DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52600#0228
172 GIOVANNI BUONCONSIGLIO
has proposed for this work, may, however, be the
correct one, judging particularly from the analogies
which this interesting canvas shows with Morone’s
St. Francis receiving the Stigmata in the Museo Civico
of Verona.
In the series of dates inscribed on the pictures by
Buonconsiglio there is, after 1502, a gap of about nine
years, that is to say until 1511, when the artist dates
the pala bespoken by Vicenzo Montoni for the Duomo
of Montagnana. Two altar-pieces at Venice, in
which the fusion of the rich colouring is greater than
in the picture at San Rocco, may reasonably be assigned
to this intermediate period. Both are compositions
of three figures—the middle one standing on a low
pedestal—in a chapel, adorned with lustrous mosaics.
The one is in San Giacomo dell’ Orio and shows
St. Sebastian tied to a column with Saints Lawrence
and Roch on either side. The dignified figure of the
young deacon is very fine, and the play of light and
shadow in the dusky room is beautifully rendered.1
The other of the pictures alluded to was originally
above the high altar of the island-church San Secondo,
near Venice, whence it has been transferred to
Santo Spirito in that town. We see in the centre of
the composition the Redeemer in the act of blessing
1 Venice. San Giacomo dell’ Orio. On the entrance wall, to the
left. St. Sebastian is writhing with a pained expression; a white
cloth is wrapped round his hips Behind him, a narrow purple coloured
hanging in front of a broad olive green one. St. Lawrence, in a deacon’s
robes, is holding a book ; the gridiron is lying on the floor. St. Roch,
in green jacket, black hose, short vermilion mantle, is pointing with
the right hand to the wound in his leg, while holding a staff in the left.
Signed on a cartellino on the pedestal.
JOANES • BONI • CHOSILI | DITO * MARESCHALCH® | * P '
On wood. Circular top. 2.5 x 1.81. Mentioned as being in San
Giacomo by almost all old authors, beginning from Sansovino (o/>. cit.
p. 203). Crowe and Cavalcaselle, op. cit. i. 440. Ph. Anderson.
has proposed for this work, may, however, be the
correct one, judging particularly from the analogies
which this interesting canvas shows with Morone’s
St. Francis receiving the Stigmata in the Museo Civico
of Verona.
In the series of dates inscribed on the pictures by
Buonconsiglio there is, after 1502, a gap of about nine
years, that is to say until 1511, when the artist dates
the pala bespoken by Vicenzo Montoni for the Duomo
of Montagnana. Two altar-pieces at Venice, in
which the fusion of the rich colouring is greater than
in the picture at San Rocco, may reasonably be assigned
to this intermediate period. Both are compositions
of three figures—the middle one standing on a low
pedestal—in a chapel, adorned with lustrous mosaics.
The one is in San Giacomo dell’ Orio and shows
St. Sebastian tied to a column with Saints Lawrence
and Roch on either side. The dignified figure of the
young deacon is very fine, and the play of light and
shadow in the dusky room is beautifully rendered.1
The other of the pictures alluded to was originally
above the high altar of the island-church San Secondo,
near Venice, whence it has been transferred to
Santo Spirito in that town. We see in the centre of
the composition the Redeemer in the act of blessing
1 Venice. San Giacomo dell’ Orio. On the entrance wall, to the
left. St. Sebastian is writhing with a pained expression; a white
cloth is wrapped round his hips Behind him, a narrow purple coloured
hanging in front of a broad olive green one. St. Lawrence, in a deacon’s
robes, is holding a book ; the gridiron is lying on the floor. St. Roch,
in green jacket, black hose, short vermilion mantle, is pointing with
the right hand to the wound in his leg, while holding a staff in the left.
Signed on a cartellino on the pedestal.
JOANES • BONI • CHOSILI | DITO * MARESCHALCH® | * P '
On wood. Circular top. 2.5 x 1.81. Mentioned as being in San
Giacomo by almost all old authors, beginning from Sansovino (o/>. cit.
p. 203). Crowe and Cavalcaselle, op. cit. i. 440. Ph. Anderson.