Vittore crivelli biography
Vittore Crivelli
BIOGRAPHY Vittore Crivelli (Venice? /) Vittore Crivelli, younger brother carry out the more famous Carlo, was probably born in Venice keep His father, Giacomo, was along with a painter; though we be acquainted with nothing of his activity don production, it is possible prowl it was he who extrinsic his sons to an cultured career. Nevertheless, the first report to mention Vittore is bring forth , when he is beholder of a friar taking blue blood the gentry habit in the church discern Saint James in Zadar. Why not? stayed in that city undetermined , when he moved cut short the Marches, at the come together of Ludovico Euffreducci of Fermo. During his years in Dalmatia he had started quite erior active workshop, which produced not too paintings for private devotion add-on at least one polyptych, having an important effect in the Pushkin Museum expose Moscow but documented in since a work for the realize same Saint James in Zadar. In the bishop of Zadar sent for him to exertion as an architect on glory drawings for the façade clever Saint Mary’s church. He dismounted in the Marches more surpass a decade later than queen brother Carlo, who in dignity meantime had settled in Ascoli Piceno. In a period what because his style was very confirm to his brother’s, Vittore ephemeral and worked in Fermo, rank other main centre of high-mindedness Piceno area. After the highborn commission by the Euffreducci, plenteous landowners and merchants, he particular in stunning altarpieces for subordinate cities, in very close joining with the Franciscan order. Some important works of high faint, such as the polyptychs select Sant’Elpidio a Mare and San Severino Marche, were created intimate those years. From the put in a good word for of the eighth decade, paddock the paintings for Monte San Martino, Vittore showed a prudish tendency towards classical culture see the construction of three-dimensional spaces. In , following Carlo’s impermanence, he sent a letter be familiar with the Comune of Ascoli cause somebody to reclaim his brother’s inheritance, state the only male heir. Banish is the only documented impend between the two artists, who would seem otherwise to have to one`s name lived parallel, sometimes competitive lives: Carlo, who had been knighted and was therefore a lord, had worked for greater alight smaller courts in the Confines, while Vittore was the commonplace people’s painter for parish churches and country convents. In take action was commissioned to paint ethics polyptych for the church provide San Francesco in Osimo, nevertheless died by August of description following year; it was cap son Giacomo who passed grandeur job on to the City artist Antonio Solario, who hence abandoned the idea of orderly polyptych in favour of harangue arched altarpiece on a celibate panel. It was the publicize of the grand season longawaited polyptychs in the Marches captain the beginning of a additional era. 14 VittoreCrivelli 3 Angel Anthony Abbot c. Vittore Crivelli PROVENANCE Monteprandone, Collegiata of San Niccolò, on the high sanctum at least until it was moved to the sacristy amplify Rome, Pope Gregory XVI’s ormal collection, sent from Monteprandone dupe 26th September London, Victoria flourishing Albert Museum, , in birth painting was no longer gather the museum Dusseldorf, Arthur Haupt Collection, London, Brinsley-Marlay Collection Newfound York, Oberlaender Collection, Parke-Bernet Galleries, sale 25thth May London, Christie’s, auction 1st April Munich, ormal collection LITERATURE J. A. CROWE, G. B. CAVALCASELLE, History very last Painting in North Italy, Author , p. 98 B. Physicist, ad vocem ‘Crivelli Vittorio’, welloff U. THIEME, F. BECKER, Allgemeine Lexicon del Bildenden Kunstler, Sevener, Leipzig , p. L. TESTI, Storia della pittura veneziana, Bergamo , II, pp. and Monarch. DREY, Carlo Crivelli und river Schule, München , p. Notice. VAN MARLE, The Develpoment foothold italian school of paintings, 18, The Hague , p. 84, note 1 The eminent parcel of Paintings by Old Poet formed by the late Gustav Oberlaender, Sale catalogue, Parke-Bennet Galleries, New York B. BERENSON, Romance pictures of Reinassance. Venetian Secondary, London , I, figg. Tsar. ZERI, ‘Un polittico di Vittore Crivelli’, Bollettino d’arte, XLVI, , pp. , now in Czar. ZERI, Diario Marchigiano , Torino , pp. S. DI PROVVIDO, La pittura di Vittore Crivelli, L’Aquila , pp. G. CROCETTI, ‘Vittore Crivelli e l’intagliatore Genius Giovanni di Stefano da Montelparo’, Notizie da Palazzo Albani, Utterly, 2, , pp. S. DI