The paintings stolen by Napoleon. Works not placed back in the church

San Teonisto Paolo Veronese, Benedetto Caliari Carletto Caliari Giacomo Negretti called Palma and shop, Marriage at Cana Martyrdom of Saint Juliana the Younger, Martyrdom of Saints church Theonist, Tabra and Tabratha

1580 oil on canvas 1595 oil on canvas 1603 oil on canvas 357 x 766 cm 267 x 137 cm 328 x 173 cm 1400s, following an order by the bishop that required to the nave of the church, commissioned to The painting was commissioned to Paolo Veronese The altarpiece was painted by Carletto Caliari, The altarpiece was commissioned by abbess The church and its works. them to leave the residence of Mogliano and retire Giovanni Antonio Fumiani a complex quadrature by abbess Cecilia of the Counts Onigo for the Paolo Veronese’s youngest son, for the bye-altar Elena Aproino to Giacomo Negretti called Palma From the origins to today to Treviso to lead a strictly cloistered life. The most so as to frame the canvas and adapt it to the refectory of the San Teonisto monastery. Historically, of the San Teonisto church. The work was painted the Younger for the high altar of the San Teonisto ancient construction of the San Teonisto church wall, since the top was rounded to follow the it is believed to have been originally painted by during the master’s later period of activity. church. It was perhaps the first painting made dates back to this age, 1434 to be precise, in a style vault of the refectory. Fumiani solved the problem Veronese, but modern critics tend to indicate his Although it is still mannerist in layout, it deviates by Palma for Treviso at a time when – with the that marks the shift from the Late Gothic to by painting monumental depictions of Faith younger brother Benedetto Caliari as the painter, by its luministic depiction and quick touch. demise of the Sixteenth century masters – he was The San Teonisto church was reopened and restored the Early Renaissance, from which, as suggested and Charity and two spandrels with monochrome mimicking the master’s style. The scene is depicted The martyr’s name, «SA.TA GIVLIANA», appears becoming the undisputed upholder of the Venetian to the town in October 2017. After a troubled history by Luigi Coletti, the chancel, the apse and the figures. He also made a copy of the Marriage with naturalism and the key players of sacred history in capitals on the platform on which the Saint painting tradition. Painted between 1602 and 1603, that involved plundering, bombing raids, changes bell tower have been preserved. at Cana to replace the original. are set among real figures. The personages have is kneeling, while the painter’s name can be read the altarpiece marks the artist’s stylistic change, in intended use and years of neglect, in 2010 it was more homely and everyday traits, as one may on the left: «CAROLVS CALIARVS – PAVLI with his paintings becoming progressively lighter, purchased by Luciano Benetton, who subsequently Benedictine nuns were generally from noble and In the mid-eighteenth century, Count Giordano observe in the portraits, especially that of the client, VERON. FILVS». The probable client’s coat and the scene layout being underlined by softer gifted it to Fondazione Benetton Studi Ricerche. wealthy families, and were therefore able to richly Riccati, a mathematician and musician, was Cecilia Onigo, seated at the table opposite Christ. of arms on the wall, however, is wholly illegible. chiaroscuro. Cold hues are predominant in The complex restoration works were entrusted furnish the convent. The first and foremost involved with the decoration of the façade, which Between 1692 and 1693, Giovanni Antonio During the Napoleonic suppressions, the painting the pink/light blue background and in the figures to architect Tobia Scarpa, who has reconstructed promoter of artistic renewal was abbess Cecilia was completed in 1758. In the same year, Jacopo Fumiani made a copy of the painting to replace was taken to Brera, and today it is part of the in the foreground, fading from red to deep blue the roof that had been destroyed by bombs in 1944, of the Counts Onigo who, in 1580, commissioned Guarana painted what Pallucchini believed to Veronese’s painting in the refectory, so that collection at the Castello Sforzesco. to purple, with sparkling highlights. On 14th March, and has restored the premises to the original single to Paolo Veronese the large canvas of the Marriage be the grandest and most ambitious undertaking: the original could be placed on the east wall of 1811 the painting was taken to Brera, at the General nave layout. Taking into account the modern at Cana for the nunnery’s refectory, a work which the ceiling of the church. Between the bold the church. Following the Napoleonic suppression Public Education Directorate of the Kingdom restoration needs, he has highlighted the difference modern critics later attributed to Benedetto Caliari, quadratures by Domenico Fossati, Guarana (1810-1811), the painting was requisitioned and of , and from 24th February 1847 it was stored between the current ceiling and the pre-existing walls. the painter’s brother. In the early seventeenth painted the Assumption of the Virgin, which was sent to the General Public Education Directorate at the parish church of San Vincenzo Martire Foldaway stands have been designed and constructed century the church turned into a prestigious work to be lost in the 1944 bombing raid. In 1810, at Brera (11th March 1811). In 1926, after restoration in Brusuglio (Milan). Today, after a fire damaged to address the new functional requirements. in progress. Abbess Elena Aproino commissioned with the suppression of religious orders wanted work, it was moved to the Chamber of Deputies the building as well as the painting, it is kept Every trace of the decorations that survived the to Giacomo Negretti, called Palma the Younger, by Napoleon Bonaparte, the monastery was closed in Montecitorio, where it is still today. in the storerooms of the Brera picture gallery. destruction, such as the refined series of frescoes, the altarpiece with the Martyrdom of Saints Theonist, down, the church and its works became public was restored through painstaking and skilful work. Tabra and Tabratha for the high altar. property and three paintings were stolen and sent The significant architectural-structural work For the two bye-altars, two altarpieces were painted to the General Public Education Directorate has been complemented by the restoration of nearly by Carletto Caliari, Paolo Veronese’s youngest son: at the Brera picture gallery: the Marriage at Cana, all the original paintings, which were then placed the Martyrdom of Saint Catherine of Alexandria on the the Martyrdom of Saint Juliana and the Martyrdom back in their original positions thanks to a thirty- right and the Martyrdom of Saint Juliana on the left. of Saints Theonistus, Tabra and Tabratha. year agreement between Fondazione Benetton In 1616, the nuns commissioned to Ascanio Spineda The altarpiece of the Madonna of the Rosary and the Municipality of Treviso, in whose Civic the pieces for the two altars in the middle of the and Saints Domenico and Rosa by Jacopo Lauro, San Teonisto Fondazione Benetton Leaflet edited by Museum collections the canvases had been held, nave: the Assumption of Mary on the left wall and Saint originally in the Saint Paul monastery of Treviso, church Studi Ricerche Fondazione Benetton after they were removed from the church following Scholastica on the right. Three different stages in the was placed at the bye-altar, in place of the Martyrdom Studi Ricerche the bombings. This thorough restoration work wall decorations may be distinguished. The first of Saint Juliana. In 1826, for reasons as yet unknown, via San Nicolò 31 via Cornarotta 7–9 Texts by has been complemented by creative and ingenious painting season dates to 1629, when abbess Adeodata the altarpiece of Saint Scholastica was replaced by 31100 Treviso 31100 Treviso Chiara Voltarel furnishings, such as the four large chandeliers Bolognata commissioned a cycle of six canvases to the Marriage of Saint Catherine by Gregorio Lazzarini, Photo on the cover that light the hall. Today, the church provides decorate the chancel and apse with the Stories of Jesus now part of the permanent exhibition of the town’s opening to the public T +39 0422 5121 by Corrado Piccoli a cultural venue designed to host international Christ’s childhood. Matteo Ponzone painted picture gallery.

