DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52600#0234
178 GIOVANNI BUONCONSIGLIO
Magdalen (Vicenza, Santa Corona) in his mind, is not
improbable ; yet the chief model of the whole was no
doubt Cima’s imposing St. Peter the Martyr between
Saints Nicholas of Bari and Benedict (painted about
1508), once in the church of Corpus Domini at Venice,
now in the Brera.1
An altar-piece of still larger dimensions than the
preceding ones was painted by the artist for another
church at Montagnana, the Chiesa della Nativita di
Maria Virgine, which was suppressed at the end of
the eighteenth century and pulled down in the
nineteenth.2 The painting in question is now kept
in the Municipio of Montagnana. It is closely related
with the ftala of 1519 at Montecchio Maggiore.
The subject is again the Madonna and Saints.
The Virgin is enthroned amidst an imposing multi-
coloured architecture with cupola ; she shows a bird,
which sits on her right hand, to the Infant Christ,
who is looking at the spectator, smiling and with the
gesture of blessing. The long, almost straight line
from head to feet in the Madonna’s drapery betrays
an influence from Giovanni Bellini, who shows a
similar design, for instance, in the painting at San
Pietro Martire in Murano. Six saints surround the
Virgin. Close by her, on either side, stand Saints
Peter and Paul, the pillars of the church: the former
1 Montagnana. Duomo. First altar to the right. Signed on a
cartellino on the pedestal:
MDXIII. | IOANES • BONICONV | P
On canvas. Circular top. Restored in 1732 (Crowe and Cavalcaselle,
op. cit. i. 441, n. 2). On one of the pages of St. Nicholas’ book there
is a large star with human features. This is unusual, the star pertaining
to the saint being generally represented on his breast or over his head.
(C/. Detzel, Christliche Ikonographie^ ii. 552.) The horseman and the
shepherd appear also in the background of Cima’s aforesaid picture,
Crowe and Cavalcaselle, op. cit. i. 441.
2 Foratti, op. cit. p. 38.
Magdalen (Vicenza, Santa Corona) in his mind, is not
improbable ; yet the chief model of the whole was no
doubt Cima’s imposing St. Peter the Martyr between
Saints Nicholas of Bari and Benedict (painted about
1508), once in the church of Corpus Domini at Venice,
now in the Brera.1
An altar-piece of still larger dimensions than the
preceding ones was painted by the artist for another
church at Montagnana, the Chiesa della Nativita di
Maria Virgine, which was suppressed at the end of
the eighteenth century and pulled down in the
nineteenth.2 The painting in question is now kept
in the Municipio of Montagnana. It is closely related
with the ftala of 1519 at Montecchio Maggiore.
The subject is again the Madonna and Saints.
The Virgin is enthroned amidst an imposing multi-
coloured architecture with cupola ; she shows a bird,
which sits on her right hand, to the Infant Christ,
who is looking at the spectator, smiling and with the
gesture of blessing. The long, almost straight line
from head to feet in the Madonna’s drapery betrays
an influence from Giovanni Bellini, who shows a
similar design, for instance, in the painting at San
Pietro Martire in Murano. Six saints surround the
Virgin. Close by her, on either side, stand Saints
Peter and Paul, the pillars of the church: the former
1 Montagnana. Duomo. First altar to the right. Signed on a
cartellino on the pedestal:
MDXIII. | IOANES • BONICONV | P
On canvas. Circular top. Restored in 1732 (Crowe and Cavalcaselle,
op. cit. i. 441, n. 2). On one of the pages of St. Nicholas’ book there
is a large star with human features. This is unusual, the star pertaining
to the saint being generally represented on his breast or over his head.
(C/. Detzel, Christliche Ikonographie^ ii. 552.) The horseman and the
shepherd appear also in the background of Cima’s aforesaid picture,
Crowe and Cavalcaselle, op. cit. i. 441.
2 Foratti, op. cit. p. 38.