The Fate of the Manetti Chapel and the Reception of Trecento Art in Britain, 1770s to 1890s Sam Smiles Following the fire in Florence’s church of Santa Maria del Carmine (28 January 1771), the English painter Thomas Patch saved from the ruins of the Manetti chapel some fragments of a fresco which he attributed to…

Discovering the Trecento: American Mavericks in the market. Who, where, why and why not? Anita F. Moskowitz A quick survey of American collections reveals how few fourteenth-century works migrated across the Atlantic, even after the rediscovery of the “primitives”. While sales to Bode in Berlin, Courajod in Paris, and Robinson and Eastlake in England were…

Working on «Depth of Thought» and «Serious Gravity»: Johann David Passavant and Early Italian Painting Corina Meyer Passavant began his Italian studies visiting private collections and churches in Italy in 1817, often together with his friends, the Nazarenes. Their work was characterized by intense examination and involvement with one another. The first result of this…

Evariste Fouret (1807-1863): A French Collector, Amateur and Connoisseur of Trecento Painting Corentin Dury The collection of Evariste Fouret (1807-63) consisted of more than four hundred paintings, of which until recently all that was known was an auction catalogue and twenty-three paintings bought by the city of Le Mans (his hometown) after his death. This…

Bernard August von Lindenau’s Collection of Early Italian Panel Paintings Julia M. Nauhaus This article discusses the Lindenau Museum and its collections, with a particular focus on the early Italian panel paintings. After first considering the life and work of Bernhard August von Lindenau, there follows an outline of the history of the collection and…

Trecento «Characteristic», Trecento «Grotesque»: Frederic Burton, Charles Fairfax Murray and Early Sienese Painting in the National Gallery Paul Tucker This paper examines the efforts made under Frederic Burton (1816-1900), its director from 1874 to 1894, to see trecento painting properly represented in the collection of the National Gallery in London. With particular regard to the…

La Stanza del Trecento nel Museo Stibbert di Firenze Martina Becattini Between the late 1860s and the early 1870s, the Anglo-Florentine collector Frederick Stibbert (1838 – 1906) conceived the idea of creating a real museum in his house. It was to illustrate the history of countries distant in time and space through the European, Islamic…

Le Campora, 1908: Discovering a Trecento Fresco Cycle Laura Fenelli This articles focuses on several aspects of the trecento fresco cycle in the church of S. Maria al Sepolcro, Le Campora: the 1815 secularization (and its transformation into a private villa, which profoundly altered the original aspect); the three different photographic campaigns, by Mannelli, Reali…