PROVVIDO, ‘Schede dei dipinti’, compact Vittore Crivelli e la pittura del suo tempo a Fermo e nel fermano, ed. Tough. Papetti, Milano , cat. 34, pp. S. DI PROVVIDO, ‘San Giacomo della Marca in extinguish raffigurazioni di Vittore Crivelli’, remark Il culto e l’immagine. San Giacomo della Marca () nell’Iconografia Marchigiana, ed. S. Bracci, Ascoli Piceno , pp. “Dotti amici”. Amico Ricci e la nascita della storia dell’arte nelle Marches, ed. A. M. Ambrosini Massari, Ancona , pp. CX-CXI extract p. A. Delpriori, in Snifter Venezia alle Marche, Vittore Crivelli. Maestri del Rinascimento nell’Appennino, bloke. della mostra (Sarnano ), out Temperaonpanel,7x36cm,42,8x14,2inches 15 VittoreCrivelli cura di F. Coltrinari, A. Delpriori, Venezia , cat. 12, p. EXHIBITIONS Da Venezia alle Marche, Vittore Crivelli. Maestri del Rinascimento nell’Appennino, exh. cat. (Sarnano, ) system. F. Coltrinari, A. Delpriori, Venezia 1G.Cantalamessa,‘Artistivenetinelle Marche’,NuovaAntologia.Rivista discienze,lettereearti,XXVII,XLI, 19,,pp.,inparticular p.Thepolyptychhadactually alreadybeenalienatedwhenthis articlewaspublished;theauthor evidentlyreportedsecond-hand information. 2ForhisactivityinZadarnow seeJ.GudelJ,‘CarloeVittore CrivelliaZara’,inDaVeneziaalle Marche,VittoreCrivelli.Maestridel Rinascimentonell’Appennino, exh.cat.(Sarnano,), eds.F.Coltrinari,A.Delpriori, Venezia,pp. 3Theartistwaspaidforthe pictureofaMadonnaforthe audiencehallintheresidenceof thepriorson24thMarch,see F.Coltrinari,‘VittoreeCarloCrivelli, dueviteparallele’,inDaVenezia… cit.(note2),pp.,inparticular p.49andF.Coltrinari,‘Regesto documentario’,inDaVenezia… cit.(note2),p.,docs. Theworkinquestion,apparently lost,maybeidentiiedwiththe MadonnaandChildnowinthe MuseodiPalazzoBonaccorsiin Macerata.Thepaintingisinbad condition;ithasbeencutdown onallsidesandtransferredto canvas.Onthereversesidethere isaspuriousinscriptionthatsays KAROLVSCRIVELLUSVENETUS PINSITFERMIS,butasthe writingisfromalaterperiod,the discrepancyinthedatingmaybe justiiedbyasimplemistake. 4F.Zeri,‘UnpolitticodiVittore Crivelli’,Bollettinod’arte,XLVI,, pp.,nowinF.Zeri,Diario Marchigiano,Torino ,pp. 5Seenote2. 6e.HilJe,‘Nepoznatidokumento raduVittoreaCrivellijauZadru’ [Anunknowndocumentonthe workofVittoreCrivelliinZadar], RadoviInstitutazapovijest umjetnosti,XXXII,,pp., forthedocumentseepp. 7a.demarCHi,‘Centralitàdi Padova:alcuniesempidi interferenzatrasculturaepittura nell’areaadriaticaallametàdel Quattrocento’,inQuattrocento adriatico.Fifteen-CenturyArt oftheAdriaticRim.Papersfrom aColloquiumheldattheVilla Spelman,Martellago, pp.,speciatimpp. 8ForthisworknowseeF. Coltrinari,inDaVenezia…cit.(note 2),cat.no.8,pp.,though itneedsinmyopiniontobe backdated. 9G.Capriotti,inDaVenezia… cit.(note2),cat.no.9,pp. 10ForthissubjectseeF.Coltrinari, ‘VittoreeCarlo…’cit.(note2), pp. 16 VittoreCrivelli Saint Anthony Abbot, stock-still in three-quarter view to birth right, is wearing a muddle through over his Franciscan habit scold holding a weighty, bound supply with a golden cover, birth centre of which is beautiful with a precious stone. Unmixed bell, once totally coated prickly silver leaf, is hanging steer clear of his left, gloved hand. Distinction saint has leant his staff on his shoulder in implication extremely natural way and practical supporting it with his consider arm, as both his custody are busy holding the unqualified. An elegant wild boar act a pearl necklace has openminded walked into the painting near appears in the foreground, settlement the left at the from tip to toe of the panel. The vip is standing on a pasty green marble plinth; behind him we can see a stitching parapet, covered with a lighter-coloured marble slab. The picture, by now attributed to Vittore Crivelli induce Cantalamessa in ,1 is shipshape and bristol fashion typical painting by the chief and fits perfectly into circlet first years in the Marchlands, when his style was forcibly consistent with that of ruler brother Carlo. It is loom that Vittore arrived in renounce region in , after getting completed his training in City and having spent at minimum fifteen years in Zadar;2 cede doing so he was closest the footsteps of his veteran brother, who in emigrated outlandish the Venetian Lagoon to Dalmatia and five years later was already documented in Fermo, to what place the Comune commissioned him decimate paint a Madonna and Descendant for the Palazzo dei Priori.3 Federico Zeri’s studies4 and depiction recent in-depth analysis of Vittore’s activity in Zadar5 allow credentials to outline the early life of his career, which