Abstract
It is only natural that the valley which begins in Southern Bavaria and leads through Tyrol to Verona, the valley in which Innsbruck, Brixen, Bolzano and Trent are situated, forms the link between South Germany and Northern Italy; apart from other circumstances this connexion is very evident in the artistic interchange. It will be noticed, however, that in this case Italy received more than she gave; the art of Stefano da Verona, for example, was much more influenced by the German manner than that of the majority of Tyrolese painters by the style of their southern colleagues.
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Reference
Schmölzer,Der Wandgemälde in St.Johann im Dorfe, Kanpill u. Terlan, Innsbruck, 1888
B. Riehl, Die Kunst an der Brennerstrasze, Leipzig, 1898. K. Atz, Die Kunstgeschichte Tirols u. Voralbergs, Innsbruck, 2nd ed., 1909
J. Weingartner,Die Wandmalereien Deutsch-tirols am Ausgang des 14 u. zu Beginn des 15th Jahrh; Jahrb. des Kunsthist. Inst. der K.K. Central Commission, VI, 1912. p. 1
F. Bürger, Die Deutsche Malerei, II, 1, p.229in Handbuch der Kunstwiss, under the direction of Burger and Brinckmann where the bibliography is complete.
H. Braune, Die Kirchliche Wandmalerei in Bozen um 1400, Zeitschr. des Ferdinandeums, 1905, p. 33.
In the castle of Lichtenberg there are also some representations from the Old Testament. J. v. Schlosser,Die Wandgemälde aus Schloss Lichtenberg in Tirol. Vienna, 1916.
This is the opinion of Prof. Burger,op. cit. Weingartner,op. cit., believes in the existence of a centre in Meran to which the frescoes in Meran, Lichtenberg, Riffian and Schönna all belong.
H. J. Hermann, Die illuminierten Handschriften in Tirol: Beschreib. Verzeich. der Ilium. Handsch. in Österreich, I, Leipzig, 1905, p. 221.
This drawing has been acquired by the Stadelsche Kunstinstitut, Frankfort a. M.
A. Wözl, Das Kastell di Buonconsiglio zu Trient, Mittheil. des Centralkommission für Denkmalpfl., Neue Folge, XXX III, 1897
G. Fogolari, Il ciclo dei mesi nella torre del Aquila etc., Tridentum, VIII, 1905, p. 173
B. Kurth, Ein Freskenzyklus im Adlerturm zu Trient, Jahrbuch des Kunsthist Institutes des K.K. Centralkommission fur Denkmalpfl. V, 1912, p. 86. Toesca,op. cit., p. 462
H. Semper, Il castello di Buon Consiglio a Trento, Pro Cultura (Trento), V, 1914, supplement
G. Gerola, Il ristauro del Buonconsiglio, Bollet. d’Arte del Minist. della Pubbl. Istr., vol III of serie II, 1924,p. 464.
J. Weingarten, op. cit., is very contrary to this idea and is of opinion that there existed a strong Italian influence in Tyrol. It is of some interest that in 1387 a Bettinus, pictor of Verona, worked at Trent (Repert. f. Kunstwiss. XXVI, p. 22) and that Stefano too was active in Tyrol.
It was published a short time ago: E. Sandberg Vavala, La pittura veronese, Verona, 1926.
v. Vol. IV, pp. 200 and 201. I do not find that there is a very marked resemblance between the paintings of Martino da Verona and the other frescoes in this chapel.G. Corso, La cappella Cavalli in Santa Anastasia, Verona, 1910.
Il Giurista Barnaba da Morano e gli artisti Martino da Verona e Antonio da Mestre, Nuovo Arch. Veneto, 1910.
C. Bernasconi, Studi sopra la storia della pittura italiana, 1864, pp. 220–226
V. Cavazzocco Marzanti, Stefano da Zevio, Arch. Stor. Ver., XXIV, 1886, fasc. 72. A. Pomello, Stefano da Zevio, Verona, 1899
E. Langer, Uber einen alter Maler, Meister Stephan, Kunstfreund, 1900, p. 31.
G. Gerola, Questionistoriche d’arte veronese, Verona, 1908, p. 150
G. Cervellini, Quando nacque Stefano da Verona, Verona, 1909, p. 97
L. Testi, Questioni d’arte veronese, Verona, 1909, p. 46. The Same, Storia della pittura veneziana, II, p. 100.
A. Venturi, op. cit., p. 242. Simeoni,Verona Fedele, 28th May 1907.
G. Gerola, op. cit. The Same, Le attribuzione delle opere d’arte in rapporto colla scuola pittorica veronese, Atti e Mem. dell Acc. di Agr. Sc. e Lettere di Verona, Ser. IV, Vol. XX, 1919, p. 189.
