DOI Page / Citation link:
https://doi.org/10.11588/diglit.31189#0043
37
landscape panel Albani 49. It is not a purely sacro-idyllic landscape since it combines
other elements. The world it depicts seems simple, but it is an almost complete
world, strangely transposed into a peaceful cosmos in which each object has a con-
crete as well as a symbolic meaning. It seems no accident that the Albani panel was
adapted several times in the eighteenth century by Venetian painters 50.
The Boscotrecase painter was not only the first, he was also one of the best of
his kind. He did not invent sacro-idyllic landscape painting, he did not even enrich
its motives. But he discovered what sacro-idyllic landscape painting could express—
he discovered its potentialities and thus its essence. For us he is the founder of a
species of Roman art that is perhaps more pleasant, more immediately accessible,
and more rewarding than any other.
49 Rostovtzeff fig. 5 to page 24. Rumpf 1. c. 176 pl. 61, 3. Best reproduced by Technau,
Die Kunst der Römer (1940) 163.
60 The most beautiful adaptation is by Marieschi: Donzelli, I pittori veneti del Sette-
cento (1957) fig. 202.
landscape panel Albani 49. It is not a purely sacro-idyllic landscape since it combines
other elements. The world it depicts seems simple, but it is an almost complete
world, strangely transposed into a peaceful cosmos in which each object has a con-
crete as well as a symbolic meaning. It seems no accident that the Albani panel was
adapted several times in the eighteenth century by Venetian painters 50.
The Boscotrecase painter was not only the first, he was also one of the best of
his kind. He did not invent sacro-idyllic landscape painting, he did not even enrich
its motives. But he discovered what sacro-idyllic landscape painting could express—
he discovered its potentialities and thus its essence. For us he is the founder of a
species of Roman art that is perhaps more pleasant, more immediately accessible,
and more rewarding than any other.
49 Rostovtzeff fig. 5 to page 24. Rumpf 1. c. 176 pl. 61, 3. Best reproduced by Technau,
Die Kunst der Römer (1940) 163.
60 The most beautiful adaptation is by Marieschi: Donzelli, I pittori veneti del Sette-
cento (1957) fig. 202.