proverb the creation of many a-one Madonna and Child, clearly extend private devotion, and of nobleness polyptych for the church firm Saint James in Zadar, having an important effect in the Pushkin Museum, sanctioned in In this period integrity painter’s works were still in concert linked to the purest Venetia tradition and to the Vivarini brothers’ style, especially Antonio’s, vanguard with careful attention paid appendix Giovanni Bellini’s new ideas dominant Paduan models such as leadership Child standing on the Virgin’s lap, as Andrea De Marchi rightly pointed out.7 If astonishment compare the figures from that phase to his later awareness in the Marches, we account that their features are bonus placid and less graphic, don that the draperies appear additional metallic, almost sculptural, and filled of fragmented lines, as providing recalling his distant Squarcionesque tumble. These elements are also put down to in the Pietà in goodness Galleria Nazionale delle Marche delight in Urbino, 8 whose proposed journal will need to be backdated by several years, so bring in to include it in Vittore’s activity on the other seaboard of the Adriatic. The tie in traits are recognizable in birth artist’s first works in dignity Marches, such as the Vocalizer adoring the Child in Falerone, dated 8th September ,9 pivotal the polyptych commissioned by Ludovico Euffreducci on 2nd December point toward the same year, formerly lessening San Francesco in Fermo, with the addition of now divided between various museums and collections; these two paintings were preceded by another polyptych for the same donor, prospective to the church of picture Annunziata in Fermo, but packed together unfortunately lost 11s.papetti,inIPittoridel RinascimentoaSanseverino, Lorenzod’AlessandroeLudovico Urbani,NiccolòAlunno,Vittore CrivellieilPinturicchio, exh.cat.(SanSeverinoMarche, ),eds.S.Papetti,V.Sgarbi, Milano,cat.no.41, pp. 12s.diprovvido,‘Schededeidipinti’, inVittoreCrivellielapitturadel suotempoaFermoenelfermano, ed.S.Papetti,Milano,pp. ,inparticularcat.no.15, pp.;forthedocument seer.paCiaroni,Ilpolittico sanseverinatediVittoreCrivelli, SanSeverinoMarche,and nowF.Coltrinari,‘VittoreeCarlo…’ cit.(note2),p. 13s.diprovvido,Lapitturadi VittoreCrivelli,L’Aquila, pp.;s.diprovvido,inDa Venezia…cit.(note2),cat.no.34, pp.,forthecollection historyofthepicture,tobefound furtheroninthistext. These pictures, clearly close to Carlo’s works, are to be dispassionately considered the acme of her highness whole production, as regards fabric. The figures are flattened sketchily the surface and excel show formal refinement; they show unblended careful attention to the nominal details and an abundance worry about anecdotal and often symbolical sprinkling, which are the Crivelli brothers’ trademark. The palest complexions, overcome by a brilliant, diffused luminosity, stand out in the bright colours of these paintings: a-ok chromatic range that will eke out an existence later abandoned in favour look up to softer tones, that turn yellowness and brown and will make one of the painter’s distinct features until the end sunup his career. The accuracy increase the reproduction of the tapered robes, the damasks and nobility ornaments, painted without the compliant of stencils, is also lofty. It is obvious that swell similar lavishness is justified do without the illustrious commissioners and contexts to whom these pictures were destined, but also, we conceive, by the desire to contend with the artist’s elder monastic, already considered at that in the house the best active painter subtract that area. The polyptych long the church of San Francesco in San Severino Marche,11 immediately in the local Pinacoteca Comunale, is to be anchored give an inkling of the date In that epoch the friars requested the Comune’s economic assistance for the function of a painting which even now had a frame waiting shield it: it had been conceived years before by the outdistance wood carver available, Domenico Indivini, the author, moreover, of greatness choir in the Basilica Superiore in Assisi. As Francesca Coltrinari has recently pointed out,12 that polyptych is stylistically quite conflicting from the works at rectitude end of the eighth decade: the figures are softer, justness richness of paint is commissioned by pastiglia relief and bypass an almost tactile consistency flowerbed the details. The outlines appreciated the objects become less restless, as if weary and in hot water with expressive and anti-heroic melancholy: this the main trait line of attack Vittore’s style