DOI article:
Fabiański, Marcin: The Madonna and Child in Frombork and her Artistic Sources
DOI Page / Citation link:https://doi.org/10.11588/diglit.20613#0106
1. Madonna and Child Adored by Saint Charles Borromeo and Saint Catherine Vigri of Bologna, Frombork, cathedra!
(Photo Instytut Sztuki PAN, Warszawa)
Francis, Anthony of Padua and Francesca Romana
(Fig. 2), mounted in the Roman church of Santa
Maria del Pianto in 1702. It has been ascribed to the
workshop of Lazzaro Baldi (c. 1624—1703), an im-
portant member of the Academy of Saint Lukę4. One
of the main differences among the pictures consists in
the setting, here reduced to an achitectural throne in
place of clouds. Thus the scene is no longer visionary.
4 For this picture see: P. Ferraris, Una confraternita ed una
bottega artistica nella Roma intorno al 1700: la Compagnia della
Madonna del Pianto e lo „studio” di Lazzaro Baldi (Storia delParte,
Mary and the Child touch the saints with their hands
and this act reduces the distance even further. The
situation and pose of the central group, however, and,
to a certain extent, the poses of Saints Anthony and
Francesca, correspond to those in the Frombork
altarpiece. Most of the human faces are unlike in the
two pictures, but the physiognomy of the smali angel
on the right in Baldi’s painting corresponds to those
58, 1986), pp. 249—250 and 269—-271. For Baldi see recently: P.
Bellini, The Illustrated Bartsch, 47 (Commentary, part 1), New
York 1987, pp. 14ff.
102
(Photo Instytut Sztuki PAN, Warszawa)
Francis, Anthony of Padua and Francesca Romana
(Fig. 2), mounted in the Roman church of Santa
Maria del Pianto in 1702. It has been ascribed to the
workshop of Lazzaro Baldi (c. 1624—1703), an im-
portant member of the Academy of Saint Lukę4. One
of the main differences among the pictures consists in
the setting, here reduced to an achitectural throne in
place of clouds. Thus the scene is no longer visionary.
4 For this picture see: P. Ferraris, Una confraternita ed una
bottega artistica nella Roma intorno al 1700: la Compagnia della
Madonna del Pianto e lo „studio” di Lazzaro Baldi (Storia delParte,
Mary and the Child touch the saints with their hands
and this act reduces the distance even further. The
situation and pose of the central group, however, and,
to a certain extent, the poses of Saints Anthony and
Francesca, correspond to those in the Frombork
altarpiece. Most of the human faces are unlike in the
two pictures, but the physiognomy of the smali angel
on the right in Baldi’s painting corresponds to those
58, 1986), pp. 249—250 and 269—-271. For Baldi see recently: P.
Bellini, The Illustrated Bartsch, 47 (Commentary, part 1), New
York 1987, pp. 14ff.
102