MARTINO DA VERONA

The frescoes of the Annunciation and the Coronation of the Virgin represent Martino’s most appreciated work due to their compositional balance and the sobriety of the means of expression. They are located in the left arm of the transept, next to the presbytery in Santo Stefano.

In Verona, a group of frescoes consists of three frescoes having the Annunciation as their subject, depicted on the triumphal arch of San Zeno, in Santissima Trinità and in the left transept of Santo Stefano.

In Verona, a group of frescoes consists of three frescoes having the Annunciation as their subject, depicted on the triumphal arch of San Zeno, in Santissima Trinità and in the left transept of Santo Stefano.

The pulpit in white and red marble in the Upper Church of San Fermo Maggiore was made by Antonio da Mestre in 1396 on commission by the Modenese jurist Barnaba Morano. The fresco decoration around the pulpit was completed by Martino da Verona in the same year.

Sts Firmus and Rusticus (Italian: San Fermo e San Rustico) (died ca. 290 AD) are venerated as two martyrs of Verona. They were prominent citizens of Bergamo, martyred at Verona in c. 290 AD under the Emperor Maximian after refusing to sacrifice to pagan idols.

The pulpit in white and red marble in the Upper Church of San Fermo Maggiore was made by Antonio da Mestre in 1396 on commission by the Modenese jurist Barnaba Morano. The fresco decoration around the pulpit was completed by Martino da Verona in the same year.

Sts Firmus and Rusticus (Italian: San Fermo e San Rustico) (died ca. 290 AD) are venerated as two martyrs of Verona. They were prominent citizens of Bergamo, martyred at Verona in c. 290 AD under the Emperor Maximian after refusing to sacrifice to pagan idols.

The pulpit in white and red marble in the Upper Church of San Fermo Maggiore was made by Antonio da Mestre in 1396 on commission by the Modenese jurist Barnaba Morano. The fresco decoration around the pulpit was completed by Martino da Verona in the same year.

Sts Firmus and Rusticus (Italian: San Fermo e San Rustico) (died ca. 290 AD) are venerated as two martyrs of Verona. They were prominent citizens of Bergamo, martyred at Verona in c. 290 AD under the Emperor Maximian after refusing to sacrifice to pagan idols.

The pulpit in white and red marble in the Upper Church of San Fermo Maggiore was made by Antonio da Mestre in 1396 on commission by the Modenese jurist Barnaba Morano. The fresco decoration around the pulpit was completed by Martino da Verona in the same year.

Sts Firmus and Rusticus (Italian: San Fermo e San Rustico) (died ca. 290 AD) are venerated as two martyrs of Verona. They were prominent citizens of Bergamo, martyred at Verona in c. 290 AD under the Emperor Maximian after refusing to sacrifice to pagan idols.

The pulpit in white and red marble in the Upper Church of San Fermo Maggiore was made by Antonio da Mestre in 1396 on commission by the Modenese jurist Barnaba Morano. The fresco decoration around the pulpit was completed by Martino da Verona in the same year.

Sts Firmus and Rusticus (Italian: San Fermo e San Rustico) (died ca. 290 AD) are venerated as two martyrs of Verona. They were prominent citizens of Bergamo, martyred at Verona in c. 290 AD under the Emperor Maximian after refusing to sacrifice to pagan idols.

The pulpit in white and red marble in the Upper Church of San Fermo Maggiore was made by Antonio da Mestre in 1396 on commission by the Modenese jurist Barnaba Morano. The fresco decoration around the pulpit was completed by Martino da Verona in the same year.

Sts Firmus and Rusticus (Italian: San Fermo e San Rustico) (died ca. 290 AD) are venerated as two martyrs of Verona. They were prominent citizens of Bergamo, martyred at Verona in c. 290 AD under the Emperor Maximian after refusing to sacrifice to pagan idols.

The picture shows the Crucifix in the centre of the decoration.

Martino received prestigious commissions from the Veronese political and cultural elite, such as the influential Cavalli family in whose chapel in Sant’Anastasia the hand of Martino is recognized in much of the decoration. He is credited with the Madonna and Child, donor and musician angels frescoed on the lunette of the wall tomb of Federico Cavalli, elected captain of the city by the rioters who rose up against the Visconti in 1390, bearing an inscription whose date is read “1392” or “1397”.

The Pellegrini-Bevilacqua tomb is on the right wall of the Pellegrini Chapel. Martino da Verona’s fresco in the aedicule depicts the Madonna and Child surrounded by four Musician Angels. Sts Catherine, Dominic, Anthony Abate, George and Zeno introduce three kneeling members of the Bevilacqua family to the Madonna. Under the shrine there is a plaque bearing a Latin cross and the Pellegrini and Bevilacqua coats of arms.

Members of the Bevilacqua family are documented from the early 1200s in Verona, where their rise in fortune was related to their support of the della Scala (or Scaligeri) family (reg 1259–1387).

The Pellegrini-Bevilacqua tomb is on the right wall of the Pellegrini Chapel. Martino da Verona’s fresco in the aedicule depicts the Madonna and Child surrounded by four Musician Angels. Sts Catherine, Dominic, Anthony Abate, George and Zeno introduce three kneeling members of the Bevilacqua family to the Madonna. Under the shrine there is a plaque bearing a Latin cross and the Pellegrini and Bevilacqua coats of arms.

Members of the Bevilacqua family are documented from the early 1200s in Verona, where their rise in fortune was related to their support of the della Scala (or Scaligeri) family (reg 1259-1387).

The room on the right shows the basic elements of a late medieval bedroom: a hooded fireplace and complicated structure for a bed with its own walls, shelf, and bench chests. The sleeping figure on the left appears in a similar structure, itself set in an alcove.

This painting is one of the four existing panels which were part of a polyptych with stories of St Eligius. Another panel is in the Ashmolean Museum, Oxford, two others are at presently unknown locations.

The room on the right shows the basic elements of a late medieval bedroom: a hooded fireplace and complicated structure for a bed with its own walls, shelf, and bench chests. The sleeping figure on the left appears in a similar structure, itself set in an alcove.

This painting is one of the four existing panels which were part of a polyptych with stories of St Eligius. Another panel is in the Ashmolean Museum, Oxford, two others are at presently unknown locations.

This painting is one of the four existing panels which were part of a polyptych with stories of St Eligius. Another panel is in the Museum of Art, Philadelphia, two others are at presently unknown locations.

Martino received prestigious commissions from the Veronese political and cultural elite, such as the influential Cavalli family in whose chapel in Sant’Anastasia the hand of Martino is recognized in much of the decoration. He is credited with the Madonna and Child, donor and musician angels frescoed on the lunette of the wall tomb of Federico Cavalli, elected captain of the city by the rioters who rose up against the Visconti in 1390, bearing an inscription whose date is read “1392” or “1397”.

The fresco on the wall is the work of Altichiero da Zevio.