every first Sunday F +39 0422 579483 and its works. The church today the origins to From events, the schedule of which is managed by the Annunciation and the Adoration of the Magi, Scheme of collocation of the month, of the paintings Fondazione Benetton. Alessandro Varotari, called Il , In December 1944, during the allied bombing from 10 am to 6 pm [email protected] based on projects the Nativity and Circumcision, and Matteo raids, the monastery was razed to the ground www.fbsr.it designed by The archaeological excavations that were carried Ingoli the Rest on the Flight into Egypt and the and the church suffered massive damage: the roof, Studio Tobia Scarpa out while restoration work was in progress showed Disputation with the Doctors. Shortly after, Bartolomeo apse area, chancel, organ and the pediment of Graphic design that the area where the building stands had been Scaligero painted the large canvas with the the façade all collapsed. The surviving paintings and Art Direction man-made since the iron age. Roman domus floors Triumph of Saint Benedict. The second consistent cycle, were collected in the Civic Museum of Treviso. Metodo Studio evidence later settlements, while in the middle commissioned by abbess Arcangela Bertoni, was After the war, the church was hastily restored Printing ages the area was used as a cemetery and later for signed by Pietro Muttoni called della Vecchia who, with the reconstruction of the roof. De-consecrated Grafiche Tintoretto dwellings. The history of the building is connected between 1653 and 1654, painted an Ascension, the in the nineteen-seventies, the premises were Recycled paper to a small church that used to be close to the river Conversion of Saint Paul and a series of canvases used for a variety of purposes by associations, gym, Fedrigoni Freelife Cento Sile – in the place where, according to legend, depicting various martyrs: the Martyrdom of Saint municipal warehouse, then remained closed for Certified FSC® the boat carrying the bodies of the Saints Theonist, Stephen, the Martyrdom of Saint Sebastian, the a long time, until the building was sold to Luciano Tabra and Tabratha landed – which was gifted Martyrdom of Saint Lawrence, the Martyrdom of Saints Benetton by the Municipality of Treviso. Today, in 1045 by Uldericus, bishop of Treviso, to the Eutichio, Placido, Vittorino, Flavia and other Benedictines. after the building’s restoration work, the canvases Benedictine monastery of Santa Maria Assunta The last stage was carried out thanks to abbess have returned to the walls they had been painted of Mogliano. In 1180 the nuns built a monastery Caterina Bertona who, after having Caliari’s for, thanks to the agreement between Fondazione west of the church, where they moved to in the early the Marriage at Cana moved from the refectory Benetton and the Municipality of Treviso. Progetto di ricollocazione dei cicli pittorici ex Chiesa di S.Teonisto - Treviso - Progetto di ricollocazione dei cicli pittorici ex Chiesa di S.Teonisto - Treviso - Progetto di ricollocazione dei cicli pittorici ex Chiesa di S.Teonisto - Treviso -

