia, Giovanni da Milano, Pieta, from S. Gerolamo and Sta.

a.

M.
(i)

Stadelsche Kunstinstitut, Bar-

naba da Modena, Madonna

520
370

GEOGRAPHICAL INDEX.
37 1' 372;

Lombard

school,

ation
St.

seven panels with scenes from the hfe o^ St. Stephen (3 A G)

of the Virgin Clare chapels 366.

di

Mary and
Giacomo,

Kremsmunster.
Library, Xiccolo miniatures 410.

259-262.
Friule 100. Galliano. S. Vincenzo, cr^pt, Louibavd school of the i}^''- and 14-'^ cent
,

Lavagnola

(Liguria).

Parish cJiurch, Barnaba da Modena. pol3'ptych 374.

frescoes 266^.

Gemona

(Friule).

Lecce. Ahiseum, Master of the Pirano

altar-piece, polj'ptych 19, 23, 109.

Cathedral, Nicolaiis, frescoes on the facade 102; Venetian school, miniatures 92. Hospital, fresco of the Lord on the facade 102.

Lentate (Brianza).
Orator}',
271, 274.

Lombard

school, fres-

coes 220, 242, 248, 250, 255, 264,

Genoa. Barnaha da Modena, present

370-

Lichtenberg (Tyrol).
Castle, frescoes 162.

SS. Cosme e Damiano, Barnaba da Modena, Madonna 380. Palazzo Ducale, Baruaba da Modena, active 370 Loggia dei Banchi, Barnaba da Modena, active 370.

Liguria 384.

Lodi

V.

Dovera.

S. Francesco, Lomliard school, difterent frescoes 21 1,212,255,266*;

life

idem, cycle of frescoes from the of a holy bishop, 220.

S.

Lodi Vecchio.
Bassiano,

Germany

16.

Lomlmrd
476.

school,

Gloucester. Parry coll., Riminese school, Adoration of the Magi 288, 352.

Lombardy 209 272, 397,

London.

frescoes 211, 264*7, 269

Grado.
Cathedral, frescoes in the apse
104.

Grosetto.
Cathedral. Sienese school of the
jjt/i

cent..

Last judgment 291'.

school.

Hohenfurth. Bohemian
117^

National Gallery, Barnaba da Modena, Coronation of the Virgin and other scenes (2927) 375, 378, 379; Descent of the Holy Ghost (1437) 378; Dalmasio, Lippo, Madonna of Humility (742) 458; Giovanni da Milauo, three panels
1579(7)

Annunciation

232; Giiisto di Menabuoi,

Imola
S.

Fossignano. Domenico, bell-tower. Bolognese school, frescoes of the Madonna and saints 480^
S.

V.

triptych (701) 163, 164, 174^ 175! Veneto-Byzantine school, St. Jerome (3543)39. Victoria and Albert Museum,
school, diptych with scenes from the history of Christ 1864) 480' painted box 479-'; (35 r two gilt glasses 480 '. Chillingworth coll. (dispersed), Jacopo di Paolo, Crucifixion 468. R. Fry coll., Giovanni da Milano, part of an altar-piece 238'-. R. Langton Douglas coll., Barnaba da Modena, Madonna, v. Boston, Fine Arts Museum; Simone dei Croci/issi, Coronation of the Madonna, from theGozzadini coll., Bologna 45 1^

Bologttese

Incino.

Eufemia,

Lombard

Madonna, saints and adorers

school. 266^.

Karlstein. 356. 356-', 358. Theodoric of Prai^ne, CruciTonimaso da Modena, fixion 364 active 362; Madonna and two saints for a time in the Gallery of Vienna 362; Madonna and dead Christ 364, 368; idem and helpers, panels of saints in the Holy Cross SS. chapel 366 idem, school of Ambrosius and Augustine 364; Nicolas Wurmser, active 364; German school, frescoes of St.
;

Lucerne.
Sale of Chillingworth

Wenceslaus' legend and decor-

London, Chillingworth

coll., coll.

v.

GEOGRAPHICAL INDEX.
Macerata. S.Francesco Monastery^ Baronsio, altar-piece, v.

521

Gallery of Ur-

bino.

Manchester.
Exhibition of 1857, Barnaha da Modeiia, Coronation of the Virgin, V. National Gallery.

Maestro Paolo, Coronation of the Virgin (227) 7, 12,68; Simone da Corbetta, fresco from the Servi Monastery (138) 255, 257; idem, attrib. to fresco of the Madonna, St. Christopher and other figures (store-room) 258; Veneto-Bysantine school, head of St. Mark 35.
,

Mantua.
Francesco, Lombard school, frescoes from the life of St. Francis 265; Gallery, detached frescoes 266^; Palazzo Ducale, Lombard
S.

Archeological

Museum,
(?) (34)

Lom266^;
di

bard school,

St.

Helen

miniature 272.

Ambrosiana Library, Niccolo

Missal 270; idem, in a
St.

school, saints (attrib. to Toiii/iiaso da Modena) 266^ 367'. Marches, The 109, 416, 428, 432, 434, 436, 458, 480. Sta. Maria in Vescovis. Roman school of the ijth. cent.,

Giacomo, miniatures 424; Lojnbard miniatures in a Visconti

George

Codex
270.

2']o;

Lombard school, drawLibrary,

ings illustrating the Life of Christ

Capitular

Lombard-

Last Judgment 483, 484. San Marino. S. Francesco, Riminese school, Adoration of the Magi 350.
Mercatello. S. Francesco, Baronsio, crucifix, polyp314, 328; idem, school of tych 328. Milan v. Vilboldone.

school, miniatures 270.

Archiepiscopal Palace, Giottesqite-Lombard school, frescoes 216.

214,

Visconti Palace, Giotto, active 215; lost frescoes of the

Punic wars and heroes 215.

Fasi
coll.

(dispersed) Giitslo di
163.

Menabitoi,

Madonna

ami Stefaiio, active 268. Chiaravalle, Abbey church, Lo;;/Giotto

Mineapolis, U. S. A. Museum, Baronzio, school of St. Francis receives the stigmata

bard school, frescoes 254. S. Cristoforo on the Naviglio (near Milan), Bassaitolo de Magiwris, Madonna, saints and Crucifixion 258. S. Eusturgio, crucifix of the end of the 13'h cent. 214. S. Giorgio in Palazzo, Lombard school. Crucifixion 266.

350-

Mocchirolo (Brianza).
Oratory, Lombard school, frescoes 220, 242, 246 250,255,261,

Modena
;

Lombard school, S. Lorenzo, Madonna and saints 266. SMarcoXower, Lombard school,
frescoes 214, 217.
Sta.

264, 271, 274. 355, 356, 370, 384, 386, 393, 412 Xiccolo, active 505. Cathedral, Sera/ini, Sera/mo , polyptych 386; "fresco remains of the 13'h and 14''^ cent. 392;

Modenese
Gallery. Gallery,

school,

two

frescoes, v.