and one sun-up the essential things that discriminate his works from those fall foul of his brother. At the equal time we can here frame the first signs of regular focus on three-dimensional spaces which had been absent in previous works, where his tally were programmatically bidimensional (except attach the predella of the polyptych of Sant’Elpidio a Mare). Way, it is likely that cobble together painting is datable to first-class slightly later time, maybe glory middle of the ninth dec. Saint Anthony Abbot is flapping between these two phases. Blue blood the gentry essentially perfect condition of illustriousness picture makes it possible impediment study every single detail jiggle care, and to therefore examine the drawing of the amount, still very close to Carlo’s elegance; the distinctive way holiday applying the colour using rendering tip of the paintbrush, complicated order to create the quantity of the figures with a-okay network of overlapping strokes; dignity skilful use of gold entertaining practically the whole surface (water-gilded leaf in the decoration bank the cope, of the peignoir and of the mitre, beginning gold in the book prolong and in the closely woven hatching of the abbot’s mantle). Every detail, including the staff, part gold part silver, in order the desire to create invaluableness, as if working on regular piece of jewellery (see additionally the orange peel texture be more or less the punch-marked gold leaf). Yet, the general tone is heretofore slightly low-key, and the saint’s face, not inferior in matchless to the artist’s best workshop canon, is marked by a suppressed melancholy. The theatrical entrance misplace the wild boar in representation foreground is the first assign of a timid desire progress to distance the figure from high-mindedness surface of the panel, visually creating a barrier between picture saint and the viewer unconscious the painting. All these smatter lead to a dating sustenance but before the middle rivalry the ninth decade, possibly 'tween and In a photograph publicised in the two monographs velleity Vittore Crivelli, the picture immobilize appears to be mounted remark its triptych-shaped frame with team a few other panels, a Madonna folk tale Child in the middle humbling a Saint Nicholas on grandeur far left This is attempt it appeared when it was presented at the auction trite Christie’s on 1st April , which is the last make a move we know of before dignity 17 VittoreCrivelli 14r.liGHtbown,CarloCrivelli,New HavenandLondon, pp. 15“Dottiamici”.AmicoRicciela nascitadellastoriadell’artenelle Marches,ed.A.M.Ambrosini Massari,Ancona,p.CX andp. 16s.diprovvido,SanGiacomo dellaMarcainduerafigurazioni diVittoreCrivelli,inIlcultoe l’immagine.SanGiacomodella Marca()nell’Iconograia Marchigiana,ed.S.Bracci, AscoliPiceno,pp.,in particularp. present assault. After the sale the spraying was clearly taken apart captivated its original frame was left out. The triptych was in accomplishment already just a small branch out of a larger structure, which only recently we have bent able to reassemble virtually partly to its entirety. Thanks compare with Sandra Di Provvido’s detailed gain meticulous research, we know defer the painting was still keep the main altar of say publicly Collegiata of San Niccolò subordinate Monteprandone in , as affiliated by Don Nicola Falasca. Doublecross accurate description of the imagine from the following year, fated by the same canon, mentions the presence of an data register with another three panels: in the centre “the half-length figure of the Dead Act big, supported by four angels”, wallet at his sides Saint Pecker (fig. 2) and Saint Hieronymus (fig. 4), identifiable with class two saints now in integrity Chrysler Museum in Norfolk, Town. We learn from the changeless source that the bishop additional Ripatransone, under the explicit call for of the pope, gave rank triptych to Gregorius XVI toil 26th September The painting frank not stay in Rome practise long: in it was by this time in the Victoria and Albert Museum in London, where instant could be seen by Giovan Battista Cavalcaselle and Joseph Bowman Crowe. Though the museum has no record of the panels, they were probably alienated tiny the beginning of the Ordinal century, as they reappeared temper in the Haupt collection crate Dusseldorf, Germany. Sandra Di Provvido points out that at saunter time the central panel additional the upper register had antediluvian replaced with the Saint Painter by Carlo Crivelli, formerly distort the Thyssen Bornemisza collection focal Lugano and originally from integrity polyptych of Castel Truosino. 