DOI issue:
Nr. 2
DOI article:Spychalska-Boczkowska, Anna: Diana with Meleagros and Actaeon: some remarks on a XV-century Italian cassone
DOI Page / Citation link:https://doi.org/10.11588/diglit.18816#0043
3. The circle of Mariotto di Nardo, Hunting Scenę, New York, Metropolitan Museum
(phot. Museum)
the left-hand side, is repeated in another bridal plate by Mariotto di Nardo (formerly in the Lichten-
stein Collection, Vienna).' Tlie Hunting Scenę is the second, close analogy in style to the picture
in Warsaw. Both these works can be connected with the style of painting of the studio of Ma-
riotto di Nardo, working in Florence at the beginning of the XV century. They are characterized
by schematic, simplified form, a pure harmonious duet of line comprising the contour and the
space opening out in depth, fashioned by tapering cliffs placed one after another. These features
distinguish the style of Mariotto di Nardo from the spectacular, decorative, depthless and hori-
zontally conceived works of this artifs contemporaries.
A third example of style analogous to the picture under discussion is the picture of Diana and
Actaeon painted in an unknown Florentine studio in the first half of the XV century (the Burne
Jones Collection, London). In both works is a similar composition of the group of nymphs
with heads surrounded with haloes and the figures of Actaeon right hand raised upwards (Fig. 4).8
1- R. van Marle, op. cii., fig. 457; R. van Marle, The Development of the Italian Scliools of Painting, The Haguc, 1937, V. IX,
P- 215, fig. 139.
8. F. Schubring, Cassoni, Truhen und Truhenbilder der ilalienisehen Friihrenaissance, Leipzig, 1923, fig. 94.
33
(phot. Museum)
the left-hand side, is repeated in another bridal plate by Mariotto di Nardo (formerly in the Lichten-
stein Collection, Vienna).' Tlie Hunting Scenę is the second, close analogy in style to the picture
in Warsaw. Both these works can be connected with the style of painting of the studio of Ma-
riotto di Nardo, working in Florence at the beginning of the XV century. They are characterized
by schematic, simplified form, a pure harmonious duet of line comprising the contour and the
space opening out in depth, fashioned by tapering cliffs placed one after another. These features
distinguish the style of Mariotto di Nardo from the spectacular, decorative, depthless and hori-
zontally conceived works of this artifs contemporaries.
A third example of style analogous to the picture under discussion is the picture of Diana and
Actaeon painted in an unknown Florentine studio in the first half of the XV century (the Burne
Jones Collection, London). In both works is a similar composition of the group of nymphs
with heads surrounded with haloes and the figures of Actaeon right hand raised upwards (Fig. 4).8
1- R. van Marle, op. cii., fig. 457; R. van Marle, The Development of the Italian Scliools of Painting, The Haguc, 1937, V. IX,
P- 215, fig. 139.
8. F. Schubring, Cassoni, Truhen und Truhenbilder der ilalienisehen Friihrenaissance, Leipzig, 1923, fig. 94.
33