The essay aims to highlight the main stylistic junctures that characterise Lorenzo Lotto’s "gurative career, starting from his early days in Treviso, marked by an attraction towards the north that in/uences the early culture of Bellini.

The attribution of a big religious painting to the so-called Monogrammista HIR-TV – i.e. ‘the third Girolamo’ da Treviso, often confused with the young Giovanni Girolamo Savoldo from Brescia or with the young Girolamo ‘di Tommaso’ da Treviso, active in Bologna from the third decade of the 16th century – offers the opportunity to reflect on the activity of this painter, characterized by peculiar marks and high-quality painting. The Lamentation kept in Bergamo is related on the one hand to the well-known venetian woodcut depicting Susanna and the Elders. On the other hand it is related to the catalogue of this mysterious artist, who can be considered, with good reasons, an eccentric painter, meaning that artists who tried to overcome the prevailing classicism, during the second decade of the 16th century in Valpadana

The recent restauration of the Stigmatization of St Francis by the painter Filippo da Verona in the Collezioni Comunali d’Arte in Bologna revealed, under the repaintings, the image of a nun of St. Clare. wanks to this discovery, it can now be assumed that the painting came from one of the most important monasteries in Bologna: the Abbey of SS. Naborre and Felice, one of the oldest churches of the city, which was given by Giulio II to the nuns of St. Clare on October 24, 1512 and they settled on January 16, 1513. The confirmation of this provenance could come from the fact that Marcello Oretti in 1767 lists, among the works of art preserved in the sacristy, «Il S. Francesco di maniera antica».

In the feld of prints, it is not unusual to have versions made with di#erent techniques of one inventio. On the other hand, the preparatory drawing for the engravings – and in general the graphic exercises relating to the engraved works – have almost never survived their use in the artists’ workshop. e protagonist work of this essay, a Flight into Egypt that we possess in the form of drawing, burin and chiaroscuro, escaped that fate. The Flight into Egypt will be studied by putting again at the centre of its history the words that Giorgio Vasari dedicated to it: he attributed the inventio to Giulio Romano and the engraving to his collaborator Giovan Battista Scultori. The investigation will then move to a little studied area of reproductive prints by Giulio, that of xilography, considering some chiaroscuro derived from his drawings and related for technical and stylistic reasons to the Flight into Egypt

Faced with the stasis of the artistic situation that dominated the Cremasco landscape in the mid-sixteenth century, the appearance of a work full of ideas, complex and modern like Saint Francis receiving the Stigmata with Saint Jerome must have seemed a real revelation. Starting from the analysis of this work, painted between 1546 and 1547 for the church of San Bernardino in Crema and now in the local Civic Museum, this article aims at focusing for the first time on the artistic physiognomy of its author, Stefano Alberio, an otherwise unknown painter, in which the powerful echo of the Milanese ‘grand manner’ full of Venetian sparks appears as altered in light of totally different experiences that point towards the Roman environment of the early sixteenth century

The chapel dedicated to Saint Gregory in San Benedetto in Subiaco, between March and July 1228, is enriched with a painted iconographic program in which particular relevance, in addition to the "rst preserved image of Francis of Assisi, is assigned to the representation of Gregory IX represented not as a ponti| but as a cardinal. In the fresco the cardinal is portrayed in the act of consecrating the altar of the chapel. Behind him is the monk Lando, cruciferous chaplain; between the cardinal and the monk there is the image of Francis of Assisi whose head seems to be the continuation of the cardinal&s body; the face of the latter is instead inclined for the rite of blessing: a body, two heads (Francesco and the cardinal) between which the processional cross of Lando is gra"ed. Who is the client of the chapel of San Gregorio al Sacro Speco? What is the signi"cance of the depiction of Pope Gregory IX, combined with that of Francis of Assisi in the consecration image of the chapel?

In this essay the author proposes a new attribution for the anonymous painter known as Maestro Ornatista of Anagni (or Secondo Maestro), a Thirteen Century roman artist. This work – the only panel painting made by the artist – shows a Madonna with Child and is owned by the Museo Nazionale della Marsica at Celano (AQ). This attribution allows to suppose an employment of the Ornatista in Abruzzo.

Vincenzo Baiata was one of the most brilliant of Paladini’s followers, unfortunately in obscurity for a long time. The painter is documented as living and working in Trapani, Sicily, during the early 17th century, but until now he is mostly known for the Madonna with Child, signed and dated 1611, in the Wignacourt Museum, Rabat (Malta). The author ascribes to Baiata the Virgin of Itria in the Franciscan Minors’ Friary, Valletta, because of the stylistic analogies between the figures in the upper register and those in the signed work in Rabat. In the lower part of the Virgin of Itria, Baiata unveils a new aspect of his art with the composition in the style of Caravaggio, however adapted to the dictates of the Counter-Reformation. The overlapping of two different stylistic registers reveals in fact the pictorial trend of the time in Malta and Sicily, contended between Mannerism and Naturalism.

Despite most of many frescoes in Palazzo Barberini (Rome) have been catalogues as ancient, only one of them seems to be actually born in the Roman Imperial Age. The strange misunderstanding begun as early as in XVII century art literature. In that period those paintings formed probably the most important specialized collection. This research clears the real character of many elements of that group, in order to their attribution, material and conservation state.

This article deals for the first time with a satirical print by Vieira Lusitano that derides in many ways his colleague the Spanish sculptor Felipe de Castro. The Portuguese seeks for the approval of his fellow artists at the Accademia di San Luca by using a vocative inscription. The print is a clear example of ‘gusto romano’ and presents colourful Latin inscriptions and also contemporary Italian satirical quotations. This study aims to shed some light not only on Vieira’s cultural models, but also on his until now unknown relationship with the mundane life of Rome.

This article analyses the variety of ways in which portraits of Pope Pius IX operated in Chile during the nine-teenth century, where the emphasis ranged from his status as a religious authority to his being the ruler of the Papal States, and the attention paid to the aesthetic nature of his portraits in the public realm. By reviewing the different instances in which these portraits were displayed, this article examines how these paintings shaped the public image of the Pope. Furthermore, it will be argued that the settings in which these portraits were exhibited revealed the ways in which the symbolic meaning of the portraits was transformed in the different contexts in which they circulated.