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Lucchese, Aretine, and Umbrian Schools Xiii Century Florentine, Venetian, Paduan, Modenese, and Sienese Schools Xiii-Xiv Century

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Lucchese, Aretine, and Umbrian Schools Xiii Century Florentine, Venetian, Paduan, Modenese, and Sienese Schools Xiii-Xiv Century LUCCHESE, ARETINE, AND UMBRIAN SCHOOLS XIII CENTURY FLORENTINE, VENETIAN, PADUAN, MODENESE, AND SIENESE SCHOOLS XIII-XIV CENTURY LUCCHESE SCHOOL, c. I200 MARGARITONE KI7I5 : Figure 6 Margarito d'Arezzo, called by Vasari Margaritone. School of Arezzo. Active second half of thirteenth century. There MADONNA AND CHILD. EI Paso, Tex., El Paso Museum is only one documentary reference to him, in 1262; but he of Art {1961-6/1}, since 1961.1 Transferred from wood to signed a number ofpaintings. Probably trained in Florence, masonite {1950-51}. 46kx30! in. {II8'2X78'2 cm.}, with­ he progressed from a very flat style to a somewhat more out moldings. Good condition; cleaned very slightly 1953. plastic manner. Lucca was the center of the most important Tuscan School KI347 : Figure I of painting during the twelfth century and well into the thirteenth. The work of the early period was varied and MADONNA AND CHILD ENTHRONED. Washington, rich; by the early thirteenth century it had become less D.C., National Gallery of Art {807}, since 1945. Wood. exuberant, more stereotyped and uniform. Though 38kx 19k in. {97X49.5 cm.}. Inscribed, with the artist's executed by a heavier hand, KI715 seems to go back for in­ signature, at bottom: MARGARIT' [de a] RITIO ME FECIT spiration to the figures of the holy women in scenes on the {Margaritus of Arezzo made me}.l Fair condition. earliest surviving panel from the School of Lucca, the painted cross signed by Guglielmo and dated II 38 in the The lack of perspective in this painting - only the footstool Cathedral of Sarzana.2 KI715 has been classified as one of and the cushioned seat of the throne give appreciable the most important examples of the Prc-Berlinghieresque indication ofthird dimension - places this in the artist's early period.3 period, about 1270.2 Even at this date, the work is considered retardataire, for the throne is of the earliest type used in the Provenance: Said to have been for some time on the altar of thirteenth century: backless and made up of alternating the Church ofSanta Domenica, in Zara; and then, when the long and short horizontal flat bands decorated with abstract church was closed because of disrepair, to have been designs;3 and the Virgin's crown is like those worn at the acquired by the Castellani family, who kept it in the chapel beginning 'of the century by Byzantine queens.4 Mar­ of their castle on the Island ofBirbigno, not far from Zara; garitone frequently repeated his compositions with only and, finally, from the last surviving member of this family, slight variations. Closely similar versions of this Madolllla inherited by a nephew, Mariano Rovaro Brizzi.4 Contini are in the Church of Santa Maria at MontelungoS and the Bonacossi, Florence. Kress acquisition, 1950. National Gallery, London; the chief variations are in the small flanking figures. In KI347 they are silhouetted against References: {I} Catalogue by F. R. Shapley, 1961, no. I, as a patinated silver background and are possibly to be identi­ Master of the School of Lucca. {2} The Sarzana Crtlcifix is fied as St. John the Evangelist, St. Benedict, and two Wise reproduced by E. Sandberg-Vavala, La Croce dipillta italian a, Virgins.6 The signature {see inscription, above} appears in 1929, fig. 225. {3} R. Longhi {in ms. opinion}. Berlinghiero, almost the same form on several other paintings by the active c. 1215-1240, was head of the thirteenth-century master. School of Lucca. {4} V. Brunelli {Storia della cittet di Zara, 1913, pp. 257£} mentions a Madonlla d';lIIagille greca which Provellance: General Fox Pitt-Rivers, Rushmore, Wilts. was once in Santa Domenica, Zara, and cites tenuous tradi­ Ralph Wornum, London. Philip Lehman, New York tions regarding its source. The twentieth-century owner {catalogue by R. Lehman, 1928, no. I, as Margaritone}. Brizzi seems to be the only authority for connecting KI715 Kress acquisition, 1943. with the reference in Brunelli and for the subsequent provenance of the picture. References: {I} For assistance in deciphering and translating 4 UMDRIAN : XIII CENTURY many of the inscriptions recorded in this catalogue I am Borgo, Bologna, now in the Pinacoteca in that city.4 With grateful to my daughter Dora Shapley van Wijk. (2) E. B. them the Borgo Cmcifix, with which they agree precisely Garrison (Italian Romallesqtle Pane! Painting, 1949, p. 94, in style and proportion, could be restored to very nearly its no. 237) dates KI347 c. 1270. (3) J. H. Stubblebine (in original composition. This composition parallels that of the Marsyas, vol. VII, 1954-57, p. 2S) analyzes the throne. closely contemporary