DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52600#0236
i So GIOVANNI BUONCONSIGLIO
Yet another easel-painting by Buonconsiglio at
Montagnana is to be found in the Monte di Piet a.
It is a little half-length of the Madonna, holding
the Child, who is tripping, with a quaint affected
elegance, on a parapet. In the background expands
a pleasant view of a hilly landscape, with a town by
a winding river.1
As to the frescoes executed by Buonconsiglio at
Montagnana, one of them was once to be seen on
a wall in the Hospitale Hierusalem of that town. It
showed a succession of arcades between which columns
were projecting. Under the middle arch was repre-
sented the Virgin and Child enthroned in a niche ;
under the other ones, there were painted saints.2
The central portion has been transferred to canvas
and has lately come into the possession of the Academy
at Venice.
The painter has imagined the Divine Persons in
immediate contact with the poor and sick people, who
used to fill the room adorned by the fresco. Mother
and Child are looking mercifully out of the painting ;
the former makes a welcoming gesture with the right
hand, and the little Boy, clasped by the left hand of
the Madonna whilst treading sturdily on her knee,
imparts the benediction. The face of the Virgin
is of a certain emptiness, and comes curiously close
to Boccaccino’s types. The state of preservation of
this painting is very bad, the colour having fallen off
to a great extent ; we can, however, still form an idea
of the gay and pleasing colour-scheme.
Buonconsiglio seems this time also to have imitated
1 Montagnana. Monte di Pieta. The Virgin is in a crimson tunic,
greenish blue mantle with yellow lining and a white embroidered hood.
Crowe and Cavalcaselle, op. cit. i. 441, n. 3. This work has suffered
much from repainting; but the forms and types are clearly Buon-
consiglio’s.
2 Fcrattl, op. cit. p. 44.
Yet another easel-painting by Buonconsiglio at
Montagnana is to be found in the Monte di Piet a.
It is a little half-length of the Madonna, holding
the Child, who is tripping, with a quaint affected
elegance, on a parapet. In the background expands
a pleasant view of a hilly landscape, with a town by
a winding river.1
As to the frescoes executed by Buonconsiglio at
Montagnana, one of them was once to be seen on
a wall in the Hospitale Hierusalem of that town. It
showed a succession of arcades between which columns
were projecting. Under the middle arch was repre-
sented the Virgin and Child enthroned in a niche ;
under the other ones, there were painted saints.2
The central portion has been transferred to canvas
and has lately come into the possession of the Academy
at Venice.
The painter has imagined the Divine Persons in
immediate contact with the poor and sick people, who
used to fill the room adorned by the fresco. Mother
and Child are looking mercifully out of the painting ;
the former makes a welcoming gesture with the right
hand, and the little Boy, clasped by the left hand of
the Madonna whilst treading sturdily on her knee,
imparts the benediction. The face of the Virgin
is of a certain emptiness, and comes curiously close
to Boccaccino’s types. The state of preservation of
this painting is very bad, the colour having fallen off
to a great extent ; we can, however, still form an idea
of the gay and pleasing colour-scheme.
Buonconsiglio seems this time also to have imitated
1 Montagnana. Monte di Pieta. The Virgin is in a crimson tunic,
greenish blue mantle with yellow lining and a white embroidered hood.
Crowe and Cavalcaselle, op. cit. i. 441, n. 3. This work has suffered
much from repainting; but the forms and types are clearly Buon-
consiglio’s.
2 Fcrattl, op. cit. p. 44.