DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52600#0074
36 BARTOLOMEO “MONTAGNA
tact is that interesting Veronese, Francesco Bon-
signori. Thus, in Sir William Farrer’s Madonna,
the face of the Virgin recalls that in Bonsignori’s
panel of 1483 in the Museo Civico at Verona. The
purplish pink colour of St. Mary Magdalen’s mantle
in The Virgin adoring the Child from San Bartolomeo
is a favourite shade of Bonsignori’s. The ■predella
pictures of the wonderful ancona by the latter in SS.
Giovanni e Paolo at Venice and of the San Bartolomeo
high-altar-piece exhibit certain remarkably kindred
passages ; and so on. Now these affinities between
Montagna and Bonsignori are easily to be accounted
for, if we assume that Montagna had been the disciple
of Alvise ; for then Bonsignori was probably his fellow-
pupil,1 and the said kindred features may be explained
partly as originating from the common source of the
two artists, partly as being the result of the influence
of one of them upon the other.
Antonello da Messina, that important, though now
mysterious factor in the history of Venetian painting,
is sometimes recalled by the works of Montagna
hitherto discussed. Thus, to quote an instance, the
figure of St. Sebastian in the Bergamo panel shows
in the slender build of the body, the pose and
the shape of the loin-cloth much resemblance to
Antonello’s little St. Sebastian in the same gallery.
Antonello having been in Venice, as we now know,
in 1475-76—that is, at a time when one may well
suppose that the young Montagna began his apprentice-
ship in that city—it is of course quite possible that
the latter came into personal contact with the Sicilian.
It is besides worth remarking in this connection,
that the painter, whom the testimony of the extant
pictures seems above all to point out as Montagna’s
1 Cf., for a demonstration of Bonsignori’s descent from Alvise,
Berenson, op. cit. (ed. 1905), p. 39 sqq
tact is that interesting Veronese, Francesco Bon-
signori. Thus, in Sir William Farrer’s Madonna,
the face of the Virgin recalls that in Bonsignori’s
panel of 1483 in the Museo Civico at Verona. The
purplish pink colour of St. Mary Magdalen’s mantle
in The Virgin adoring the Child from San Bartolomeo
is a favourite shade of Bonsignori’s. The ■predella
pictures of the wonderful ancona by the latter in SS.
Giovanni e Paolo at Venice and of the San Bartolomeo
high-altar-piece exhibit certain remarkably kindred
passages ; and so on. Now these affinities between
Montagna and Bonsignori are easily to be accounted
for, if we assume that Montagna had been the disciple
of Alvise ; for then Bonsignori was probably his fellow-
pupil,1 and the said kindred features may be explained
partly as originating from the common source of the
two artists, partly as being the result of the influence
of one of them upon the other.
Antonello da Messina, that important, though now
mysterious factor in the history of Venetian painting,
is sometimes recalled by the works of Montagna
hitherto discussed. Thus, to quote an instance, the
figure of St. Sebastian in the Bergamo panel shows
in the slender build of the body, the pose and
the shape of the loin-cloth much resemblance to
Antonello’s little St. Sebastian in the same gallery.
Antonello having been in Venice, as we now know,
in 1475-76—that is, at a time when one may well
suppose that the young Montagna began his apprentice-
ship in that city—it is of course quite possible that
the latter came into personal contact with the Sicilian.
It is besides worth remarking in this connection,
that the painter, whom the testimony of the extant
pictures seems above all to point out as Montagna’s
1 Cf., for a demonstration of Bonsignori’s descent from Alvise,
Berenson, op. cit. (ed. 1905), p. 39 sqq