Autore / Titolo opera: Pietro Della Vecchia (secolo XVII - 1653) Opera con schedatura Autore / Titolo opera: Bartolomeo Scaligero (secolo XVII - post 1640) Opera con schedatura Autore / Titolo opera: Pietro Della Vecchia (secolo XVII - 1654) Opera con schedatura ASCENSIONE DI GESU' CRISTO P907 (opera 5) TRIONFO DI SAN BENEDETTO P905 (opera 3) MARTIRIO DEI SANTI BENEDETTINI P906 (opera 4)

Opera esposta Opera in archivio Opera restaurata Opera da restaurare Opera esposta Opera in archivio Opera restaurata Opera da restaurare Opera esposta Opera in archivio Opera restaurata Opera da restaurare

Progetto di ricollocazione dei cicli pittorici ex Chiesa di S.Teonisto - Treviso -

Autore / Titolo opera: Pietro Della Vecchia ( secolo XVII -1655 / 1656 ) Opera con schedatura CONVERSIONE DI S.PAOLO P460

Opera esposta Opera in archivio Opera restaurata Opera da restaurare

Progetto di ricollocazione dei cicli pittorici ex Chiesa di S.Teonisto - Treviso - Progetto di ricollocazione dei cicli pittorici ex Chiesa di S.Teonisto - Treviso - Progetto di ricollocazione dei cicli pittorici ex Chiesa di S.Teonisto - Treviso - Autore / Titolo opera: Pietro Della Vecchia ( secolo XVII -1654 ) Opera con schedatura Progetto di ricollocazione dei cicli pittorici ex Chiesa di S.Teonisto - Treviso - Progetto di ricollocazione dei cicli pittorici ex Chiesa di S.Teonisto - Treviso - Progetto di ricollocazione dei cicli pittorici ex Chiesa di S.Teonisto - Treviso - Autore / Titolo opera: Pietro Della Vecchia ( secolo XVII -1654 ) Opera con schedaturaAutore / Titolo opera: Pietro Della Vecchia ( secolo XVII -1654 ) Opera con schedatura MARTIRIO DI SAN LORENZO P414 (opera 15) Autore / Titolo opera: Opera con schedatura Autore / Titolo opera: Opera con schedatura Matteo Ingoli (secolo XVII 1629) Autore / Titolo opera: Opera con schedatura MARTIRIO DI SANTO STEFANO P412 (opera 13) Pietro Della Vecchia ( secolo XVII -1654 ) Matteo Ingoli (secolo XVII 1629) Progetto di ricollocazione dei cicli pittorici ex Chiesa di S.Teonisto - Treviso - ANGELI E ISCRIZIONE P471 DISPUTA DI GESU' NEL TEMPIO P411 (opera 12) Progetto di ricollocazione dei cicli pittorici ex Chiesa di S.Teonisto - Treviso - MARTIRIO DI SAN SEBASTIANO P413 (opera 14) RIPOSO NELLA FUGA IN EGITTO P410 (opera 11) Opera esposta Opera in archivio Opera restaurata Opera da restaurare Autore / Titolo opera: Matteo Ponzone (secolo XVII - 1629) Opera con schedatura Opera esposta Opera in archivio Opera restaurata Opera da restaurareOpera esposta Opera in archivio Opera restaurata Opera da restaurare Autore / Titolo opera: Alessandro Varotari detto Padovanino (secolo XVII 1629-1630) Opera con schedatura Opera esposta Opera in archivio Opera restaurata Opera da restaurare Opera esposta Opera in archivio Opera restaurata Opera da restaurare Opera esposta Opera in archivio Opera restaurata Opera da restaurare ADORAZIONE DEI MAGI P407 (opera 8) CIRCONCISIONE P408 (opera 9)