P. Nanin, Disegni di varie dipinture a fresco in Verona, Verona, 1864, pl. 67.
C. Cipolla, Richerche storiche intorno alla chiesa di Sta. Anastasia, L’Arte, 1915, p. 164, rather doubts if this fresco is really by the artist in question.
O Panvinii, Antiquitatum Veronensium libri, Padua, 1648. p. 171.
B. Dal Pozzo, Le Vite dei pittori veronese, Verona, 1718. p. 12 Rosini attributed the Adoration of the Magi, now in the Brera Gallery, to Stefano-Giottino.
P. Caliari, Dal pittore Vincenzo di Stefano, Verona Fedele, XXXVI 1906, No. 117.
R. Brenzoni, Stefano da Verona ed suoi freschi firmati, Verona, 1923.
Vasari Society reproductions. IV. Nos. 13 and 14. Hill, Pisanello, p. 174 note, believes that they belong to the Veronese school. Venturi, op. cit., p. 123. seems to think that they are by Pisanello. In the 18th century they were published by Mulinari as works by Giotto !
Frizzoni, L’Arte, 1901. p. 238.
Formerly this picture belonged to Prince von Bülow, F. Hermanin, Una tavola di Stefano da Zevio a Palazzo di Venezia, Bolletino d’Arte del Ministero della Pubblico Istruzione, October 1923, p. 166.
L. Venturi, L’Arte. 1922. p 112, in the edition of drawings. No. 1305. An inscription on this leaf ascribes it to the hand of Ghiberti.
Hill, Pisanello, p. 174 note, is of opinion that this drawing belongs to the Veronese school. In Venturi’s edition of Vasari’s lives of Gentile and Pisanello, it is attributed to Pisanello. In 1778 Mulinari published it as a work by Giotto.
A. M. Hind, Un disegno di Stefano da Zevio nel British Museum, L’Arte, 1907, P. 374
v. Reproductions of drawings published by the Albertina, pl. 1292 and Neue Folge, 1. Drawings from antique carved reliefs in the Ambrosiana, Milan; v. Toesca, op. cit., fig. 363, Uffizi, 1101, 1102, 1103, 1104, the last one in Stefano’s manner. Catalogue of the G. L. sale, at Sotheby’s, London, May 1924, Nos. 114, 115, 116, 146. Vallardi collection, fol. 130 (three men’s heads). Various drawings in the Lugt collection, Maartensdijk. Drawings of a somewhat later date in the British Museum. Vasari Society reproductions III, Nos. 7, 8, 9, and IV, No. 1 (figs. 201 and 202).
The name of the donor, Federico da Porto, is also given. The date in the inscription has been interpreted as 1412, but the painting appears to be slightly later. Apart from dates of the 14th century we find on the walls still those of 1424 and 1492. S. Maffei, Le epigrafi veronese in volgare, Verona, 1880, p. 16. C. Cipolla, Appunti di S. Maffei sulle epigrafi Veronese, Madonna Verona, 1910, p. 82.
G. Gerola, I cavalieri tedeschi etc. affreschati in S. Giorgetto di Verona, idem, 1912, p. 205
G. Trecca, Una tavola di Ranuccio Aryan nell’ arcipretale di Porto Legnago, Madonna Verona, 1909, p. 149. G. Fiocco, Ranuccio Arvari, idem, 1912, p. 229. G. Biadego, La fiorentina famiglia Eovari trapiantata a Verona, idem, 1915, p. 182. Catalogue of the Exhibition of Veronese Art, 1919–1920, idem, 1919, p. 89.
