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拍品專文
The Master of Roncaiette, active in Verona and Padua in the late 14th and early 15th centuries, was first identified by Roberto Longhi in 1947. His anonymous name derives from a group of paintings linked with the large polyptych at the church of San Fidenzio at Roncaiette, outside of Padua. His style follows that of Altichiero, a gothic follower of Giotto.
The present panel was first attributed to the School of Giotto, and was thought to depict Saint Francis, when it was up for sale in Berlin in 1912. It was later published by Serena Padovani in 1974, who attributed it to Giovanni di Francia, in a moment of close affinity with the Master of Roncaiette (loc. cit.). It was not until 1989 that Mauro Lucco identified the panel as the work of the anonymous master, a suggestion which Padovani later accepted (see D. Benati, loc. cit.). Daniele Benati proposes that the panel may have originally formed part of a dossal, which would have included a larger central image of Saint Peter Martyr and additional side panels depicting other episodes from his life. He believes it was likely completed in the Veneto circa 1410-1420. When the painting was at auction in 2021, Mauro Lucco suggested an alternative date of 1404-1410 based on the figures' clothing (see Sotheby’s, New York, 30 January 2021, lot 508).
This panel depicts an episode from the life of the Saint Peter Martyr of Verona, who was canonized in 1253 by Pope Innocent IV, just a year after his death. In this scene, Saint Peter stands before a crowd gathered around a pulpit, set against a rocky landscape. The onlookers gaze upward in astonishment as the saint forms clouds, providing relief from the intense heat of the sun. This miraculous act was performed in response to a heretic – shown below the pulpit, remorseful and accompanied by his dog – who had challenged Peter to prove his sanctity.
The present panel was first attributed to the School of Giotto, and was thought to depict Saint Francis, when it was up for sale in Berlin in 1912. It was later published by Serena Padovani in 1974, who attributed it to Giovanni di Francia, in a moment of close affinity with the Master of Roncaiette (loc. cit.). It was not until 1989 that Mauro Lucco identified the panel as the work of the anonymous master, a suggestion which Padovani later accepted (see D. Benati, loc. cit.). Daniele Benati proposes that the panel may have originally formed part of a dossal, which would have included a larger central image of Saint Peter Martyr and additional side panels depicting other episodes from his life. He believes it was likely completed in the Veneto circa 1410-1420. When the painting was at auction in 2021, Mauro Lucco suggested an alternative date of 1404-1410 based on the figures' clothing (see Sotheby’s, New York, 30 January 2021, lot 508).
This panel depicts an episode from the life of the Saint Peter Martyr of Verona, who was canonized in 1253 by Pope Innocent IV, just a year after his death. In this scene, Saint Peter stands before a crowd gathered around a pulpit, set against a rocky landscape. The onlookers gaze upward in astonishment as the saint forms clouds, providing relief from the intense heat of the sun. This miraculous act was performed in response to a heretic – shown below the pulpit, remorseful and accompanied by his dog – who had challenged Peter to prove his sanctity.