Mino da Fiesole and his style

I want consider in this essay that one sculpture, certainly less known from public, and today in Saint John of Florentines, Florentine church in Rome; I want consider a sculpture was attributed to young Michael Angel by Roberto Longhi; but this attribution is failed and it is evident, because it was sufficient consider that the style of this master is very near to Mino da Fiesole(Figs.1-5), same marked cut of the eyes(Figs.1,3), same slenderness that we must consider for  this Saint John(Figs.6-7), and more skin, this is smoothness of skin; it is very motive to recognize Mino’s manner; portrait of Rinaldo della Luna(Fig.4) is correspondent to this manner of skin, and the firmness of the hair, that is recurring reason to works of Mino’s; in fact to this sculpture it is present(Fig.1) and this motive is repeated always for sculptures of Mino’s. This sculpture is mentioned this first time at 1493in the church of San Orsola, very near to actual church of Saint John of Florentines.

Alessandro Lusana 

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Other source of Pietro Colaeberti

Around Pietro Colaeberti(Figs.1-2), painter at XV century, we don’t know neither birth date and death date, he has worked in Priverno, Sermoneta and other towns in south Latium(Italy), but it is difficult until now identify source and master; I think that he has studied Giotto in Assisi, and he has studied Pietro da Rimini(Figs.1-4); some characteristic of cloth and architectures are very specular; for this is sufficient a confront between architecture and figures of Pietro da Rimini(Fig.1) and that of Colaeberti(Fig.1), and above all the softness of cloth and folds for consider that a suggest is direct: the cloth seem a direct suggestions. In fact cloth of Christ(Fig.4), are motive very remarkable for Colaeberti, its sufficient folds of cloth of Vergin of Sermoneta(Fig.6) and Majesty of Christ(Fig.5), and all is become clear; this is Colaeberti has seen and studied pictures of Pietro da Rimini; but has left style of Giotto, that Pietro da Rimini  has adopted. Second source for style of Colaeberti is other Pietro, this is Pietro Cavallini (Rome 1240 – 1330), has painted in Rome masterpieces among Universal Giudice(Figs.7-8), that Colaeberti certainly studied, and we can say it because the cloth of aposteles(Fig.8) are specular to cloth of Colaeberti(Fig.6); and the face of Christ on the lunette of Cathedral of Saint Mary of Sermoneta(Fig.9) is very similar to face of Christ of Universal Giudice(Fig.7). Then Colaeberti has studied both picture of Rimini at Middle Age and Roman picture at same period, and from these models has took his models.

Alessandro Lusana 

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