Please use this identifier to cite or link to this item: http://hdl.handle.net/10077/16269
Title: Paolo Veneziano e bottega: il polittico di Santa Lucia e gli antependia per l’isola di Veglia
Authors: Cozzi, Enrica
Keywords: Paolo VenezianoPolittico di Santa LuciaIsola di Veglia
Issue Date: 2017
Publisher: EUT Edizioni Università di Trieste
Source: Enrica Cozzi, "Paolo Veneziano e bottega: il polittico di Santa Lucia e gli 'antependia' per l’isola di Veglia", in in "AFAT 35", Trieste, EUT Edizioni Università di Trieste, 2017, pp. 235-293
Journal: AFAT. Rivista di Storia dell’arte fondata nel 1975 
Part of: AFAT 35. Rivista di Storia dell’arte fondata nel 1975
Abstract: 
Paolo Veneziano and his workshop created three masterpieces for the island of Veglia:
a) The Polyptych of Saint Lucy, today in Krk Bishop’s palace; b) Two Antependia. One of them is still
preserved in its original site (Dobrinj). The other one travelled abroad long time ago, and today is displayed at
the Victoria and Albert Museum, in London.
There is no doubt that Paolo Veneziano’s workshop was commissioned to produce these three paintings,
presumably during the fourth decade of XIV century, as proved by its iconographic and stylistic features.
The Polyptych of Saint Lucy was made for the Benedictine Abbey of Iurandvor, near Baška. Its central panel
shows Saint Lucy herself. Its side panels show eight episodes of her life. Top panels display the Crucifixion,
the Annunciation and four Saints, including St Kvirin and St Gaudientius, of particular local significance.
The Polyptych inspired a rich bibliography focused on its iconographic choices, stylistic patterns, technique of
execution (in particular its stampings) and chronology.
Both Antependia are made by red silk superbly intertwined with gold and argent. Typologically these two
works are connected to the tradition of the Venetian polyptychs of the Trecento. They are made by venetian
embroiderers, perhaps following preparatory drawnings by Marco Veneziano, Paolo’s brother. Our study
focuses, therefore, on Paolo’s bottega, and its ‘familiar’ structure, based on Paolo’s father (Martino), his
brother (Marco), and three sons (Luca, Giovanni, and Marco). Veneziano’s workshop monopolizes venetian
painting during the whole first half of the Trecento. Its master oversees the ideation, design and execution of
all works produced in his bottega.
Finally, thanks to the documents still preserved at “Archivio Storico” of the “Soprintendenza di Trieste”, we
trace the movements of the Polyptych during the first half of last century. It was in Wien (for restoration
purposes) in 1913, in Venice (exhibition) in 1919, then at the “Museo Civico” of Trieste up to 1936, when it
entered into the collections of Capodistria Museum. Then it was moved to Friuli (1940-1944) during the world
war II as a precautionary measure, and it was finally returned to the Bishop of Krk by the High Command of
German Occupation Army at the end of the war.
Type: Article
URI: http://hdl.handle.net/10077/16269
ISSN: 1827-269X
eISSN: 2499-6750
DOI: 10.13137/2499-6750/16269
Appears in Collections:AFAT 35

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