DOI Heft:
Nr. 2
DOI Artikel:Frinta, Mojmír Svatopluk: A new work by Alvaro Pirez
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18861#0052
8. Juan de Levi, St. Catherine (before 1404), Cathedral of Tarazona (afer Ars Hispaniae, IX
A third punch of Alvaro is a tre-lobate (a sort of simplified fleur-de-lys) and is authenticated
by it occurrence in the Brunswick triptych. Impressions of this punch also circle the haloes
in the Warsaw panel (fig- 18) and the Madonna in Florence suggesting thus, as does their
free-hand analogous pattern, their relationship. The model of this punch seems to be the punch
of Taddeo di Bartolo who was active for a time in Pisa (fig. 19). A smali hexa-dot-star, attested
as Alvaro's likewise from the Brunswick triptych is as a shape less conclusive for identification
purpose (fig. 20). Its immediate forerunner seems to be the punch used in the group of paintings
to B. Falconi. Unusable for our method of determination are, of course, the two sizes of circle
punch used by Alvaro. To the assured repertory of his punches is to be added a serrated leaf
which was used along with the authenticated hexa-dot-star, in the generally accepted attributions,
the Suckling Madonna with two- Saints in the museum in Dijon and in the fragmentary St.
Catherine in Bern and St. Francis, circling the haloes as does the tre-foil elsewhere (figs. 4, 20).
I propose, on the basis of the comparative punch evidence, confirmed by the stylistic coinci-
dence, to add to the middle period of Alvaro's activity two panels with a St. Catherine and
St. James in the Westfalisches Landesmuseum in Munster (figs. 7a, b). They are on loan from
the City of Munster and are labelled as Siena, c. 1350. They originally formed a single panel
44
A third punch of Alvaro is a tre-lobate (a sort of simplified fleur-de-lys) and is authenticated
by it occurrence in the Brunswick triptych. Impressions of this punch also circle the haloes
in the Warsaw panel (fig- 18) and the Madonna in Florence suggesting thus, as does their
free-hand analogous pattern, their relationship. The model of this punch seems to be the punch
of Taddeo di Bartolo who was active for a time in Pisa (fig. 19). A smali hexa-dot-star, attested
as Alvaro's likewise from the Brunswick triptych is as a shape less conclusive for identification
purpose (fig. 20). Its immediate forerunner seems to be the punch used in the group of paintings
to B. Falconi. Unusable for our method of determination are, of course, the two sizes of circle
punch used by Alvaro. To the assured repertory of his punches is to be added a serrated leaf
which was used along with the authenticated hexa-dot-star, in the generally accepted attributions,
the Suckling Madonna with two- Saints in the museum in Dijon and in the fragmentary St.
Catherine in Bern and St. Francis, circling the haloes as does the tre-foil elsewhere (figs. 4, 20).
I propose, on the basis of the comparative punch evidence, confirmed by the stylistic coinci-
dence, to add to the middle period of Alvaro's activity two panels with a St. Catherine and
St. James in the Westfalisches Landesmuseum in Munster (figs. 7a, b). They are on loan from
the City of Munster and are labelled as Siena, c. 1350. They originally formed a single panel
44