DOI Page / Citation link:
https://doi.org/10.11588/diglit.52600#0238
182 GIOVANNI BUONCONSIGLIO
and making music. Among the angels one may
find many charming figures. Take, for instance,
the second to the left of the Madonna, clad in white,
stretching her right arm out and with half her lovely
face in shadow, whilst high light falls on the other
half ; or in the group at the right end, the one in
yellow playing the violin, of the sweetest features
and expression ; and others still. Had this fresco been
in a more accessible place, these wonderful heavenly
girls would probably have become very popular.
Beneath, on the earth, stand the apostles, divided
into two groups of six each, beautifully grouped to-
gether and forming an imposing frieze against the
background of the dawning sky. They are all robust
men, some of them rather common in type, and they
are looking with astonishment and adoration at the
wonder unveiled before their eyes. In the gap between
the two groups appear, far behind, the blue pyramids
of the Euganean Hills. At either extremity, between
the apostles and the vision of the Madonna’s
celestial court, are seen the half-lengths of Elijah and
Moses.
That this fresco—admirably composed and gor-
geous in colouring—really is by Buonconsiglio, there
cannot be any doubt. In types, hands, draperies,
colouring, the similarity with his style is evident.
The sculptured decoration of the choir betrays the
same hand as that which worked together with Buon-
consiglio’s in adorning the first altar to the right also
in the Duomo. It is incomprehensible that until
this day no writer on art, as far as I know, has mentioned
the painting now dealt with. It would seem as if
those who have visited this church and talk about the
works of Buonconsiglio in it, must have walked about
there without even lifting their eyes to the huge semi-
dome of the choir. As regards size there is hardly in
and making music. Among the angels one may
find many charming figures. Take, for instance,
the second to the left of the Madonna, clad in white,
stretching her right arm out and with half her lovely
face in shadow, whilst high light falls on the other
half ; or in the group at the right end, the one in
yellow playing the violin, of the sweetest features
and expression ; and others still. Had this fresco been
in a more accessible place, these wonderful heavenly
girls would probably have become very popular.
Beneath, on the earth, stand the apostles, divided
into two groups of six each, beautifully grouped to-
gether and forming an imposing frieze against the
background of the dawning sky. They are all robust
men, some of them rather common in type, and they
are looking with astonishment and adoration at the
wonder unveiled before their eyes. In the gap between
the two groups appear, far behind, the blue pyramids
of the Euganean Hills. At either extremity, between
the apostles and the vision of the Madonna’s
celestial court, are seen the half-lengths of Elijah and
Moses.
That this fresco—admirably composed and gor-
geous in colouring—really is by Buonconsiglio, there
cannot be any doubt. In types, hands, draperies,
colouring, the similarity with his style is evident.
The sculptured decoration of the choir betrays the
same hand as that which worked together with Buon-
consiglio’s in adorning the first altar to the right also
in the Duomo. It is incomprehensible that until
this day no writer on art, as far as I know, has mentioned
the painting now dealt with. It would seem as if
those who have visited this church and talk about the
works of Buonconsiglio in it, must have walked about
there without even lifting their eyes to the huge semi-
dome of the choir. As regards size there is hardly in