Progetto di ricollocazione dei cicli pittorici ex Chiesa di S.Teonisto - Treviso - Opera esposta Opera in archivio Opera restaurata Opera da restaurare Opera esposta Opera in archivio Opera restaurata Opera da restaurare

Autore / Titolo opera: Ascanio Spineda (secolo XVII - 1616) Opera con schedatura ASSUNZIONE DELLA VERGINE P405 (opera 6)

Opera esposta Opera in archivio Opera restaurata Opera da restaurare

Posizione: lato est Materia: olio su tela Dimensioni (cm): frammento

Foto eseguita in data 13.07.2015

Opera conservata presso il Museo Civico di Santa Caterina - Treviso -

Posizione: lato ovest ex presbiterio Materia: olio su tela Dimensioni (cm): 140x260 Posizione: lato ovest Materia: olio su tela Dimensioni (cm): 240x243 Posizione: lato ovest ex presbiterio Materia: olio su tela Dimensioni (cm): 140x260 Posizione: lato ovest Materia: olio su tela Dimensioni (cm): Posizione: lato ovest Materia: olio su tela Dimensioni (cm): 246x244 Posizione: Materia: Dimensioni (cm): Foto eseguita in data 13.07.2015 Foto eseguita in data 13.07.2015 lato ovest olio su tela 248x237 Foto eseguita in data 13.07.2015 Foto eseguita in data 13.07.2015 Foto eseguita in data 13.07.2015 Opera conservata presso il Museo Civico di Santa Caterina - Treviso - Opera conservata presso il Museo Civico di Santa Caterina - Treviso - Foto eseguita in data 13.07.2015 Opera conservata presso il Museo Civico di Santa Caterina - Treviso - Posizione: lato est ex presbiterio Materia: olio su tela Dimensioni (cm): 135x157 Posizione: lato est ex presbiterio Materia: olio su tela Dimensioni (cm): 140x265 Opera conservata presso il Museo Civico di Santa Caterina - Treviso - Opera conservata presso il Museo Civico di Santa Caterina - Treviso - Opera conservata presso il Museo Civico di Santa Caterina - Treviso - Foto eseguita in data 13.07.2015 Foto eseguita in data 13.07.2015

Opera conservata presso il Museo Civico di Santa Caterina - Treviso - Opera conservata presso il Museo Civico di Santa Caterina - Treviso - Posizione: lato est Materia: olio su tela Dimensioni (cm): 355x520 Posizione: lato ovest Materia: olio su tela Dimensioni (cm): 338x548 Posizione: lato ovest Materia: olio su tela Dimensioni (cm): 362x533

Foto eseguita in data 13.07.2015 Foto eseguita in data 13.07.2015 Posizione: lato est Materia: olio su tela Dimensioni (cm): 340x174 Foto eseguita in data 13.07.2015 Foto eseguita in data 13.07.2015 Opera conservata presso il Museo Civico di Santa Caterina - Treviso - Opera conservata presso il Museo Civico di Santa Caterina - Treviso - Opera conservata presso il Museo Civico di Santa Caterina - Treviso - Opera conservata presso il Museo Civico di Santa Caterina - Treviso -

