DOI Page / Citation link:
https://doi.org/10.11588/diglit.52600#0167
THE PAINTER
121
probably sold or ceded to some village church in the
course of the last century.1
From the two subsequent years there are again dated
pictures missing, viz. : a couple of altar-pieces formerly
in San Biagio at Vicenza. The one, of 1534, was a
Nativity of Christ with a 'predella, representing the
Conversion of St. Paul ;2 the other, of 1535, showed
in the pala above the Trinity crowning the Virgin,
and below St. Anthony kneeling, whilst the temptations
1 The above work is mentioned as being in San Rocco by Ridolfi (who
alludes to it in these words: “ In San Rocco [Bart. Montagna] fece
ilmedesimo Santo con San Sebastiano ed un Angelino,” op. cit. i. 141),
Boschini (op. cit. p. 117 sqi), and Mosca (op. cit. i. 115) ; it was placed
above the first altar to the right. Subsequently, several writers record
that it is in the Academy at Venice ; and the signature is given as
“ benedictvs montagna pinxit mdxxxiii ” (cf. Vasari, Le vite, ed.
Milanesi, iii. 674). Crowe and Cavalcaselle (op. cit. i. 435, n. 2) register
the above pala among the missing works. It would be interesting to
track out this picture in order to make it possible to establish its relation
to a large and very elaborate woodcut which generally has been supposed
to reproduce a painting by Benedetto. It represents the Virgin seated
on a throne and supporting with her left hand the Child, who stands on
her left knee and holds in His right hand a globe, which the Madonna
also grasps. Below stand, to the left, St. Roch, uncovering the wound
in his leg, and St. Sebastian with his hands behind his back. In thirteen
small compartments above the throne and on the pedestal, the Passion
is represented ; and there are renderings of several other subjects also
on different places of the wall. Along the tympanum above the throne
is written : • ave • regina • celorvm ’ mater ' regis • angelorvm • sal.
On two tablets, in the upper left and right corner respectively, the
inscriptions: benedictvs j pinxit and iacobvs | fecit.
Passavant, Le peintre-graveur, v. 159 sq. No. 58. There is an
impression of this wood-cut in the Bibliotheque Nationale in Paris
(0.544 x °-392) which is reproduced in Delaborde, La gravure en Italic
avant Marc-Antoine, p. 231.
2 Boschini, op. cit. p. 93. Ridolfi gives (op. cit. i. 141) this work
(“ il presepe di Cristo ”) to Bartolomeo. It is not mentioned by Mosca,
from whom (op. cit. i. 10) we learn that it had been succeeded in the place
which it occupied originally (fourth altar to the left) by an Adoration
of the Shepherds by a later painter, Antonio Molinari (born in 1665,
still working in 1727).
121
probably sold or ceded to some village church in the
course of the last century.1
From the two subsequent years there are again dated
pictures missing, viz. : a couple of altar-pieces formerly
in San Biagio at Vicenza. The one, of 1534, was a
Nativity of Christ with a 'predella, representing the
Conversion of St. Paul ;2 the other, of 1535, showed
in the pala above the Trinity crowning the Virgin,
and below St. Anthony kneeling, whilst the temptations
1 The above work is mentioned as being in San Rocco by Ridolfi (who
alludes to it in these words: “ In San Rocco [Bart. Montagna] fece
ilmedesimo Santo con San Sebastiano ed un Angelino,” op. cit. i. 141),
Boschini (op. cit. p. 117 sqi), and Mosca (op. cit. i. 115) ; it was placed
above the first altar to the right. Subsequently, several writers record
that it is in the Academy at Venice ; and the signature is given as
“ benedictvs montagna pinxit mdxxxiii ” (cf. Vasari, Le vite, ed.
Milanesi, iii. 674). Crowe and Cavalcaselle (op. cit. i. 435, n. 2) register
the above pala among the missing works. It would be interesting to
track out this picture in order to make it possible to establish its relation
to a large and very elaborate woodcut which generally has been supposed
to reproduce a painting by Benedetto. It represents the Virgin seated
on a throne and supporting with her left hand the Child, who stands on
her left knee and holds in His right hand a globe, which the Madonna
also grasps. Below stand, to the left, St. Roch, uncovering the wound
in his leg, and St. Sebastian with his hands behind his back. In thirteen
small compartments above the throne and on the pedestal, the Passion
is represented ; and there are renderings of several other subjects also
on different places of the wall. Along the tympanum above the throne
is written : • ave • regina • celorvm ’ mater ' regis • angelorvm • sal.
On two tablets, in the upper left and right corner respectively, the
inscriptions: benedictvs j pinxit and iacobvs | fecit.
Passavant, Le peintre-graveur, v. 159 sq. No. 58. There is an
impression of this wood-cut in the Bibliotheque Nationale in Paris
(0.544 x °-392) which is reproduced in Delaborde, La gravure en Italic
avant Marc-Antoine, p. 231.
2 Boschini, op. cit. p. 93. Ridolfi gives (op. cit. i. 141) this work
(“ il presepe di Cristo ”) to Bartolomeo. It is not mentioned by Mosca,
from whom (op. cit. i. 10) we learn that it had been succeeded in the place
which it occupied originally (fourth altar to the left) by an Adoration
of the Shepherds by a later painter, Antonio Molinari (born in 1665,
still working in 1727).