Barnaba da Modena,

Maria delle Grazie, Lom266^.

bard school, frescoes

Librar3^

S. Maurilio,. Missal, v. Vatican

the Puccini coll., Pistoia 378, 379; Fra Paolo, Madonna of Humility

Madonna and Crucifixion from

Monastero Maggiore, Lombard

school, frescoes 214. S. Pietro Celestino,

Lombard

school, fresco fragments 266-'. Servi Monastery,S////o//t' da Corbetta, fresco, v. Brera Gallery. S. Siro, Lombard school, fresco

Simone dei Crocifissi,^\adonx\a and angels 451'; 'Tommaso da Modena, Madonna saints and Descent into Lymbo 366, 368; Modenese school, two detached frescoes from the cathedral 392; Madonna and Child, triptych 13.
2f)V,

266^

predella panel (44) 392^. Library, Niccolo di Giacomo, miniatures 410.

logna,

Brera Gallery, Giovanni da BoMadonna of Humility 80;

vanni da Milano, Madonna 238-

Bergolli

coll.

(dispersed), Gio-

;22

GEOGRAPHICAL INDEX.
S.

Monza.
Giottesque-Louibard school, praying saints 217.

Michele,

Munich.
Altere

, Madonna and saints follower of 152; fresco on the Lavelongo tomb 126, 152; frescoes on the Bolfaro tomb in the and Bolzanello

Pinakothek,

Riminese

cloister 152; Gittsto di Menabnoi{?),

school, diptych (979, 980) 284. Library, Giovanni di Benedetto, miniatures 270 Niccolo di Giaco;

frescoes in the Bl. Luca Belludi

school.

mo, miniatures 412;

school, miniatures 438.

Bologtiese

Murano.
Maestro Paolo, S. Donate. Deatli of the Virgin school of 29; Venetian school, reUef of S.

174; Padiian 78 two damaged frescoes in the choir 178; five figures of saints in grisaille in a chapel in the cloister 178. Arena chapel. Giotto, frescoes

chapel

163,

170.
1

Madonna

16, 90, no, 224, 342,351.352,483. Giitsto di Menabiioi, two Madon-

Donato

2.

nas 172.
dei Crocifissi, scenes from the

Nancy

(France).

Museum, Simone
Crucifixion and

Baptistery, Antonio and Giovanni lost fresco 163; Gitisto di Menabiioi, frescoes and altar-

da Padua,

Uves of
Naples.
Sta.

hoi}'

martyrs 442.
di

Maria

Donna Regina,

Cavedlini, school of 304'- 352. Newhaven U. S. A.

1

frescoes 298,

Yale University, Jarves

coll.,

piece 163, 164, 166 170, 172, 174, 175; lost frescoes outside 164. Eremitani church, Altichiero, fresco on Dotto's tomb 150, 154; idem, school of, fresco fragments 154; Giusto di Menabuoi, lost in the St. Augustine frescoes

New

Ritninese school, triptych 298.

chapel 163, 166, 172, 178'; Guariento and lielpers. frescoes in the choir 112; idem, school o/ .crucifix 117; Coronation of the Virgin and fresco-fragments 117; Marino, lost altar-piece in the St. Augustine chapel 178'.
S. Francesco, Brasavola, DoSt. Anton}' nato attrib. to of Padua 482.
,

York.

Metropolitan Museum, Baronsio, school of panel with scenes

from the Life of the Lord 341. 351 Giovaniu da Milano, school of Madonna and adorers 238-. Historical Society, Giovanni da

Milano, school of

Crucifixion
coll.,

from the Artaud de Montor

Paris 238-, 272'; Venetian school. Crucifixion 72^

coll.. Riminese school, Last Judgment and other scenes 288; the beheading of the

S.

Giorgio

and Avanzo,
176', 206.

chapel, Altichiero frescoes 119, 124,

Lehman

i28\ 135, 135150, 150, 161, 162,

the

Madonna

di

Lourdes,

v.

-S.

Baptist 298.

Novara.
Guerina
coll.,

Crislofo/'o,

Ma-

Michele. S. Michele, facopo da J^erona, frescoes 127, 176.

donna
Orez.

413.

Museum,
lost
altar-

Altichiero, school of

Simone da Cusighe.
piece
ICO-'.

Coronation

of the

Virgin

154;

Padua

no 178,

243,368, 416, 426,

;

474. 476. 480. Altichiero, active 126, 127 Avanzo, active ^2.-]; Bertolino del quondam Jacopo di Brescia, active 178^
S.

Agostino, Gnariento. active

head of a saint 154; Giovanni da Bologna, St. Christopher, from the Scuola dei Mercanti, Venice (348) Guariento, ceiling decor64, 78 ation from the chapel of the Palazzo of the Capitano del Popolo 112, 128; Veneziano, Lorenzo Madonna (383) 39, 51, 66-; Pa:

112. S. Antonio, Altichiero, frescoes in the S. Felice chapel 124, 128

149, 128^,

136,

160,

184';

idem,

ditan school, drawn portraits in the "Liber de principibus Carrariensibus" 208. Chapter House Librar\-, Semii-

GEOGRAPHICAL INDEX.
tecolo,

523
(68)

the

Holy

Trinity,

Madonna

sion

of

and four scenes from the hfe of

St. Sebastian, 120.

Mary Magdalene
292. 294.

284288.

Uni versit}' Library, ^///V/(/>ro(.?), Petrarch, from the Palazzo del Capitano del Popolo 152, 208. Salone, Gitai-ienfo, sc/iool of Coronation of the Virgin 117. Palazzo del Capitanodel Popolo,
,

van Marie coll.. Maestro Paolo, school of Coronation of the Virgin 29; Siinone dei Crocifissi, Crucifixion 448.

Avail zo, Alt ichiero

active 11
1,

and Giiarienfo, 127, 128'; v. Museum,

Librarj'.

Pesaro S Francesco, Jacobello di Bonomo, school of ~, altar-piece

S. Ubaldo, v. Galler}'. Gallery Jacobello di Bonomo, school oj ~, altar-piece from

from

and Universit}'
Carrara

Palace, Avanzo and Altichiero, active 126, 152; Gnariento, active 208.

S Francesco and

S.

Ubaldo

86,

Louvre, Master of the Pirauo

altar-piece. Ma.do\\na. (1541) 19, 23,
56',

66;

Madonna

Veiieziano, Lorenzo (no number) 40, 56;

Bibliotheque

Nationale,
;

vaiini di Benedetto,

manner of

Gio,

87; Jacopo di Paolo, two saints St. 466; I'eneziano, Lorenzo Ambrosius 54, 408'; Simone dei Croci/issi, Coronation of the Virgin 450, 451; I'eneto-Byzantine school, five scenes Irom the life of the Virgin 38.

Petrograd
Exhibition of Old Art, Daddi, Bernardo, school of , Madonna

miniatures Louibardian 272 school, miniatures 270. Artaud de Montor coll. (dis-

Giovanni da iMilano[?), Madonna 238-; idem, school of Crucifixion, v. New York, Histopersed
,

367 ^ Philadelphia.

Johnson coll., Andrea da Bologna,

attrib.
to tript3'ch (is it the as the one that! attrib. later on to the school of Giovanni da
,

rical Society.

same

Lazzaroni coll., Jacobello Alberenzo, attrib. to --. Presentation in the Temple 85.
Martin Le Roy coll. (late), Ciovanni da Milano, Pieta 238*.