Crucifix, dated 1272, by the Master of (4) This is observed by C. H. Weigelt (in Thieme-Becker, St. Francis in the Pinacoteca, Perugia.s Allgemeines Lexikolt, vol. XXIV, 1930, p. SS). (5) P. d'Ancona (Les Primitifs italiells, 1935, p. 92) cites the similarity of Provenance: Probably Church of Santa Maria in Borgo, KI347 to the one at Montelungo. (6) R. Lehman (Lehman Bologna. Private Collection, Stockholm. Philip Lehman, catalogue cited under Provenance, above) follows Crowe New York (catalogue by R. Lehman, 1925, nos. LIX and and Cavalcaselle (History oJPaintittg itt Italy, R. L. Douglas LX, as Master of the Franciscan Crucifix). Kress acquisition, ed., vol. 1,1903, p. 167) in identifying the flanking figures 1943· as St. Bruno, St. Benedict, and two Cistercian monks. L. Venturi (Italian Pailttings jn America, vol. I, 1933, Refereltces: (I) O. Siren (Toskallische Maler im XIII. Jaltr­ no. S) thinks them to be St.John the Evangelist, St. Benedict, htmdert, 1922, pp. 223 £) coins this name for the artist and and possibly Mary Magdalene and Martha. R. van Marle describes K1357 and K135 S among his paintings. (2) So called (Italian ,Schools oj Pailltiltg, vol. I, 1923, p. 336) merely cites by E. B. Garrison (Italian Romaltesqtle Pane! Painting, 1949, Crowe and Cavalcaselle. That the two lower figures may p. 221, no. 605), who designates the master as Bolognese and be Wise Virgins is indicated by the fact that each carries a describes the panels as coming from a Cmcifix apron dating lighted lamp. 1265/75. L. Venturi (Italian Pail/tings jn America, vol. I, 1933, no. 6) attributed the panels to a Pisan master. (3) Garrison, loc. cit. in note 2, above. (4) Reproduced by E. Sandberg-Vavala, La Croce dipinta jtalialta, 1929, fig. 536 MASTER OF THE (Villani & Figli, Bologna, have photographed the painting FRANCISCAN CRUCIFIXES and details since its recent restoration and cleaning). Vavala (op. cit., pp. S55 f.) discusses KI357 andKI35S in connection Umbrian School. Active second half of thirteenth century. with the Borgo Crucifix; but G. Co or (verbally) probably The designation given this anonymous master derives from was the first to suggest that they actually belonged to it. the association of his style with Crucifixes painted for Mrs. Coor further suggests that a medallion of Christ Franciscan churches.! He has also been called the Borgo Blessillg now lost but reproduced by Garrison (p. 219, no. Crucifix Master,2 from his best-known work. His classifica­ 595 of op. cit., in note 2, above) may have terminated this tion in the Umbrian School is somewhat arbitrary; for he Crucifix at the top. (5) Reproduced by J. Schultze in Wallraf­ also shows Pisan and Bolognese characteristics. Giunta Richartz-Jaltrbllch, vol. xxv, 1963, p. 139. Pisano and the Master of St. Francis are his closest parallels, but he is more suave, more gentle in expression than either of these. MASTER OF ST. FRANCIS KI3S7 : Figure 4 THE MOURNING MADONNA Umbrian School. Active second half of thirteenth century: his one dated work, a Cmcifix in the Perugia Gallery, was KI3S8 : Figure S painted in 1272; but it is from his portrait of St. Francis in ST. JOHN THE EVANGELIST Santa Maria degli Angeli, Assisi, that his designation derives. He was perhaps less a direct follower of Giunta Washington, D.C., National Gallery of Art (SoS and S09), Pisano, as formerly assumed, than a product of Byzantine since 1945. Wood. K1357, 3ltX12f in. (SIX3l"5 em.); influence in general. In tum his work exercised marked K135S, 31ix 121 in. (SO·5X3l"5 em.). Good condition ex­ influence on Cimabue. cept for a few losses of paint. That these pendants were originally parts of a wooden KI360 : Figure 2 Crucifix has never been doubted. The suggestion that they ST. JOHN THE EVANGELIST come from the apron of the cross,3 where they would have flanked the torso of Christ, should have been excluded by KI3S9 : Figure 3 the contemporary practice of curving Christ's body far to ST. JAMES MINOR the left on the cross, so that it projects into the apron. Almost certainly the two panels once terminated the arms Washington, D.C., National Gallery of Art (SIO and SII), of the large CTllcifix from the Church of Santa Maria in since 1945. Wood. K1359, 19ix9f in. (50X24 em.); in- UMBRIAN AND FLORENTINE: XIII CENTURY 5 scribed on arch: SANCTUS JACOB ... K1360, 19!X9! in. columns painted at the sides of the narrow panels. In a (49·5X24cm.); inscribed on arch: SANCTUSJOHANNES ... recent study of the art of the Master of St. Francis (in Both in fair condition except for some abrasions and a few Wallraf-Richartz-jahrbtlch, vol. xxv, 1963, p. 141), Schultze losses of paint. alters his arrangement of the panels to agree with Mrs. Coor's suggestion, which is followed in this catalogue. It is now reasonably certain that these two panels originally (2) The medallions are described by R. van Marle in Rasseglla formed part of a large altarpiece, tentatively dated c.
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