DOI Page / Citation link:
https://doi.org/10.11588/diglit.52600#0117
OLD AGE
73
and gold ; to the right there meets us again the
Giorgionesque tree.1
Another work by Montagna at Padua is the sixth
of the frescoes decorating the Scuola del Santo ; we
may safely assume that it was executed at about the
same time as the pala in Santa Maria in Vanzo, with
which it displays a great affinity of style.2 The
subject of this fresco is the opening of St. Anthony’s
tomb in 1350, when the mortal remains of the Saint
were abouttobe transferred tothe newly erected chapel
in Sant’ Antonio at Padua, where they repose still
to-day. We see in the oblong space a marble hall
and to the left the opened sarcophagus in which the
frock-covered skeleton of the Santo is lying. To the
1 Padua. Santa Maria in Vanzo. High altar. The Virgin, in
crimson tunic, blue mantle with green lining, white veil and greyish
violet kerchief, supports with both hands the Child, who sits in her
lap to the right, taking hold of her left hand. St. Peter, in greenish
blue tunic and orange mantle, raises his right hand as he looks at the
Madonna, while holding a book in his left. St. John, in grey leather coat,
points to the central group with his right hand and has a cross in his
left. St. Catherine, who wears a rich dress, looks at the Virgin, with
her right hand on her breast and a book in her left. St. Paul, in green
tunic and red mantle rests his right hand on his sword and holds a
book in his left. Of the angels, the left one, playing the viola da braccio
is in crimson, the right one, playing the lute, in orange. On the floor
is an apple, to the stem of which is fastened a cartellino, inscribed
“ Opus Bartolomei Montagna ”
On canvas. The pedestals of the pilasters of the frame contain half
lengths of St. Laurence and St. Francis. Brandolese says (Pitture . . .
di Padova, p. 73) that between these pictures there was originally a
third one, since lost. Restored in 1872. Crowe and Cavalcaselle,
op. cit. i. 427. Ph. Anderson {pala only). The following statement
of Scardeone, when speaking about the monastery of Santa Maria in
Vanzo agrees well with the late date, which our consideration of the
style of this work has lead us to assign to it: “ ubi est speciosissimum
templum aris frequens superioribus annis restitutum pristinse dignitati
ac speciosius reformatum. Anno Domini, M. D. XX.” {De antiquitate
urbis Patavii, p. 92.)
2 Compare particularly the draperies and the landscape.
73
and gold ; to the right there meets us again the
Giorgionesque tree.1
Another work by Montagna at Padua is the sixth
of the frescoes decorating the Scuola del Santo ; we
may safely assume that it was executed at about the
same time as the pala in Santa Maria in Vanzo, with
which it displays a great affinity of style.2 The
subject of this fresco is the opening of St. Anthony’s
tomb in 1350, when the mortal remains of the Saint
were abouttobe transferred tothe newly erected chapel
in Sant’ Antonio at Padua, where they repose still
to-day. We see in the oblong space a marble hall
and to the left the opened sarcophagus in which the
frock-covered skeleton of the Santo is lying. To the
1 Padua. Santa Maria in Vanzo. High altar. The Virgin, in
crimson tunic, blue mantle with green lining, white veil and greyish
violet kerchief, supports with both hands the Child, who sits in her
lap to the right, taking hold of her left hand. St. Peter, in greenish
blue tunic and orange mantle, raises his right hand as he looks at the
Madonna, while holding a book in his left. St. John, in grey leather coat,
points to the central group with his right hand and has a cross in his
left. St. Catherine, who wears a rich dress, looks at the Virgin, with
her right hand on her breast and a book in her left. St. Paul, in green
tunic and red mantle rests his right hand on his sword and holds a
book in his left. Of the angels, the left one, playing the viola da braccio
is in crimson, the right one, playing the lute, in orange. On the floor
is an apple, to the stem of which is fastened a cartellino, inscribed
“ Opus Bartolomei Montagna ”
On canvas. The pedestals of the pilasters of the frame contain half
lengths of St. Laurence and St. Francis. Brandolese says (Pitture . . .
di Padova, p. 73) that between these pictures there was originally a
third one, since lost. Restored in 1872. Crowe and Cavalcaselle,
op. cit. i. 427. Ph. Anderson {pala only). The following statement
of Scardeone, when speaking about the monastery of Santa Maria in
Vanzo agrees well with the late date, which our consideration of the
style of this work has lead us to assign to it: “ ubi est speciosissimum
templum aris frequens superioribus annis restitutum pristinse dignitati
ac speciosius reformatum. Anno Domini, M. D. XX.” {De antiquitate
urbis Patavii, p. 92.)
2 Compare particularly the draperies and the landscape.