Milano?) 4^2^; Giovanni da Milano, angel delivering St. Peter from prison 238-; ide//i, school of ,
triptych (120J 238-;

Tonimaso da
attrib. to), dip-

Parma 504-507.
Cathedral, frescoes of the earl}' 15th cent. 506; Baptistery, Bertolino da Piacema, Virgin and saints 505; Niccolo da Reggio, Madonna and saints 505; frescoes of the 13'*! centur}' 504; iVescoes of the 14th
centur}' 504

Modena, (wrongly
tych 367 ^

Piacenza
S,

507.

Antonino, lost frescoes from

506.
,

Gallery, Giovanni da Milano, two panels each school of with four saints (427, 4281 238-; J 'enetoByzantine school, triptych

the life of St. Antonino 507. Cathedral, Bartolino da Piacenza, Madonna and saints 507 some other frescoes 507 Museum, Bertolino da Piacenza (?). two saints on a reliquar}'

Piedmont 272 78,

Piobese Torinese.

507-

384.

(458) 38.

Piedniontese school, 274, 276, 277.

Pasman,
Pausola.

Isle

of. (Dalmatia).
J

Piove

Abbe}' of Teon,
crucifix 94.

'enetian school,

di Sacco. Parish church (previously' Sta.

17, 21, 23.

Maria dei Penitenti),Ma^s/;-o/'ir7o/o,

school of, polyptych 5, S. Niccolo, Gttlielnnts,
38.

Town Hall, Andrea da Bologna,

Madonna, from
432, 434, 436.
S.

Madonna

Agostino 428,

Pirano

Istria.

Cathedral, Master of the Pirano

altar-piece,

Pa via

418.

Perugia.
Gallery, Riminese school, Ascen-

Pisa 370.
S.

(V.

altar-piece 19, 23, 25. Ripoli).

Francesco,

Barnaba

da

524

GEOGRAPHICAL INDEX.
Princetown
Mather
zo
V.

Giovanni dei Fieri, Baniaba da Modena, Madonna, v. Campo Santo and Gallery. Campo Santo, Baniaba da Modeiia, Madonna from S. Giovanni dei Fieri, v. Gallery Master of the tnitiiiph of Death (Traiiiij, frescoes 382' and corrections. Gallery, Barnaba da Modena, Madonna from S. Francesco 380 Madonna from S. Giovanni dei Fieri and the Campo Santo 380; Giovanni da Milano, Annunciation 238 Pisan school, Crucifixion 382^ and corrections. Schiff coll., Barnaba da Modena,
S.
; ; ;

Modetta, lost Coronation of the Virgin 380; Madonna, v. Gallery.

(U. S. A.).
coll
,

Veneziano, LorenCrucifixion,

Madonna and

additions.

Ranoerso.
S. Antonio. Piedniontese school, frescoes 276, 277.

Ravenno.
da Forli, active 503. S. Agata, Riniinese school, Madonna in the choir 349. v. Poor-House Sta. Chiara,
Bestello

chapel.
S.

Domenico, tower. Riniinese

school, fresco fragments 349. S. Francesco, Baronzio, Crucifixion 326, 338; Riniinese school,

frescoes 348.
S.

Madonna
Pistoia.

372.

Giovanni Evangelista,

Rinii-

Dalniasio and Da/niasio, Lippo, active 453. Town Hall. Dalniasio, Lippo

nese school, fresco 348. Sta. Maria in Porto fuori, Ba-

Madonna 463
Puccini coll
,

Barnaba da Modena,
Crucifixion,
v.

Madonna
Poitiers.

and

ronzio and helpers, frescoes 312'-, 316-324, 325, 328, 330, 333, 338. 339; frescoes in the apse 320; Byzantine relief of the Madonna 316. Poor-House chapel, Baronzio,
frescoes 324. Gallery, Dalniasio, Lippo Annunciation 462^ school of Riniinese school. Madonna and saints Veneto-Byzantine 349; and Crucifixion Holy school.

Modena, Gallery.

Museum, Maestro Paolo, school of , Madonna and saints (186,

187) 29.

Pomposa.
Abbe}^ church 300, 344'; Giuda Rimini, frescoes in the 306, 308, 309, 310 refectory 300 312, 344 ^ 494; Imitate da Bologna, frescoes on the entrance wall and
liano
in the

Trinity 35.
J/(7^^Y;'o/'o/o, Coronation of the Virgin v. Sigmaringen.

Recanati
Rieti.

v.

CastelnuovQ.

apse 402,484, 490; F'errarese

Gallery, Zanino di Pietro, Crucifixion 70, 71.

school, frescoes in the nave 468, 483490, 498; entrance wall 483; apse 490; Riniinesesc/ioolj frescoes in the chapter-room 300, 344, 483.

Potenziani
cifissi,

coll.,

Simone deiCrodella

Madonna

Miseri-

cordia 450.

Pontasso (near Vogheral.

Oratory of Sta.
^^laria,

early

Lombard
Prague.

school, frescoes 214.

Cathedral, Toniniasu da Modena and Theodoric of Prague, attrib.

to

Rimini 279354, 383, 402, 420. v. Veruchio, Villa. Jmbrogio, son of Bittino, active 502 Bittino da Faenza active 501 Giotto, activity and influence 351, 353; Lattanzio da Rimini, active
; ;

frescoes 366.
school,

Museum, Bohemian
nunciation 117I.

An-

502. S. Agostino, Gitiliano

da Rimini,

frescoes

306310,

2,^2; Riniinese

Prato.
S. Domenico, Giovanni da MiMadonna and lano, school of , saints 238'-.

school, crucifix 348; S. Antonio 348. S. Francesco, Riminese school. Madonna, saints and adorer 348;

tomb oi Francesco da Rimini 346;

epitaph of the sons of Baronzio
314'-

Gallery,

Giovanni da Milano,

polyptych 222, 228, 234, 241.

GEOGRAPHICAL INDEX.
S. Giugliano, Bitfiiio
St. Julian

525

da Faeiiza,
Riininese Riininese

panel 501, 502.

Malatesta,

Tempio
Casa

sc/iool, crucifix 348.

Romagnoli,

school, lost fresco 348.

Hotel Aquila d'Oro, Riniinese

school, lost fresco 348. Ripoli (near Pisa).

(79), Nativity of the Virgin Crucifixion (66 238'; Maestro Paolo, 6r//oo/ o/',twoEvangelists (store-room 163, 164), pol^'ptych (idem 122) 29-'; Sinione dei Crocifissi, two lost Coronations of the Virgin and a lost Madonna 451';

cension

(67),

Barnaha da Modena, donna 380.

Rivoli.
S.

lost

Ma-

Domenico, Barnaha da Mo-

dena, Madonna, v. Turin, Gallery. Castle, profane paintings 273.

Romagna 397. Rome 356, 397.

St. Peter's, Chapter Room Archives, Codex of St. George 397. Vatican, Giovanni da Milano, active 222, Gitarmriiis dc J^eni/iis, active 109'.

Vitale, Madonna (103) 402, 403, 406; Bolognese school, Crucifixion and other scenes from the Lord's history- (15) 480^; Florentine school, polypt^'ch (6)422''; Riniinese school, Crucifixion and saints (54) 294 Descent from the Cross (56) 294; Crucifixion (52) 295; four saints (44) 296; Crucifixion and other scenes (42) 296, 353; religious subject (store-room 132) 288. VaticanLibrar}', Z,o////><^?;Y/miniatures in a Mi^sai fromS. Maurilio,
;

Milan 270. Capperoni coW., Bolognese school,

Crucifixion 480'.