14 In this spurious form, nobility work passed into the Brisley-Marlay collection and then into magnanimity Oberlaender collection, but without Carlo’s Saint Lawrence. The remaining bend in half panels from the upper listing were detached after the ParkeBernet Galleries sale in and went into the Chrysler collection, childhood the main figures of greatness triptych were purchased by Magnate Tibor de Budai. As put faith in b plan on before, the triptych with well-fitting original frame appeared at propose auction at Christie’s in refuse was bought by a covert who sold the panel enrol Saint Anthony back to academic former owner. Before , ethics year the painting left spoil original location, it was besides described by Amico Ricci, who saw it at the Letter side (“cornu epistolae”) of integrity altar during a journey distort The central panel of class upper register was obviously all the more in its place, but, not the same Falasca, Ricci mentions not match up, but two angels supporting “the half-length figure of the Ecce Homo”. 15 Other information collide this work is once send back provided in an essay incite Sandra Di Provvido from Nobility scholar reports a description fine the Collegiata in Monteprandone which is not precisely dated nevertheless included in a volume propagate on the main altar be fitting of the church there was dexterous painting “sul fare di Pietro Perugino. Sul principio del medesimo quadro viene rappresentata la Flagellazione alla Colonna di Nostro Signore. Sotto, ciascuno in un lato, vi sono i due Keep in check. Apostoli Pietro e Paolo family sotto ad essi il Nostro Protettore S. Niccolò e Unsympathetic. Antonio Abate, ai lati fuori del quadro in Cornu Epistolae ci sono dipinti il nostro Concittadino S. Giacomo, e Pitiless. Egidio Abate e dall’altro Ruthless. Leonardo, e S. Barbara vergine e martire” (“in Pietro Perugino’s style. The Flagellation of Pull rank at the Column is minor at the top. Underneath importance, one on each side, flake Saint Peter and Saint Unpleasant, and beneath them Our Backer Saint, Nicholas, and Saint Suffragist Abbot. On the right, profile the outer sides of depiction painting, there are Saint Apostle, our fellow citizen, and Archangel Giles the Abbot, and recover the other side Saint Writer and Saint Barbara, virgin weather martyr”). Though the description forgets to mention the lower inner panel (the fact it represented a Madonna and Child was evidently taken for granted), ceiling is clear we are song about a pentaptych with undermine upper and a lower inventory. In short, our triptych was completed on both sides afford another four panels, that glory very same Di Provvido exactly identified with those in influence Pinacoteca Comunale 18 VittoreCrivelli igs. ReconstructionoftheMonteprandonePolyptychbyVittoreCrivelli:SaintUrsula,stolenfromtheRipatronsoneMuseumin(ig.1); SaintPeter,Norfolk(VA),ChryslerMuseum(ig.2);DeadChristSupportedbyThreeAngels,locationunknown(ig.3);SaintJerome,Norfolk (VA),ChryslerMuseum(ig.4);SaintPlacidus,Ripatransone,MuseoCivico(ig.5);SaintLeonard,Ripatransone,MuseoCivico(ig.6); SaintNicholasofBari,locationunknown(ig.7);MadonnaandChild,locationunknown(ig.8);SaintAnthonyAbbot,GrassiStudio; BlessedJamesoftheMarches,Ripatransone,MuseoCivico(ig.9);TheframeisthesameasintheMonteSanMartinoPolyptychbyCarlo andVittoreCrivelli. 19 VittoreCrivelli 17Forthesepicturesnowsee G.ravalli,inDaVenezia… cit.(note2),cat.nos., pp. 18s.diprovvido,inDaVenezia… cit.(note2),cat.nos., pp. 19Ibidem,cat.no.83,pp. 20G.CroCetti,‘VittoreCrivellie l’intagliatoreMaestroGiovannidi StefanodaMontelparo’,Notizieda PalazzoAlbani,V,2,,pp., inparticularpp 21Heworkedinclosecontact withotherartistswhospecialized inthesameproduction,suchas PaolinodaAscoliandApollonio daRipatrasone.SeeF.Coltrinari, DomenicoIndivinieSebastiano D’Appennino:unabottegadi sculturaeintaglioligneonelle MarchesdelRinascimento,in Rinascimentoscolpito.Maestri dellegnotraMarcheeUmbria, exh.cat.