Skip to main content
  • 50 Accesses

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.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 74.99
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Reference

  1. Schmölzer,Der Wandgemälde in St.Johann im Dorfe, Kanpill u. Terlan, Innsbruck, 1888

    Google Scholar 

  2. B. Riehl, Die Kunst an der Brennerstrasze, Leipzig, 1898. K. Atz, Die Kunstgeschichte Tirols u. Voralbergs, Innsbruck, 2nd ed., 1909

    Google Scholar 

  3. 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

    Google Scholar 

  4. F. Bürger, Die Deutsche Malerei, II, 1, p.229in Handbuch der Kunstwiss, under the direction of Burger and Brinckmann where the bibliography is complete.

    Google Scholar 

  5. H. Braune, Die Kirchliche Wandmalerei in Bozen um 1400, Zeitschr. des Ferdinandeums, 1905, p. 33.

    Google Scholar 

  6. 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.

    Google Scholar 

  7. 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.

    Google Scholar 

  8. H. J. Hermann, Die illuminierten Handschriften in Tirol: Beschreib. Verzeich. der Ilium. Handsch. in Österreich, I, Leipzig, 1905, p. 221.

    Google Scholar 

  9. This drawing has been acquired by the Stadelsche Kunstinstitut, Frankfort a. M.

    Google Scholar 

  10. A. Wözl, Das Kastell di Buonconsiglio zu Trient, Mittheil. des Centralkommission für Denkmalpfl., Neue Folge, XXX III, 1897

    Google Scholar 

  11. G. Fogolari, Il ciclo dei mesi nella torre del Aquila etc., Tridentum, VIII, 1905, p. 173

    Google Scholar 

  12. 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

    Google Scholar 

  13. H. Semper, Il castello di Buon Consiglio a Trento, Pro Cultura (Trento), V, 1914, supplement

    Google Scholar 

  14. G. Gerola, Il ristauro del Buonconsiglio, Bollet. d’Arte del Minist. della Pubbl. Istr., vol III of serie II, 1924,p. 464.

    Google Scholar 

  15. 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.

    Google Scholar 

  16. It was published a short time ago: E. Sandberg Vavala, La pittura veronese, Verona, 1926.

    Google Scholar 

  17. 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.

    Google Scholar 

  18. Il Giurista Barnaba da Morano e gli artisti Martino da Verona e Antonio da Mestre, Nuovo Arch. Veneto, 1910.

    Google Scholar 

  19. C. Bernasconi, Studi sopra la storia della pittura italiana, 1864, pp. 220–226

    Google Scholar 

  20. V. Cavazzocco Marzanti, Stefano da Zevio, Arch. Stor. Ver., XXIV, 1886, fasc. 72. A. Pomello, Stefano da Zevio, Verona, 1899

    Google Scholar 

  21. E. Langer, Uber einen alter Maler, Meister Stephan, Kunstfreund, 1900, p. 31.

    Google Scholar 

  22. G. Gerola, Questionistoriche d’arte veronese, Verona, 1908, p. 150

    Google Scholar 

  23. G. Cervellini, Quando nacque Stefano da Verona, Verona, 1909, p. 97

    Google Scholar 

  24. L. Testi, Questioni d’arte veronese, Verona, 1909, p. 46. The Same, Storia della pittura veneziana, II, p. 100.

    Google Scholar 

  25. A. Venturi, op. cit., p. 242. Simeoni,Verona Fedele, 28th May 1907.

    Google Scholar 

  26. 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.

    Google Scholar 

  27. P. Nanin, Disegni di varie dipinture a fresco in Verona, Verona, 1864, pl. 67.

    Google Scholar 

  28. 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.

    Google Scholar 

  29. O Panvinii, Antiquitatum Veronensium libri, Padua, 1648. p. 171.

    Google Scholar 

  30. 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.

    Google Scholar 

  31. P. Caliari, Dal pittore Vincenzo di Stefano, Verona Fedele, XXXVI 1906, No. 117.

    Google Scholar 

  32. R. Brenzoni, Stefano da Verona ed suoi freschi firmati, Verona, 1923.

    Google Scholar 

  33. 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 !

    Google Scholar 

  34. Frizzoni, L’Arte, 1901. p. 238.

    Google Scholar 

  35. 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.

    Google Scholar 

  36. 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.

    Google Scholar 

  37. 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.

    Google Scholar 

  38. A. M. Hind, Un disegno di Stefano da Zevio nel British Museum, L’Arte, 1907, P. 374

    Google Scholar 

  39. 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).

    Google Scholar 

  40. 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.

    Google Scholar 

  41. G. Gerola, I cavalieri tedeschi etc. affreschati in S. Giorgetto di Verona, idem, 1912, p. 205

    Google Scholar 

  42. 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.

    Google Scholar 

  43. L. Sirneoni, Verona. 3rd ed., 1910. p. 423.

    Google Scholar 

  44. G. Biadego, Verona, Bergamo, 1909. p. 86.

    Google Scholar 

  45. 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.

    Google Scholar 

  46. 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.

    Google Scholar 

  47. 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.

    Google Scholar 

  48. Zoege v. Manteufel, Pisanello, pp. 91 and 107.

    Google Scholar 

  49. 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.

    Google Scholar 

  50. C. Cipolla, Ricerche storiche intorno alla chiesa di Santa Anastasia, L’Arte. 1915, p. 165.

    Google Scholar 

  51. C. Cipolla, Il pittore Boninsegna, Arch. Venet., XLV, 1882, p. 213.

    Google Scholar 

  52. 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.

    Google Scholar 

  53. 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.

    Google Scholar 

  54. P. Schubring, Cassoni, Truhen u. Truhenbilder etc., Leipzig, 1915, Nos. 644 and 648.

    Google Scholar 

  55. 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.

    Google Scholar 

  56. 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.

    Google Scholar 

Download references

Authors

Rights and permissions

Reprints and permissions

Copyright information

© 1926 Springer Science+Business Media Dordrecht

About this chapter

Cite this chapter

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

Download citation

  • DOI: https://doi.org/10.1007/978-94-015-2794-1_3

  • Publisher Name: Springer, Dordrecht

  • Print ISBN: 978-94-015-1659-4

  • Online ISBN: 978-94-015-2794-1

  • eBook Packages: Springer Book Archive

Publish with us

Policies and ethics