National

Venezia

Madonna
sentations

Gallery, v. Palazzo Giovantii da Milano, and seven other repre-

Herz coll. (dispersed), Riniinese school, panel with six scenes from
the Life of the Lord, from the Stro-

237; Nardo di Cone, of the Virgin 238-; Riniinese school, panel with six scenes from the Life of the Lord 279, 342, 352; another similar panel from the Herz and Stroganoff colls. 283, 292, 352; VenefoByzantine school, two saints 35. Print Cabinet, Pad/tan school of the early ij''' cent., sketches of Giusto di Menabuoi''s frescoes in the Eremitani church, Padua 172,

Coronation

ganoff coll.,
Pasini

v.

National Galler}'.

coll.,

Barnaha da Modena,

Ascension, from the Sterbini coll. 378; Ferrarese school. Crucifixion

497; Riniinese school, Baptism of Christ, from the Sterbini coll. 288. Sterbini coll. (dispersed), Bar-

naha da Modena, Ascension,

Pasini
coll.
;

v.

Bolognese

school,

Calvary

480';

Baptism of the Lord,

;////(f6Y.sr//oo/,panel

Riniinese school, v. Pasini coll.

1,

208.

Museum in
The
all to

the Palazzo Venezia. earh' pictures in the National

.Stroganoff coll. (dispersed /?/with six scenes from the Life of the Lord, v. Herz.

Galler}' (v. National Galler};)

were

have been transferred

in the

to the

Museum

Palazzo Venezia,

and National Gallery. Tavazzi coll. (tor sale), Imitate, Death of the Virgin attrib. to
coll

where several of them were already exposed, when this museum, shortly after its opening, was
closed.

406'-.

For sale,
ci/issi.

in jgog,

Colonna Galler}', Avanzi,Jacopo , Crucifixion 416, 418, 420,

424, 426.

Vatican Galler}^ Andrea da Bologna, attrib. to -, Nativity- (172)

432';

Avansi, pseudo-Jacopo

the Death of St. Francis (100) 420,

424; Giovanni da Milano, tripPast3'ch with the Crucifixion and sion scenes (62), three scenes from the Life of Christ (93, 94, 95), As-

triptych 451' .Madonna 462'; Dalniasio, Lippo in 1918 Sinione dei Crocifissi, school of -, Crucifixion 451'; in 1920 Giovanni da Milano, Madonna, v. Florence, de Marquard coll. 235^ in 1923 Maestro Paolo, school of, four half-length figures of saints 29-'; in 1924 J 'dale, school of Madonna 480'; Riniinese school,
,

manner 0/

Sinione dei C?'o;

crucifix 350.

Rotterdam.

Boovmans Museum, Giovanni

526
da Bologna, Pi eta Rovigo.

GEOGRAPHICAL INDEX.
(179) 82,
83.

Library, Padiian sc/iool, miniatures 206.

Runkelstein (Tyrol).
Castle, frescoes 162.

from the life of St. Catherine 262. Tolentino. St. Nicholas chapel, Baroncio, frescoes 328338, follozver of
frescoes
,

351. 352, 353-

Sala.
Siinoiie

Torcello.

da

Ciisighe,

lost altar-

Cathedral, mosaic

of the Last

piece
S.

00".

Sandigliano (region of Biella).

Antonio, Picdiiioiitese school,
frescoes 276, 277.

Judgment 483. Torre di Palma (nearFermo).

Sta
school.

Maria

Mare,

Venetian
saints 90.

Madonna and

Savona.
Gallery, Niccolo da Voltvi,

Ma-

donna 382. Sebenico (Dalniatia).

Polyptych of the
S.
i5'>i

Tortona (Piedmont). S. Matteo, Barnaba da Modena, Madonna 372.

Toulouse.

cent. 96;

Museum, Master of
altar-piece, lost

the

Pirano

Francesco Monastery, Venetian

school, miniatures 92.

Sesto (Friule). Abbey, Giotto, school of Crucifixion and other scenes, 102. S. Severino (The Marchesi. Gallery, Vcneziano, Lorenzo
,

polyptych wings 23. Tregnano (near Verona). Pieve, Veronese school, frescoes
200I.

Trento.
Cathedral, frescoes of the history of St. Julian 105; some other frescoes 105. Castle of Buon Consiglio, frescoes of the 15th century T04. Treviso tig, 202 206, 368.

polyptych panels

(5) 42, 43, 46.

Siena

Accademia, Lorenzetti. Pietro

124, 160, 466"-.

SS. Agnes and Catherine of Alexandria (578, 579). 50.

Sigmaringen. Gallery, Maestro Paolo, Coronation of the Virgin, from Ravenna

7-9.12.

Cathedral, Tommaso da Modena, school of Crucifixion and two other frescoes 362.

S. Francesco,

Sirmioni.
S. Pietro in

Madonna and dena, alt rib. to saints and St Marius 362.

,

Tommaso da MoTommaso

Sta.

Movino. Loiul)ard

Maria Maggiore,

school, fresco 266^.

da Modena, school of , Madonna

362. Sta. Margherita, frescoes of St.

Solario.

Oratory, coes 246.

Lombard school,
(in the

fres-

Ursula's legend,
S. Niccolo,

v.

Museum.

Susa.
.S.

Tommaso da Mo-

Francesco

Valley of)

Piedniontese school, frescoes 276, 277. Castle, profane paintings 273.

dena and follo'a'ers, frescoes 360, 368;fi-escoes in the Chapter Room 100, 198, 356, 358, 368.

Strasbourg.
;

Gallery, Baronsio, school of Crucifixion 340, 497 Giovanni da

,

Museum, Trevisan master, trescoes from the legend of St. Ursula, from Sta. Margherita 202206,
269, 367.

Milano, Madonna, 234; Lombard school. Nativity of the Virgin 262.

Stuttgart. Gallery, Maestro Paolo, gorical picture 7, 14.
alle-

Trezzo (Brianza).
Parish church, tower, Lombard fragment 252. Trieste 48, 109.
school, fresco

Talamello.
Parish church, Baronsio school crucifix 340. of Tiers (Tyrol).

Cathedral, Simone Martini, distant folloiver of frescoes of the history of St. Justus 98. Museum, Maestro Paolo, school
,

Sta. Caterina,

Lombard

school,

of , triptych 25, Troyes (France). Museum, Simone

98.

dei Crocifissi,

GEOGRAPHICAL INDEX.
Coronation
the

527

Campana

of the Virgin, from coll. (269) 448.

Caterino.
S.
S.

active 59, 60; painted

13th cent. 2.

box of the

Turin. Guido,

Alvise Monastery, Stefano

active 273; Jaqiierio, Pietro , active 273. S. Domenico, Arconerio. Giacoiiio active 273, Piedmontese school, frescoes 273. 274. 277.

plebanns, lost picture 66.

Antonio al Castello, VencLorenzo polyptych, v. Accademia, Venice.

ziano,

Francesco di Chieri, Jaquerio, Giovanni, lost painting 273. Gallery, Barnaba da Modciia, Madonna from S. Domenico, RiS.

voli 370, 374.