L. Sirneoni, Verona. 3rd ed., 1910. p. 423.
G. Biadego, Verona, Bergamo, 1909. p. 86.
Cavazzocca Mazzanti, op. cit. G. Gerola, op. cit. Testi, Stor. della pitt. ven., loc. cit. G. Gerola, Madonna Verona, 1912, p. 205 note 2. In Vol. IV, p. 191, I made a mistake in saying that the frescoes of the 14th century in this church had disappeared; some very damaged remains are still visible.
Adjacent to this fresco there is another of identical but reversed composition. The existence of this painting, which is by another artist, of a slightly earlier date perhaps, accounts possibly for the error that C. Biermann, Verona, Leipzig, 1904. p. 102, made in supposing that Antonio and Pietro Paolo, the brothers of Bartolomeo, helped him in the execution of this fresco. There is no foundation for this hypothesis. nor is there any for the attribution to Bartolomeo of the figures of God the Father, Guglielmo da Castelbarco and Daniele Gusmano on the arch of S. Fermo Maggiore of 1314 (v. Vol. IV, p. 180) which old descriptions of Verona all the same attributed to a Bartolomeo Badile, who was a painter of another generation, and died in 1545.
These are the paintings that A. Venturi, op. cit., p. 238, attributes to Vicenzo da Stefano, a painter, who, as we saw, seems to have existed only in Vasari’s imagination. Prof. Venturi ascribes to the same hand a painting of St. Thomas Aquinas in the Gallery of Verona.
Zoege v. Manteufel, Pisanello, pp. 91 and 107.
C. Cipolla,Madonna Verona, 1910, p. 82. G. Gerola, idem, 1912, p. 2051 Inscriptions of similar frescoes, dating from 1424 and 1442 are preserved on the walls of the same church.
C. Cipolla, Ricerche storiche intorno alla chiesa di Santa Anastasia, L’Arte. 1915, p. 165.
C. Cipolla, Il pittore Boninsegna, Arch. Venet., XLV, 1882, p. 213.
G. Gerola, Il pittore B. e la famiglia di Martino, Atti del R. Ist. Ven. di Sc., XIX, 1910, p. 407. The Same, Thieme Becker, Künstler Lexikon, IV, p. 300. v. Vol. IV, p. 179.
There are two Crucifixions in this church, one in the apse, which I have just mentioned, and the other of the 14th century, high up on the left wall. In Vol. IV, p. 188, I have, by mistake, referred to the latter as being in the apse.
P. Schubring, Cassoni, Truhen u. Truhenbilder etc., Leipzig, 1915, Nos. 644 and 648.
Another Madonna, belonging to the Veronese school, is found near Aquasanta (prov. Ascoli Piceno, The Marches), in the church of S. Lorenzo; the Virgin is depicted between the Baptist and St. James.
A. Avena e A. Mazza, Per la storia dell’ arte in Verona nel sec. XV, Madonna Verona, 1917, p. 122, mention Antonio (1441, 1487), Antonio da Pontapietra (1435, 1443), Battista (1442), Bettino da Firenze (1435), Bonagostino del fu Vagiati (1435, 1456, 1458), Daniele (1443, 1457), Jacobo di S. Cecilia (1436, 1442), Marco di Gerardo da Venezia (1440), Marco di S. Marco (1442), Matteo da Belluno (1435), Michele da Vicenza (1440), Michele da S. Michele alla Porta (1435), Michele da Firenze (1435, 1436), Simontaddeo (1436), Zenone (1420). Vittorio Fainelli, Per la storia dell’ arte in Verona, L’Arte, 1910, p. 218, had previously mentioned the painters: Cristoforo da S. Michele alla Porta (1434), Michele da Firenze (already mentioned, 1436), Daniele di S. Michele alla Porta (1443), perhaps the same as a Daniele (1457) and a Daniele da Verona (1457). Bernasconi, op. cit., Chap. II, informs us, that when Francesco II Novello di Carrara had his palace painted on the ocassion of his entry into Verona in 1404, he employed Jacopo di S. Cecilia, Silvestro della Seta, Corrado di Bonaventura di S Paolo and Giovanni S. Sebastiano, all four belonging to Verona, and Antonio Guarnerio, Domenico Paino, and Natale, three artists from Padua.
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van Marle, R. (1926). Tyrol and Verona. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-2794-1_3
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