Page 40 - Jacobello del Fiore - His Oeuvre and a Sumptuous Crucifixion

of the Madonnna Giovanelli was proposed by De
Marchi 1987, p. 32, who noted clear affinities
with the same image in the center of triptych 14,
in the Accademia in Venice. Of the same opinion
are Lucco 1989, pp. 14, no. 352, and Franco
2000, p. 81, under note 24.
55 Lucco 1989, p. 36, under note 12. After having
cast this into doubt in favour of the Master of the
Polyptych of Torre di Palme (De Marchi 1987, pp.
33, note 61, ed. 1995, pp. 255-256), De Marchi
(1997, p. 16, note 19) instead, returns to the
name of Jacobello, a position shared by Franco
2000, p. 60. For the painting in Stockholm, see:
Rave 1999, pp. 98-101, where however, it has
been assigned to Giovanni da Bologna.
56 Berenson 1957, p. 93. A further contribution to
this reconstruction will appear in Minardi,
forthcoming.
57 Concerning the Story of Santa Lucia, formerly in the
eponymous church and now in the Pinacoteca
Civica in Fermo, the most recent contributions are
from Franco 2000, pp. 64-65; I. Chiappini di Sorio, 62 Denver Art Museum, inv. E-128; cm 61 x 46 each
in Fermo 2006, pp. 108-111 no. 10; and T. Franco,
in Fabriano 2006, pp. 168-169, n. III.14.
58 Said relationship, already emphasized by Pettenella
(1961, p. 56) turns out to be much closer than the
proposed comparison with the other Crucifixion,
executed by Altichiero before 1379 in the chapel
of San Giacomo al Santo, as stated by Lucco 1989,
p. 13. That the Matthiesen Crucifixion served as a
model for contemporary Venetian painters is made
clear by the multiple quotations borrowed or
restated in paintings of the same subject by the so-
called Master of the Pesaro Crucifixion now in the
Musée du Petit Palais in Avignon (Laclotte and
Moench 2005, pp. 132-133 n. 143), where, as has
been noted by Minardi (in Urbino 1998, p. 224)
the identical figures of Stefaton and the Maddalena
repeated.
59 On Giovanni da Bologna (documentated in Venice
and Treviso between 1377 and 1389) see Guarnieri
1996, pp. 46-51.
60 C. Guarnieri, in Fabriano 2006, pp. 162-165 n. III.12,
who conveniently emphasizes the relationships
between Zanino and the Master of the Madonna
Giovanelli.
61 De Marchi 1997, p. 21 note 71.
panel, after the intervention of restoration. See
Zeri 1971, pp. 36-42, the second panel of which
anticipates the central Saint Peter enthroned,
surrounded by nine panels depicting the Stories of
Saint Peter and Saint Paul and it was completed with
two images of the same saints rendered bust-
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