Museo CWxco, Bolognese school,

glass 480^. Hall, Tiirineto, active 273. Castle, lost profane paintings 273gilt

Town

SS. Apostoli, frescoes 2. Centurioni chapel, Semitecolo, lost panels 120. Corpus Domini, Caterino,'pa.nt\, V. Lichtenstein coll., Vienna. Sta. Croce, Francesco, active 2. S. Francesco alia Vigna, Giovanni da Bologna, manner of v. Accademia, Venice; panel, MaMaestro Paolo, school of

donna

29.
17''';

Udine.
Nicolatis, mentioned 102^. Sta. Maria dalle Grazie, fres-

coes 104.

Umbria

Gallery, detached frescoes 104. 396. 397, 400.

Maestro Paolo Marco, active 5. S. Giorgio Maggiore, Caterino, lost polyptych 59, 60. SS. Giovanni e Paolo, mosaic
Frari church

and

his brother,

Urbania.
Confraternity
fix 338, 338I.

72. S.
V.

Gregorio,

Giovanni da Bo-

of

S.

Giovanni

logna,

manner of

Madonna,

Decollato, Pietro da Rimini, cruciGiitliano

and

saints, v. Boston,

da Rinnni. Madonna Gardner coll.

Urbino.
Gallery, Baromio, altar-piece from the S. Francesco Monastery, Macerata 314, 328, 340, 353^ 496;

Accademia, Venice. Lucchesi Orator}', Semitecolo, (wrongly attrib. to), frescoes 122'. S. Marco^ Maestro Paolo and his sons Liica and Giovanni, Pala d"'Oro 5, 9, 10, t6, 123; Chapter

Room, crucifix

2 S. Isidore chapel,
;

idem, attrib. to , crucifix 340, crucifix 348; idem, school of 340, 340^ 348; Giuliano da Rimini, Coronation of the Virgin and saints 300, 306 Pietro da Rimini, crucifix 340, 348; attrib. to Riminese school, half of a diptych 284.

mosaics 3233. San Marco, Baptistery,

saics 2, 32, 33. Sta. Maria della Celestina

mo-

Mon-

astery,

Veneziano, Lorenzo , polyptych, v. Accademia, Venice. Sta. 'Maria dei Miracoli, A/rro/o di Pietro, fragment of a triptych
76.

Varese.
(near Varese), Lombard school, frescoes 266. Baptistery, Giottesqne- Lombard school, Madonna and the Baptist 212; Madonna and two devotees 212; Lombard school, Madonna

Sta.

Maria della Salute, Maestro

school
21.

Albizzate

Abbey

Paolo,

of

panel

5,

17-19.

and saints

266^.

school of , Saviour 29. S. Sebastiano, panel of the Blessed Leo Bembo, v. Cathedral,

Sta. Maria dei Servi 120. Maestro Paolo, S. Samuele.

Velo d'Astico.
S. Giorgio, Battista

Dignano
S.

(Istria).

polyptych

da Vicenza, 106; idem, (wrongly

119. 160, 364'', 387.

S. Silvestro,

sacristy,

Maestro
29.

Paolo, school of

, polyptych
,

attrib. to), frescoes to8.

Venice

109,

Churches, Monasteries etc. Donato and St. Agnese 66;

Trovaro, sacristy, Maestro - Madonna in Paolo, school of prayer 29. S'. Zaccaria, Veneziano, LorenMadonna 56. zo _, attrib. to

528

GEOGRAPHICAL INDEX.
Public Co llecti
Accademia,
o n
s.
I

colo

, panel of 1371

Albereiigo,

Jaco|

siano,

, Crucifixion (25) 84, 85; Caferino, Coronation of the Virgin (16) 59, 59^ 62; triptych (702) 62; - Coronation idem, manner of of the Virgin (23) 64; four scenes from the Life of the Saviour (4) 6566; Jacolnllo di Bonomo,
bello
,

Lorenzo giving the keys

(II,

120; I'enethe Saviour

to St.

52;
'

six saints ideni, school of , 6) 58' ; St. Peter with a devotee

Peter 39,

and

St. John the Baptist (11, 9) 58'; panel with four scenes (VII, 2) 58'; four saints (VII 15 and 22) 57', 58';

Zanino di

Pietro, Crucifixion
sr/zoo/,

(3)

polyptych from S. Arcangelo

di

Roinagna (recent acquisition 86, .Adoration 87; idem, school of of the Magi (12) 89*; Giovanni da Bologna, Madonna of HumiUty, saints and members of a confra-

dead Saviour between the Virgin and St. John 68; Coronation of the Virgin (VII,
70; J\'netian

ternity (17) 78, 80; idem,

of

."Madonna from S. Francesco

Vigna or
90;
jgi

manner

miniatures of 1311 1312 92; I'eneto-Bysantine school, SS. John and Andrew (7 and 8) 34; Crucifixion (to) 35; miniatures
16) 70;

91.

alia

S.

Gregorio (14)
di
Pietro,.

8284, Madonna
(wrongly

Niccolo
74,
,

ferino

Querini-Stampalia Galler}', Caand Donato, Coronation of

77;

idem,

the Virgin. 59, 60, 64.

attrib. to

St.

Lawrence

(2o)77';Maestro Paolo, panels belonging to the Coronation in the Brera, Milan 21) 9, 16; idem, school Madonna and saints (6) 29'; of Scmitecolo, false signature on panel of 1351 (23) 120; Simone da Cnsighe, polyptych from the Pagani family and S. Bartolommeo in Sake, Beiluno 18) \Q0; Stefauus plebamts, Coronation of the Virgin (21) 67; J^enesiano, Lorenzo SS. Pietro and Mark from the Ufficio della Zecca or della Seta (5 and 5a) 40, 53; Annunciation and saints from the Scuola di S. Giovanni Evangelista (9) 40, 54; Annunciation altar-piece (10), 39,

Public Buildings.
V.

Badoer Hospital, Virgin Orante, Scuola di S. Giovanni Evan;

gelista

Collegio dei Mercanti Giovanni (ta Bologna, .St. Christopher, V Museum, Padua. Venetian Marciana Library, school, miniatures in antiphonary of Sta. Maria della Carita 92. Palace of the Doges, 6'/mr/>;?/o, Coronation of the Virgin no, 116, Maestro Paolo, active in 120, 161
;

the chapel of S. Niccolo

5.

42,

46,

50,

63;

altar-piece

from

the

Imperial

Museum, Vienna,

originally in the Sta. Maria della Celestina monastery (41) 50, 52;
mj'Stical marriage ot St. Catherine (650 39, 50, 52; German school, 15th cent., St. Catherine, with the false signature of Tom-

Scuola di S. Giovanni Evangelista, Venesiano, Lorenzo polypin a tych, v. Accademia, Venice; room over the sacristy. Virgin Orante from the Badoer Hospital 2. Scuola della Nunziata dei Servi, lost panel of the Saviour and the

maso da Modena mot exhibited

371I; Giotlesque-Venetian school, altar-piece 121 68, 85; Rimineseschool, panel with scenes from the Life of the Lord (26), 284, 352.

