Introduction Louise Bourdua This issue of Predella comprises six essays that explore how artists and patrons interacted with the Trecento during the fifteenth century, dealing both with subject matter and style. Some authors have interpreted the insistence on the Trecento as a deliberate choice of models by patrons and painters. In other cases, however, the…

«Gente di ferro e di valore armata». Postille al tema degli Uomini Illustri, e qualche riflessione marginale sulla pittura profana tra Medioevo e Rinascimento Paolo di Simone The cult of the past is a very common topos not only in the humanistic Quattrocento but also in the Middle Ages, and it represents a strong propaganda…

Giovanni da Modena and the Relaunch of the Vita-Panel in the Quattrocento Fabio Massaccesi This paper investigates a little known group of fifteenth-century vita retables from Bologna, taking as its starting point the painting of Saint Bernardino da Siena, executed by Giovanni da Modena in 1451, now in the Pinacoteca Nazionale of Bologna. The painter…

Mary Magdalen and the Imagery of Redemption: Reception and Revival in Fifteenth-Century Tyrol Joanne W. Anderson In 1384 a host miracle occurred in the Alpine church of Sankt Oswald in Seefeld. The perpetrator was publically humiliated and forced to repent for his sins, but the legend of his affront was to have lasting legacy in…

The use of Trecento sources in Antoniazzo Romano and Lorenzo da Viterbo Gerardo de Simone Lorenzo da Viterbo and Antoniazzo Romano were the two greatest local painters of the fifteenth century in the region of Rome. Despite their stature, their fame and scholarly fortune has been much inferior to their merits, compared to other contemporary…

Trecento Receptions in Early Renaissance Paduan Art. The Ovetari Chapel and its Models. Revival or Persistence? Zuleika Murat This essay is devoted to a peculiar case of Trecento Receptions in Early Renaissance art: the Ovetari Chapel in the Church of the Eremitani in Padua. Its painted decoration was commissioned in 1448 to four artists (Antonio…

Sano di Pietro e una replica dell’Assunta di Camollia di Simone Martini Gabriele Fattorini A devotional panel of the Assumption painted by Sano di Pietro (Siena, 1405-1481) in the 1470s, and which almost a century ago was in the prestigious collection of Charles Loeser (Florence), has recently reappeared on the art market. The settlement of…