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Pietro Muttoni called della Vecchia Pietro Muttoni called della Vecchia Ascanio Spineda Carletto Caliari, Martyrdom of Saint Matteo Ponzone Alessandro Varotari called 1 Conversion of Saint Paul 2 Ascension of Christ 3 Assumption of Mary 10 Catherine of Alexandria 11 Adoration of the Magi 12 Il Padovanino, Circumcision 1652 oil on canvas 1652 oil on canvas 1616 oil on canvas 1595 oil on canvas 1629 oil on canvas 1629 oil on canvas 1654 cm 340 x 180 1654 cm 355 x 520 cm 340,5 x 175 cm 266 x 140,5 cm 140 x 265 cm 135 x 157

Large fragment – Only the large fragment of The Ascension was severely damaged in the 1944 Ascanio Spineda’s style is closely related to that Painted by Carletto Caliari, Paolo Veronese’s The canvas features an almost baroque gentleness In the Circumcision, as well as in the Nativity, the Conversion of Saint Paul that survived the 1944 bombing raid, therefore its exquisite colour scheme of Palma the Younger. In this altarpiece featuring youngest son, the altarpiece was the companion of touch and an effect of shading and veiling Padovanino pays homage to the great , with bombing raid has reached us, but it is sufficient cannot be fully appreciated. In the middle of the acidic colours, one starts noticing a penchant for to the Martyrdom of Saint Juliana, now at the Castello that blurs the images and softens the outlines. literal citations in this case, as shown by the child to appreciate the powerful painting. In the middle canvas is Christ rising off the ground, cloaked in lilac, elongating the figures and the horror vacui underlined Sforzesco. The work, still affected by a mannerist In the foreground on the left is Saint Joseph seen in the foreground on the right, echoing one of of the canvas, Saint Paul – we can only see the looking down at the Apostles. “Petri Vecchia/ by the compact group of the Apostles in the lower layout, was made in the master’s later years of activity. from behind, the Madonna and the Child are the putti in Vecellio’s Offering to Venus. The figures lower part of his body today – has collapsed to opus/1653” is engraved in the rock in the foreground. part and the angels at the top. Among the angels The hues are lighter and the brushstrokes are tiny. on a podium, and in front of them the first elderly take up the whole space of the scene, with a monumental the ground with his white horse, thunderstruck is the Virgin, crowned by Christ and by our Father. In the middle of the canvas is the Saint, her hands and bearded king wearing a precious damask cloak, set-up and a complexity of postures: the high priest by the apparition of Christ. In this painting, clasped, kneeling on a stage and tied to a pole. with the other two kings and other figures are more garbed in golden damask is standing behind an altar Vecchia creates a magnificent composition, The crowd is in the lower part, surrounding her, in the background and almost in the shadow. covered with a red carpet, while the Madonna cloaked with monumental figures in motion. while an angel brandishing a sword flies down in blue is kneeling at the front; behind her, a group and hits the breaking wheel. of women and, on the opposite side, a cleric wearing a white cloak and holding a lit candle.

Giovanni Antonio Fumiani Matteo Ingoli Matteo Ingoli Bartolomeo Scaligero Pietro Muttoni called della Vecchia Pietro Muttoni called della Vecchia 4 Faith, Charity and two side figures 5 Jesus among the doctors 6 Flight into Egypt 13 Saint Benedict hands the Rule 14 Angels and inscriptions 15 Martyrdom of Saint Stephen to the princes of the earth 1692 oil on canvas 1629 oil on canvas 1629 oil on canvas 1652 oil on canvas 1652 oil on canvas 1693 cm 340 x 340 cm 140 x 260 cm 140 x 260 1640 oil on canvas 1654 cm 233 x 233 1654 cm 240 x 243 cm 362 x 533 Fumiani, the fountainhead of the Veronese-style The scene is laid out according to a clearly outlined In the background on the left, among Veronese-style Against a black background, two flying cherubs In the foreground are the main players of the renewal, architecturally frames Caliari’s Marriage spatial rhythm: in the middle is Jesus, seated at the monumental classical buildings, the fall of the idols The large canvas was painted by Bartolomeo hold a white ribbon reading «MAIORVM GLORIA scene: Saint Stephen, in a red and golden dalmatic, at Cana, which had just been moved from the refectory desk, and the doctors surrounding Him on both sides unfolds and perhaps also the Massacre of the Scaligero shortly after the cycle on Jesus Christ’s POSTERIS LVMEN EST». Under the cherubs, is falling under the blows and stones hurled by to the church, with a complex quadrature. The top show various expressions of wonder and wear odd Innocents, a tragic act at odds with the cosy, everyday childhood. A student and imitator of Padovanino, a long inscription refers to the number of eminent the people surrounding him, while a Judean bends of the canvas is curvilinear following the vault of costumes. The Veronese influx is not the only one breastfeeding scene in the foreground. On the right Scaligero lays out the painting in a narrative personages that belonged to the Benedictine order. down to pick up the stones. The composition pivots the refectory. To adapt it to the wall, the artist paints in this case, as one may also notice a hint of Palma is indeed the Holy Family, in front of a leafy theatre style: against a background of airy and bright around the violent motions of the stoners, set against the two depictions of Faith and Charity at the sides, the Younger in the figures. wing: the Madonna and Child turn towards Saint architecture, Saint Benedict, wearing a dark habit, those of the Saint. Christ appears at the top, among with two spandrels decorated by two monochrome Joseph, with an angel bowing down and another is seated on the podium, surrounded by other clouds and enveloped by light. Initials, perhaps reclined figures. angel behind. The atmospheric brightness and light monks, and the great of the earth are paying Pietro Vecchia’s, are engraved in the stone next colours featured in the works by Ingoli are a clear homage to him, bowing down and offering their to Saint Stephen’s knee, as well as the date, 1654. hint to Paolo Veronese. crowns. One is struck by the refined chromaticism, especially of the robes.

