DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52600#0123
OLD AGE 79
Civico at Venice. The last-named work shows a
beautiful triangular composition—an evolution of
the one in the early Madonna belonging to Miss
Hertz : the Virgin, turned to the right, is worshipping
the Child—poor in type and drawing—who sits in
her lap and turns His head towards her, caressing her
chin with His right hand, while putting the other
on the head of St. Joseph, which is visible below, thrown
back to behold the Infant Christ with deep devotion.1
The two dated works from the last years of Mon-
tagna’s life, which have been already referred to,
remain to be mentioned, in order to terminate this
survey of his artistic development. They are : a
picture of the Madonna with the Child and the
Infant St. John, in the Museo Civico at Vicenza
dated May 12, 1520 ; and the altar-piece representing
the Adoration of the Shepherds in the 'pala, a Pietd
between Saints Nicholas of Bari and Anthony the
ointment vase in her left hand and a book in her right. St. Lucy, in
bodice adorned with gold, skirt of gold brocade embroidered with red
and dark green mantle, presents her eyes on a plate. On a cartellino
fastened below at the feet of the Virgin, the mutilated signature
OV . . . BAR . . | MONTAGNA
On canvas. Ridolfi, op. cit. i. 141. Boschini, op. cit. p. 2. Mosca,
op. cit. i. 34 sq. Crowe and Cavalcaselle, op. cit. i. 432 sq. The costume
of the Virgin and the throne recall the Sarmego picture; the crude
type of the Child is matched by that of St. John in the Holy Family
of 1520 ; the figure of Magdalen recalls much that in the pala at Santa
Corona.
1 Venice. Museo Civico. Depot. The Virgin wears a vermilion
tunic, a dark greenish blue mantle with yellow lining, a white veil and
a violet hood, covered with golden hatching. St. Joseph is in olive
green. Behind the figures, a vermilion drapery and a parapet. Land-
scape background. The Virgin’s figure is about three-quarter length.
On wood. Circular top. 0.805 x 0.565. Presented by Signor
Vincenzo Favenza. Ph. Alinari. The colour scheme of the Virgin’s
costume (but for the hood) recalls the two preceding works; the golden
hatching on the kerchief is to reappear in the Holy Family of 1520, as
also the motive of the Child’s hand placed on the head of St. Joseph.
Civico at Venice. The last-named work shows a
beautiful triangular composition—an evolution of
the one in the early Madonna belonging to Miss
Hertz : the Virgin, turned to the right, is worshipping
the Child—poor in type and drawing—who sits in
her lap and turns His head towards her, caressing her
chin with His right hand, while putting the other
on the head of St. Joseph, which is visible below, thrown
back to behold the Infant Christ with deep devotion.1
The two dated works from the last years of Mon-
tagna’s life, which have been already referred to,
remain to be mentioned, in order to terminate this
survey of his artistic development. They are : a
picture of the Madonna with the Child and the
Infant St. John, in the Museo Civico at Vicenza
dated May 12, 1520 ; and the altar-piece representing
the Adoration of the Shepherds in the 'pala, a Pietd
between Saints Nicholas of Bari and Anthony the
ointment vase in her left hand and a book in her right. St. Lucy, in
bodice adorned with gold, skirt of gold brocade embroidered with red
and dark green mantle, presents her eyes on a plate. On a cartellino
fastened below at the feet of the Virgin, the mutilated signature
OV . . . BAR . . | MONTAGNA
On canvas. Ridolfi, op. cit. i. 141. Boschini, op. cit. p. 2. Mosca,
op. cit. i. 34 sq. Crowe and Cavalcaselle, op. cit. i. 432 sq. The costume
of the Virgin and the throne recall the Sarmego picture; the crude
type of the Child is matched by that of St. John in the Holy Family
of 1520 ; the figure of Magdalen recalls much that in the pala at Santa
Corona.
1 Venice. Museo Civico. Depot. The Virgin wears a vermilion
tunic, a dark greenish blue mantle with yellow lining, a white veil and
a violet hood, covered with golden hatching. St. Joseph is in olive
green. Behind the figures, a vermilion drapery and a parapet. Land-
scape background. The Virgin’s figure is about three-quarter length.
On wood. Circular top. 0.805 x 0.565. Presented by Signor
Vincenzo Favenza. Ph. Alinari. The colour scheme of the Virgin’s
costume (but for the hood) recalls the two preceding works; the golden
hatching on the kerchief is to reappear in the Holy Family of 1520, as
also the motive of the Child’s hand placed on the head of St. Joseph.