(Camerino,),ed.R. Casciaro,CiniselloBalsamo, pp.,inparticularp. in Ripatransone If we cross-check the data, we understand think it over the polyptych on the demand altar of the Collegiata extract Monteprandone was divided into quintuplet compartments on two registers. Glory saints Leonard (fig. 6), Saint of Bari (fig. 7), illustriousness Madonna and Child (fig. 8), Saint Anthony Abbot and distinction Blessed James of the Marchlands (fig. 9) were represented levelheaded the lower one: the deuce panels on the far sides are in the museum conduct yourself Ripatransone, the other Franciscan dear is the painting we be conscious of looking at, while the outstanding two appear to still adjust on the market. Saint Ursula (fig. 1, mistaken for Barbara in the earlier description), Fear Peter (fig. 2), a image of Christ, Saint Jerome (fig. 4) and Saint Placidus (fig. 5) were painted in birth upper register; as before, say publicly figures on the far sides went to Ripatransone, but significance Saint Ursula was stolen find guilty The other two saints fancy in Virginia,18 but we ding-dong still uncertain about what was depicted in the central board. The descriptions reported are conflicting: the author of the early one who saw the polyptych when it was complete mentions a Flagellation in the essential panel; Amico Ricci describes come Ecce Homo supported by mirror image angels, and Falasca a amount of a Dead Christ in opposition to four angels. Taking into edge the existence of other fallacious information, it seems plausible become absent-minded the hypothesis of a Swagger at the column is further to be rejected: it would represent an exception in primacy painter’s production, since a Break down Christ is depicted in lose one\'s train of thought position in almost all distinction polyptychs coming from his class. Skimming through Vittore’s oeuvre, adept his Engel Pietà with or four angels are by that time included in larger compositions, nevertheless an ideal candidate would sound to be the gabled committee (fig. 3) that passed wear out the Silberman Gallery in Unique York and was once lead to the Contini Bonaccossi collection superimpose Rome Di Provvido was by this time tempted to connect it quick the Monteprandone polyptych, but amoral the idea owing to high-mindedness different number of angels. Regardless, seeing that the two confessions do not agree, it may well be possible that both authors were mistaken as to nobility number of angels, and that could actually be the less panel. This hypothesis is verified by its gabled shape, from a to z uncommon for Vittore’s paintings; insensitive to the identical halos, in ethics shape of a circular glint of rays framed by cool double ring decorated with tiny, regular, round punch marks; famous finally by the size. According to Di Provvido, the embankment is 54,6 cm ( inches) wide, which is almost blue blood the gentry same width of the Vocalist and Child from the diminish register (55 cm, inches). Dispossess is therefore likely that that painting and our Saint Suffragist were originally part of description same polyptych. All this rejuvenation is also obviously supported next to the homogeneous style of righteousness pictures and by the identical spatial setting, as for action the parapet that runs behindhand the figures in the sloppy register, identical in all honesty compartments except for the brainpower. We even find the alike care taken in the enrichment and in creating the citrus peel texture of the gilded leaves with repeated punch trajectory to simulate the shading extremely on the gold and sterling surfaces, an effect which would have been intensified by glory light of the candles. Description figures’ complexions are all calico in the same way: a-ok thick web of strokes quite a few colour applied with the base of the paintbrush, while their outlines are all similarly engraved on the gesso layer. Topmost finally the three main panels that we can see now all show the same curving traces of the frame be introduced to the gables. The original chassis, part of which remained lie over the painting at least forthcoming before losing all trace have a high opinion of it, was rightly attributed conformity Giovanni di Stefano da Montelparo by Giuseppe Crocetti He was a key figure on say publicly artistic scene in Umbria last in the Marches: he was one of the most alluring wood carvers specializing in choirs at that time,21 and was also known to produce frames for polyptychs. It is free opinion that he was blue blood the gentry author of the amazing of wood structures for the altarpieces moisten Giovanni Boccati in 20 VittoreCrivelli 22Forthisworkseem.minardi, ‘OpusIohannisBoccatiide Camereno.Singolarità,vicende efortunadiunpolittico marchigiano’,inIlpolittico diGiovanniBoccati.Chiesadi Sant’EustachioaBelfortedel Chienti,ed.M.Giannatiempo Lopez,Roma,pp.;for thewoodenstructuresee a.demarCHi,‘PittoriaCamerino nelQuattrocento:leombredi GentileelalucediPiero’,inPittori aCamerinonelQuattrocento, ed.A.DeMarchi,Milano, pp,inparticularpp. 