File:A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century (1871) (14762860782).jpg

Identifier: historyofpaintin01crow (find matches)
Title: A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century
Year: 1871 (1870s)
Authors: Crowe, J. A. (Joseph Archer), 1825-1896 Cavalcaselle, G. B. (Giovanni Battista), 1820-1897
Subjects: Painting Painting, Gothic Painting, Renaissance
Publisher: London, J. Murray
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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Text Appearing Before Image:
dog kneeling nearhim, holding in its mouth a scroll inscribed: Esto fidelis. This isclearly in the style of JacopoMontagnana. Casa Maldura, No.22, small panel of the crucifixion,a picture of the time under notice,but of little value and not en-titled to the name of Squarcione.Dresden Gallery, No. 208, wood,the Marys and Magdalen mourningover the dead body of Christ. Seepostea, in the Bolognese and Fer-rarese school, a notice of the painterColtellini. Verona, Communal Gall.No. 67, the Tiburtine sybil, seepostea in Falconetto. Missing orunknown to us are the following:Padua, chapter-house of San Giu-seppe (a small church no longerin existence). The genuineness ofthe painting here was doubted.(See Selvatico Scritti. ub. sup. 27).Marchese O. Buzzaccherini, Virgininscribed: Ms^ Squarzoni Fran-sisci opus. (Moschini, Vic. 29.)Scuola di San Gio. Evang. laterin possession of Bishop Dondi-Orologio, Virgin, child and angels.Brandolesi (Guida, p. 62, Moschini,Vic. 29.) NoKTH Italy Vol. T. p. 3o:
Text Appearing After Image:
K-Fl-XnVf. OF .iKc IHHl-r.L ^ih THE KRh.MU i\\: al PADQA Chap. XI. SQUARCIONE AND MANTEGNA. hands contribute to create the general impression. Thefoundation of the building may be traced to the middleof the 14^ century^ at which time it belonged to the familyof the Ovetarii of Citadella. ^ Antonio Ovetaro be-queathed it in January 1443 to Jacopo Leoni, on con-dition that he should spend a legacy of 700 ducatsof gold in painting the walls with scenes from thelives of S^ James and S Christopher. In obedienceto this bequest the services of Squarcione were en-gaged; and though we are ignorant of the exact timein which the scaffoldings were first erected, there isreason to believe that the last touches were given in1459_60. The chapel opens into the right transept of the Eremi-tani—a high rectangle, with lunettes and a vaulted roofin four sections, lighted by windows and a rosette inthe faces of a pentagonal tribune;- through the white-washed entrance, one sees the apsidal arch covered,i

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