Virgin 4. State Archives Venetian school, miniatures 92. Ufficio della Zecca or della Seta, Veneziano, Lorenzo , SS. Peter and Mark, v. Accademia, Venice.
,

Ventimiglia.
Cathedral, Barnaba da Modena, Madonna 380. Venzone. S Antonio Abbate 104^
cration 102

Correr Museum, Caferino and Bartolomeo di M. Paolo, wooden

, Cortese, Crist oforo miniatures 91, 94; Maestro Paolo, school of ,2 panels 29 Stefano plebamis, false signature on Ma-

relief 60;

donna (XV,

21) 66;

Veneto, Nic-

Cathedral, fresco of the conseother representations 104; lost frescoes 104^ Sta. Lucia, lost frescoes 104'. S. Giacomo, fresco 104, 109.
;

GEOGRAPHICAL INDEX.
Vercelli.
S.

529

Veronese school, repainted crucifix

197.

Andrea, Piedmontese school,

fresco 273, 277.

Verona

Padri del Oratorio, Daniel, lost

altar-piece 179^. S. Pier di Castello, Niccolo di Pietro, lost panel 76, 179-. S. Pietro Marti re, Veronese school, lost frescoes 194. S. Silvestro, Giottesqite- Veronese
school, crucifix, v. Gallery. SS. Siro e Libera, Veronese

109, 110, 118, 124, 125, 127% 152, 160, 178202, 243, 267. 368, 392, 474, 476, 480. V. Castelbarco

Cazzano, Corrubio. Tregnano.

Aliichiero.

active

Avanzo, active 126;

188;
Titroiic, lost

126. 127; G/b//o, active

panel 184.

Churches.
etc.

Monasteries
lost

school. Saviour in benediction 200' S. Stefano, Aliichiero, school

.

St.Agnese, Veronese school,

of

frescoes 194. St. Anastasia, Aliichiero, fresco in Cavalli chapel 127, 150, 255; idem, school of St. Eligio in Cavalli chapel 158; idem, (late), fresco on the Bevilaqua tomb 158, 200; Boninsegna de Clocegay effaced signature in Salerna chapel 179; J "eronese school, frescoes 191 193, 198; fresco in choir 200; fresco on outside wall 200 in Cavalli chapel 184, 191, 198, 200;

saints 197. Sta. Trinita. Aliichiero, school Crucifixion in the cloister, of V. Gallery; Tiirone, altar-piece, V. Gallery. S. Zeno, Aliichiero, school of fresco 155; Giacomo da Riva Madonna 197; Gna attrib. to

Madonna 197; Madonna and

fresco 156 Giacomo da Riva, idem, attrib. to ,

;

in Pellegrini chapel 200; in Rosario chapel 181 in Salerna

;

chapel

193.^ / ^cronrse Baptister}'.

79',

school.

frescoes 200'. Sta. Catherina, Giotlcsque- 1 'eronese school, mystical marriage of St. Catherine, v. Caller}-; panel with scenes from the Old

crucifix 118 of Gioftesque- Veronese school. Ma donna della Misericordia 189 To bias and the angel 189; St. Sigis mund 189; Veronese school. Cru in the apse 188 189; cifixion votive Madonna 188; St. George slaying the dragon. St George between two bishops and devotees and the Crucifixion 190; profane paintings in the tower 190 191.
.

riento, school

Testament, v. Caller}-. Veronese school, St. Eufemia, fresco of a bishop 200'; other frescoes, v. Gallery. Sta. Felicita. Aliichiero, school

Public and Private Collect i o n

s.

of

Fermo, Alticliiero, school of Crucifixion 155; Mar lino da Ve rona, Crucifixion and other fres
S.

Gallery, Aliichiero, school of Crucifixion from the cloister of Sta. Trinita (513) 154; fresco
,

fresco fragments, v. Gallery

coes 198; Tiirone, Crucifixion 185 Veronese school, frescoes 180^181 193 194, Madonna and other fi

fragments from Sta. Felicita (519 Maestro Cigogna, i'resco from the Palazzo Comunale, Verona (1090) 180; Martino da Verona, attrib. to , Madonna and saints 198'-; Tiirone. altarpiece from Sta. Trinita (355) 181
38) 154;
;

gures 200'; saints 200'. S. Francesco, Giotto, active 188. S. Giovanni in Valle, Veronese school, frescoes in church and
crj-pt 200'.

Giottesque- Veronese school, crucifix from S. Silvestro {857) 196; crucifix (257) 196 / 'eronese school, detached frescoes 194;. frescoes
;

from
;

St.

Eufemia (565.5675701.

Maria Antiqua, J^eronese school, Madonna and devotees

"Sta.

181. Sta.

Maria della Scala, Veronese

200^ panel from Sta. Caterina, the mystical marriage of St. Catherine (356) 194, 312- panel with scenes from the Old Testa;

school,

two Madonnas

200.

ment
;

SS. Nazaro e Celso, GiottesqiteIV

irom Sta. Caterina (362) 195 tript^xh (257) 196; St. Mamaso
34

530
(124)

GEOGRAPHICAL INDEX.
Modena, panels from Karlstein, v. Karlstein Veneziano, Lorenzo poh'ptych, V. Accademia, Venice;
;

200; Madonna, saints and Wilgefortis crucified 1545) 200^ Chapter House Library. Veronese school, miniatures 208. Maftei coll. (dispersed), VeneSt.

ziano, Lorenzo -, panel 39.

Public Buildings.
Palace, Altic/iiero and Avauzo, active 126, 127, 127^; BressaiiOj Ottaviano .active 127% Guariento, active 127^

Palazzo Comunale, Maestro ^ogna, frescoes, v. Gallery.

Scala

Ci-

Milanese school, miniatures 208''. Collection of the late Archduke Ferdinand of Austria, portraits of the Scala family from the Pitti Palace, Florence 126'. Lichtenstein Baronzio. coll., school of Adoration, Crucifixion and saints 341 Caterino, lost panel of the Madonna and the
,
;

Twelve Apostles from the Corpus Domini church, Venice 64.

Villa (near Rimini).

Vertemate (near Como).

Abbe}^
churcli,

Lombard sc/iool,

Riminese school, crucifix 348.

frescoes 254.

Vimercate (near Bergamo).

S.

Verucchio.
S.

Francesco monastery, Giottesschool,

Agostino, Caterino and A/rdi

qne-Lombard
2r8.

frescoes

co/o

Pietro, crucifix 60, 76; Riminese school, crucifix 348.

Vezzolano. Abbey, Piedniontese school of the Tjtit cent., frescoes 274 idem
;

Viterbo. Palazzo Gentile, Baronzio, Descent from the Cross 326. Voghera v. Potasso.

273, 276, 277. Viboldone (near Milan). Church, Giovanni da Milano, school of frescoes in the choir 220, 242, 243, 244; L(U)d>ard school, frescoes in the nave 244.
14^''

middle

cent.

Worcester,

(U. S. A.)

Museum, Lombard

school,

Ma-

donna, saints and donor 258; Last Veneto-Byzantine school,

Judgment Zara 98.

37.

Vicenza
S.

109.

Agostino, Battista da Vicenza, polyptych, v. Caller}', Vicenza.