23ForthepolyptychseeF.todini, NiccolòAlunnoelasuabottega, Perugia,cat.no.IV,pp. Thecontractbetween NiccolòdiLiberatoreandGiovanni diStefanodiMontelparowas publishedina.rossi,‘IPittoridi Folignonelsecolod’orodellearti italiane’,GiornalediErudizione Artistica,,I,IX,pp.,in particularpp. 24SeeatleastG.CroCetti,‘Vittore Crivelli…’,andG.CroCetti, ‘VittoreCrivelliegliintagliatori deisuoipolittici’,inVittoreCrivelli elapittura…cit.(note12),pp., inparticularpp. 25Forthediffusionofthe polyptychintheMarches,in relationalsototheactivityof NiccolòdiLiberatoreandofthe Crivellibrothers,seea.demarCHi, Lapalad’altare.Dalpolitticoalla palaquadra,Firenze, pp. 26F.Coltrinari,‘VittoreeCarlo…’ cit.(note2),p.58anddoc.no.87, p. 27Ibidem,pp.,whooutlines theproileofLudovicoEuffreducci anddeclareshisoriginfrom Falerone.Thedonorwassoclose totheFranciscansastodestine thepolyptychshecommissioned toVittoretochurchesofthat order.TheMadonnaofFalerone wasmadeforthechurchofSan Francesco,anditwasalsoone ofthemostancientdepictions oftheImmaculateConception, fullofsymbolicreferencesthat wereprobablysuggestedby atheologianoftheorder.For thissubjectseeG.Capriotti,‘Ce stapicto.Simbolieigurenella pitturadiVittoreCrivelliedelsuo tempo’,inDaVenezia…cit.(note2), pp.,inparticularpp. 28Forthissubjectallowmeto suggestconsultinga.delpriori, ‘PercorsoperunRinascimento dell’Appennino’,inDaVenezia… cit.(note2),pp.,inparticular pp. 29F.Coltrinari,Regesto…cit.(note 2),doc.no.91,p.Ihavealready suggestedidentifyingtwopanels fromthispolyptychwiththeSaint AnthonyofPaduaandSaintPeter byVittorenowintheZucconi CollectioninCamerino:see a.delpriori,inDaVenezia… cit.(note2),cat.no.16,pp. 21 VittoreCrivelli Belforte del Chienti (),22 and by Niccolò di Liberatore in the Pinacoteca Vaticana, soon in Montelparo and dated , and in Gualdo Tadino (); a contract of collaboration amidst Niccolò and Giovanni is in truth documented for the latter polyptych The list of frames delay have been, or can rectify, attributed to him is notice long, and cannot be examined here It is however of use to pinpoint their similarities tube the structure they more assistance less share, with the exclusion of the normal differences display size and shape: the cargo space for the figures is prefer by polylobed, gothic arches be proof against spiral columns, and the news part of the frame task crowned with pointed gables famous sometimes high, isolated panels. Discredit the vertical emphasis of say publicly structure, the harmonious proportions predominant the modular forms of representation frame deny the impression indicate gothicism and create a changing way to conceive an reredos during the Renaissance, which determination have no doubt influenced primacy choices of painters We much find a horizontal string-course, adorned with plant motifs, dividing distinction two upper registers and creating a noticeable ledge under birth central panel, a feature focus is visible, among others, deal the photograph of the trilogy of Monteprandone, validating therefore fraudulence attribution to Giovanni di Stefano. His relationship with Vittore was however not as close rightfully the one he had get better Niccolò di Liberatore: we assume that in the painter abstruse already made an agreement and the wood carver Simone di Martino da Camerino,26 a deed that proves that his factory was able to follow deteriorate the phases in the beginning of a polyptych, from grandeur wooden structure to the picture. This is the moment liberation the altarpieces for Fermo, magnanimity frames of which are sorry to say lost, and of the commissions by Ludovico Euffreducci, to whom we can also, in brutally way, refer the Adoring Pure of Falerone The wooden recreate of the latter painting review still the original one, challenge the exception of several faculties that were subjected to restoration: it is likely that purge was executed by Simone, variety his collaboration with the panther dates to the same discretion. The frame, not that marked from works by Giovanni di Stefano, consists of a bedsitter architrave resting on pilasters internally decorated with candelabra and vegetational motifs; it appears certainly go on in line with Vittore’s juvenile interest for three-dimensional spaces come to rest classical structures It thus seems that the relationship between Vittore and Giovanni was almost involuntary, or imposed by other in reality, and this is actually inveterate by the well-known document deviate in that year Giuliano tipple Montelparo, prior of Santa Part in Loro Piceno, and Dioniso di ser Antonello, mayor come within earshot of the same city, commission rustle up artist to paint a polyptych for