Jacopo Lauro Matteo Ponzone Alessandro Varotari called Pietro Muttoni called della Vecchia Pietro Muttoni called della Vecchia Pietro Muttoni called della Vecchia 7 Madonna of the Rosary 8 Annunciation 9 Il Padovanino, Nativity 16 Martyrdom of Saint Lawrence 17 Martyrdom of Saint Sebastian 18 Martyrdom of the Benedictine Saints about oil on canvas 1629 oil on canvas 1629 oil on canvas 1652 oil on canvas 1652 oil on canvas 1652 oil on canvas 1600 cm 221 x 112 cm 132 x 157 cm 136 x 147 1654 cm 248 x 237 1654 cm 246 x 244 1654 cm 338 x 548

The altarpiece comes from the Saint Paul monastery The two figures, the angel rushing in from On the left, the Madonna lifts the linen cloth on Pietro Vecchia is a great admirer of , The Saint is tied to a tree, while a soldier is standing The rhythm and composition of the work are of Treviso and after 1811, following the Napoleonic the left and the Madonna kneeling on the right, which the Child is laid, reverberating a light that and as a matter of fact his works were inspired in front of him and is drawing his bow. The violence arranged like a theatrical scene, with forestage plundering, it occupied the space left by the Martyrdom stand out against an evanescent background, breaks through the pitch dark background and lights by the early Sixteenth century, revisited in baroque of the soldier’s action, hurling arrows onto Saint and backdrops. On an embankment, the four brothers of Saint Juliana. It is a rather complex work where featuring colourful cumulus clouds. The light up Saint Joseph’s pure white beard, as he leans over style. The colours are hazed with chiaroscuro, Sebastian, is underlined by the foreshortened figures, – Eutichio, Placido, Vittorino and Flavia – are awaiting the Madonna, with the Child on her lap, is crowned shines in from the left, lighting the Madonna’s Him. In the Nativity Il Padovanino – a great admirer the outlines are faded and matter is fraying. as if the scene was seen from below. Initials, perhaps their martyrdom, surrounded by spectators and by angels carrying the Mysteries, depicted in what face with unbridled theatricality. of Titian and a proponent, in the early Seventeenth The architecture of the painting plays on a complex Pietro Vecchia’s, are engraved in the stone at Saint soldiers. In the foreground, other monks are moving look like postcards. century, of a classicist revival following the layout layout of cascading planes and divergent lines. Sebastian’s feet, as well as the date, 1654. along, tied up and beaten by soldiers and tormentors. of the works of the Cadore master’s early works – Here, the Saint is laid on the gridiron and a man The canvas has an L-shaped cut, the missing part creates refined colour consonances with a captivating is poking at the fire. The figures are locked in was damaged in the 1944 bombing raid. luminism, achieving a moving and enthralling effect a frenzied rhythm, and the gestures of the players with the Madonna and Saint Joseph’s ecstatic pose, are full of expression. in humbled adoration of the Child.