S. Crisogono, Veneto-Byzantine school, crucifix 94. S. Demetrio. Clericopido, Joanlost picture 98. nes

Cathedral,

Veneciano,

Loren-

zo , polyptych 39, 43. 52. 53. 86. Sta. Corona, frescoes on the tombs of the Thiene 108, 162. S. Francesco, Maestro Paolo,

S. Francesco Monastery, Venetian school, polyptych 97 Venetian school of the ij'^' rent., miniatures
;

91;

idem,

14-'^

cent.,
I

miniatures

91-92.
.Sta.

Death of the Virgin, v. Gallery. Gallery, Battista da Vicenza, polyptj'ch from S. Agostino (17)
106 Madonna
;

Maria,

"eneto-Byzantine

school,

16) 108; saints (1822)108; Maestro Paolo, Death of the Virgin from S. Francesco (157) 5, 7, 9, 15. Vienna. Imperial Museum, Tommaso da
(13

from the legend of

(23) 108; four scenes St. Sylvester

St. Peter 94. Paravia Library, Venetian school, miniatures in the register of the Scuola S. Giovanni 92; Bartolo

Madonna and

diFredi, crucifix 94, 98; Venetian school of the if''' cent., polyptych 96.

Zevio

124.

INDEX OF ARTISTS.
The more important passages
are indicated by bold faced numbers.

Alberengo, Jacobello 58, 84, 95. Albert! di Ferrara, Antonio 470. Altichiero, no, 118, 119. 124 162,
,
,

Bassanolo de Magneris, 258.

Battista, son of jacopo da Verona,
176.

164, 174, 175, 176, 178, 181, 184I, 195. 197. 198, 201, 202, 204. 205, 207, 243I, 262, 268, 426.

Battista da Vicenza,

7^,

106, 109.
di

Beltranimo, 436^. Bertolino del quondam Jacopo

Brescia, 178'.

Ambrogio, son of Bittino da Faenza,

502.

Andrea de' Bartoli, 418, 428. Andrea da Bologna, 88, 414,424-.

427
-

Bertolino da Piacenza, 505, 507. Bestello da Forli, 504 Bindino da Faenza, 294.
Bittino da Faenza, 281 S 306", 502,

Andrea da
Angelino
428'.

436, 458, 480. Firenze, 234, 238'.

di
68.

Bonane,

355.

Corrado

di

Novarello,

Bonifacio. 355. Boninsegna de Clocego, 179, 188'.

Angelus,
266'.

Bolognese, Franco
miniaturist^
294. 197. 164.

miniaturist,

Anovelo da Imbonate.

293 293^

Botticelli,

Sandro

Antonio Giacomelli da Imola, Antonio da Mestre, sculptor, Antonio da Padova, 162, 163,
Antonius pictor,
179.

Brasavola. Donato 482. Bressano, Ottaviano - 127'. Buffalmacco, 470.

,
,

238'.
,

Arconerio, Giacomo Aretino, Spinello

273. 175. Avanzi, Jacopo , 127, 414, 416, 416, 420, 424, 425, 426, 426', 450, 466'.
,

Canellus, 479'. 218*, 265'-. Casella, Polidoro Caterino, 15, 27, 59-64, 68.74,78, 80,87,91.
,

Caterino

di

Maestro Andrea,

sculp-

Avanzi,
480'.

Jacopo), 414, 420,420 427,480,

pseudo- Jacopo

tor, 59. 60.

(v.

Caval'lini, Pietro 279, 284', 288', 292. 294, 298. 304, 3 1 2-, 313, 328,
.

Avanzo, Jacopo 124-162, 174,

341.351.352,353,

no, in,

118,

Ceccolo
Ciciolo,

175. 176, 176', 178,

di Giovanni, 430-. Paolino 294.

,

202, 207, 262, 269, 426. Baldassare, 503.

Cimabue.

184', 492.

Barisino dei Barisini, 355. Baronzio, Giovanni 292, 294, 294^ 313, 314-328, 328', 329, 329I,

98. Clericopulo, Joannes Cortese. Cristoforo 91, 94Cristoforo da Bologna, 406. 408,

412,

469-'.

338, 340. 341- 350- 353. 424. 496. Barnaba da Modena, 355, 358, 368. 368-384. 384. 386, 392Bartolinus De Placentia, v. Berto-

Cristoforo da Ferrara,v. Cristoforo

da Bologna.
Crivelli. 119.

Daddi, Bernardo -,
240. 436.

164. 165, 166.

lino da Piacenza.

Bartolo
98.

di

Maestro Fredi,

29, 94,

258^

80. 397, 403, Dalmasio, Lippo 404, 438, 45''. 452-463,468,474,

,

Bartolomeo di Maestro Paolo, 60. Bartolomeo di S. Stefano, 4. Bartolomeus pictor quondam Ma

gistri Nicolai, 179, 179^

479,480,481' Daniel, 179, 179^

v. Avanzo. Davanzo, Jacopo Deodato Giovanello da Imola, 398

,

532
,

INDEX OF ARTISTS.
243', 244, 255. 258, 261, 262, 264. 269, 271. 274, 276, 470, 476,

Diana, Benedetto 48. Diddo, Bartolommeo 355. Diddo, Giovanni 355. Donate, father of Niccolo Semite-

268, 492.

colo, 120. Donato di SanVitaie, 15, Duccio, 39.

27.59

64.

Giovanni da Padova, 163, 164. Giovanni de Venetia. 35. Giovanni quondam SerViano, 104. Giovanni di Zanello. v. Giovanni
di

Francesco. 2. Francesco detto

500.

Canelo.
14.

il

Maestro Giotto,
294, 346, 352,

Giovannino, son of Maestro Paolo,

5' 6,

Francesco da Rimini,
424.

Franco da Bologna,
400.

Giuliano da Rimini, 297 292. 294, 298". 300, 315, 316, 328.343. 350 V
353- 354. 494-

396, 397, 398,

Franco de Veris,

264.
,

Giuliano da Urbino, Giusto di Menabuoi,

176. 178, 178'.

300'.
152.

162

175,

Fusculus, Frater .294. Gaddi, Agnolo 72,175,222,254. Gaddi. Taddeo 72'. 163-^, 166, 222. 222 224, 224-, 225.
, ',

Galante da Bologna,

463.

Galassi. 483'. Galasso ferrarese, 482. 483, 483'. Gelasio di Niccolo della Masnada di S. Giorgio, 482. Gentile da Fabriano. 474. Georgi, M., v. Maestro Giuseppe.

Gerardo, 179. Ghissi, Francescuccio 434. 458. Giacomo da Riva, 179, 197. Giangolino, 294.

Giotto,

15,

16, 39, 66', 90, 102, 110.

122, 123, 158, 160. 161, 170, 175, 1792, 181, 184, 184', 188. 189, 194, 195, 201, 206, 209, 212, 214, 215,

216, 218, 220, 268. 269. 279', 295, 298, 298-; 318, 340, 342, 352, 353. 482,

224, 284. 304, 346, 498,

240, 244, 246,

284'. 292. 294-'. 304-, 313, 314,

Giusto da Padova, v. Giusto di Menabuoi. Gregorio, 294. Guariento, 58. 66"-, 91, 110-120, 122, 127, 127% 128, I52\ 161, 178, 196. Guarnerius de Veniiiis, 109'. Guglielmo da Forli. 503. Guglielmo degli Organi, v. Guglielmo da Forli. Guglielmus. 38. Guido. 273 Gulielmus, 38. Jacobello di Bonorao. 58, 85 Jacobello del Fiore, 23 86, 87. Jacobi da Como. Johannes v. Giovanni da Milano. Jacopino de" Bavosi, 418, 419. Jacopino de' Pappasoni, 418. Jacopo. V. Jacopo Avanzi, pseudo',

Jacopo
482.