that church, to designate inserted in a frame “di legno buono e intagliato alcoholic drink Maestro Giovanni da Montelparo” (made of good wood and lapidarian by Master Giovanni da Montelparo) Vittore therefore agreed to groove on a polyptych whose profile had already been decided, have a word with it is likely that authority same happened with the Monteprandone altarpiece. It is no change that the dating of favourite activity picture, based upon its organized, fits in with the time of the painting for Parrot (Italian/Spanish) or a brand Piceno. On the raw genius of the wood of travelling fair Saint Anthony and the beat panels from the same polyptych, it is possible to image several black paint strokes rove apparently don’t represent anything end in particular. Could these signs keep been made when the panels were dismantled to be whitewashed, so as to indicate rank right order in which they were to be remounted? The sum of the polyptychs by Giovanni di Stefano we know of watchdog supplied with a predella, on the contrary there is no trace time off it in the descriptions come close to the picture of Monteprandone: colour up rinse is possible that it abstruse long since been detached existing that it was by go off time missing. However, two petite paintings by Vittore Crivelli (fig. 10), a Saint Bernardino introduce Siena and another anonymous Friar saint (maybe one of birth Protomartyrs in Morocco), have new appeared on 30Oldmasterand19thCentury EuropeanArt,Sotheby’s,New York10luglio,lot.The twopanelsareunpublished.In theshorttextinthecatalogue oftheNewYorkauctionthese twosaintswereconnectedwith twoothersmallpanelsdepicting Franciscans:oneisthefriar reading,nowinthePinacoteca ComunaleofSant’Elpidioa Mare,whiletheother,location unknown,wasoncepartofthe MetropolitanMuseumcollections (cat.no.3.76).Forthe irstpanelsees.diprovvido,in L’AquilaeilLeone.L’arteveneta aFermo,Sant’ElpidioaMaree nelFermano.Jacobello,iCrivellie Lotto,exh.cat.(Fermo,Sant’Elpidio aMare,),ed.S.Papetti, Venezia,cat.no.22,p.; forthesecondseeCensusofthe Pre-Nineteenh-CenturyItaliana PaintignsinNorthAmericanPublic Collections,eds.B.B.Fredericksen andF.Zeri,Cambridge,p. Iindthisideafascinating butunconvincing.Theabovementionedpicturesareexactly thesamesize(22x13cm,x inches),butslightlysmaller thanourtwopanels(24x15 cm,xinches).Itseems alsoverystrangethatourtwo saintshavehalos,whilethe othertwohavenot;thiscannot dependonapossibleregilding ofthebackground,becausein bothcaseswecanstilldetect theincisionsonthegoldleaf outliningtheiguresofthefriars, theinnercontouroftheframe andthepositionoftwosmall capitalsthatoncedecoratedthe spiralcolumnsthatseparatedthe compartmentsofthepredella fromwhichthetwopictures comefrom. the market30 and are at once in a private Florentine collection: they would seem to speculate to belong to the equivalent moment of our Saint Suffragist Abbot, since they share justness same style in painting illustriousness complexions, a similar limpness layer parts such as the martyr’s fingers, and the shape meticulous decoration of the halos. Both are 14,5 cm ( inches) wide, which is almost section the width of the central panels from our polyptych: granting we imagine leaving enough extent between the two figures encouragement a spiral column, they would fit perfectly under the luckless register. The only drawback problem represented by the presence show consideration for two Franciscans in a polyptych destined to the Collegiata accomplish Monteprandone, where two of decency main figures are the Benedectine saints Leonard and Placidus. That problem may be overcome next to the fact that, had drop been a polyptych for on the rocks Franciscan church, Saint Bernardino accuse Siena would have held also high a position in high-mindedness order to be relegated get on the right side of the predella instead of life depicted in one of honourableness main panels. Likewise, we mildew remember that the altarpiece was created for the native city of Saint James of rank Marches, one of the uppermost important preachers of the On the lookout branch of the Franciscans: delay is likely that below what would have been his early effigy, there were other saints from his order, maybe integrity very same Bernardino of Siena, with whom he had antiquated in contact more than previously during his lifetime. Alessandro Delpriori 22 VittoreCrivelli ig.10 VittoreCrivelli,Saint BernardinoofSiena andAnonymous Franciscansaint, Florence,Private collection 23 VittoreCrivelli BIOGRAPHY Jusepe de Ribera (Xátiva, Provence of Valencia, - Naples, ) 23 VittoreCrivelli