418, 419. 420, 420', 426,

349. 350. 351, 503.

Jacopo del Casentino, 222. Jacopo di Guido, father of Giovanni

da Milano, 221.

Giottino, 238-.

Giovanni, son of Gaddi, Taddeo

222.

Jacopo di Paolo, 43, 288-, 402, 416, 418, 463-469, 470,474,480,480',

494'. corrections.

Giovanni, son of Jaquerio, Pietro

273-

Jacopo da Verona.
ot

127, 152,

176

Giovanni, son Giovannino.

Maestro Paolo,

v.

178,179-

Jaquerio, Giovanni
erio, Pietro

Giovanni di Alinerio. 294. Giovanni di Benedetto, 238 270. Giovanni del Biondo, 225'. Giovanni da Bologna, 64, 7782,
',

son

ot

Jaqu-

273.

Jaquerio, Giovanni
Jaquerio, Pietro Jaquerio, Pietro

386.

Johannes

grandson of 273 273 pictor de Kaverzaio,

Giovanni di Canelo, 82. 463, 477. Giovanni de' Grassi, 209,222, 264,
272.

V. Giovanni da Milano Lamberto, son of Jacopo da Verona^

176.

Giovanni Giovanni

di di

Maestro Nicola, 428'. Menabuoi, father of

Lattanzio da Rimini, 502. Lola, Francesco 470, 476

Giusto. 163.

Giovanni da Milano, 209, 220243,

Lorenzetti, Pietro ^ '"'' -. 340

50, 52, 296,

INDEX OF ARTISTS.
Luca, son of Maestro Paolo, 5

533
v.

Luca d." Antonio di Mona, Luca da Perugia, 476.

Maestro,
v.

476.

Nicholas filius raagistri Petri, Niccolo di Pietro. Nicolas de Jadra, 98.

Nicolaus, 102. Nicole. 41. Nuzi, Allegretto
5.

Master.

Manno,

408.

Magister Johannes, 294. Marco, brother of Maestro Paolo, Marco, son of Maestro Paolo, 7. Marco de Lencisa, 294. Marino, 178'.

43,

54. 238-.

329'- 434- 436. 458.

Oderisi da Gubbio, 292, 293', 396,

397. 398, 400. 241, 502. Orso, 463.

Orcagna,

Martinello, 100. Martini, Simone ,82, 98, 149, 255,

397. 480'.

Otonello, Antonio

455.

Martino da Verona,

179, 197.

Masaccio, 243. Maso da Faenza, 294. Maso-Giottino, 238-, Master of Chioggia, v. Master of the Pirano altar-piece Master Cicogna, 179.

Ottaviano da Faenza, 498. Pace da Bologna, 428^ Pace da Faenza, 498, 500.
Paolo, 306.

Paolo da Modena, Fra

355,

390

Paolo, pittore, 294. Petecchi. v. Niccolo di Pietro Patecchi.

Master Cigogna.v.MasterCicogna. Master Giuseppe, 266^ Master Paolo, 4, 517, 19, 20,21,
23, 26, 27, 35, 39, 42, 57, 58,60, 68, 82'\ 90, 122, 123.

Paxino, v. Pierino de Nova. Pecino, v. Pierino de Nova.

Petrus, 398. Pierino de Nova, 218 Pietro, son of Pietro
'.

di

Novarra,

Master Paolo. Venetian

464.

sculptor,

273-

Pietro di Giovanni (de Tovaglis?i.

Pietro di Niccolo, lather
di Pietro, 74. ot Isiccolo

Master of the Pirano altar-piece, 1925, 35, 42, 46, 48, 56', 57, 64,
66, 90.

Master of the Triumph of Death

Pietro da Rimini,
324', 338.

279',
,

294, 316,

Memmi. Lippo Michele

di

(Traini 71,382

Ronco

149, 264. di Milano, 218-.

Pinsis, Francescus

2.

Monaco, Lorenzo 406'. Nanne da Ravenna, 294. Nardo di Cione, 238-. Nason, Bartolomeo 4. Naxon, Ca v. Nason, Bartolomeo
, , ,
.

Miginio, 294.

Pisanello, 126". 208', 265. Poja, 178. Rambaldo. Laudadio ,482. Raniero da Porte, 355.

Rastello da Forli, 294. 456. Reni, Guido Semitecolo. Niccolo

,

58. 64, 77,

Nelli Ottaviano, 183', 476'. Nerio the Miniaturist, 294. Niccolo, 505, 506.

Niccolo

di

Giacomo,

396, 410,424,

438,440, 440-, 480,4801.

119,120, 124, 161, 178.206. Serafini, Paolo 355, 388, 392. 355, 384Serafini, Serafino 388, 392 Simone da Corbetta. 257. Simone dei Crocifissi, 396, 406, 414,

Niccolo di Giacomo, pseudo ,411. Niccolo di Maestro Paolo, 463, Niccolo di Pietro, 60, 7277, 91,
1

79-.

Niccolo di Pietro, v. Semitecolo, Niccolo Niccolo di Pietro Patecchi, 355. Niccolo da Reggio, 355, 505 Niccolo di Santi, grand-tather of

418, 419, 420, 420', 422', 438452. 453, 456, 458, 463, 469, 479, 480, 480'. 482. Simone da Cusighe, 65. 100Simone dal Peron. v. Simone da

Cusighe. Stefano, 268.

Niccolo di Pietro, 74.

Niccolo da Voltri, 382', 384. Niccolo da Zara, 17.

Stefano Pievan di S. Agnese, v. Stefano plebanus. Stefano plebanus, 9, 58, 66. Stefano da Zevio. 124, 196, 198,200,
200 ^ 209.

534
Taddeo
384-

INDEX OF ARTISTS,
di Bartolo. 183', 195,382',

Veneziano. Lorenzo

Theodoric of Prague. 356,362,364,

366.

Theophanes, 482 Tommaso da Faenza,

294.
100, 198, 202,
-

Veneziano, Stefano 23. Vitale da Bologna, 40, 80, 398410, 412, 413, 438, 440,
,

7, 8, 9, 35, 62. 63. 64, 77, 78, 80. 81, 82, 84, 85, 86, 87, 91, 95, 104, 106.
.

39-58,

387, 442,

TommasodaModena.
265, 266^ 342, 355, 386, 392.

355

368, 384,

458, 463, 469. 47O' 480, 480', j9o, 494. 494'-

Vivarini, Alvise

Traini. v. Master of the of the Death.

Triumph

Wurmser. Nicolas
Zagnonus,
Zangolo,
294. 294.

56, 70, loi.

,

358', 364

Turineto, 273
155, 179, 181. Ugolino, 355, 355"Veneto, Nicolo 120.

Turone,

Zanino

di Pietro, 70.

Zeno
,

pictor.
198.

son of Martino

da

Veneziano. Antonio

Vcrone.
162.

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