The Hall

THE HALL

Introduction

Some of the most important masterpieces of the Gallery are housed in this room, whose splendour is due, among other things, to the emergence from the shadows of a large group in glazed terracotta by Alfonso Lombardi (1487–1537), originally from the oratory of the confraternity of San Giovanni Battista in Faenza, a building which is no longer identifiable.

The fact that these works originally came from places of worship around the city, as frequently pointed out in the previous rooms, constitutes one of the most interesting aspects of this gallery as well as a large number of other Italian museums founded in the nineteenth century following important and often traumatic historical events.

On the left of the entrance are two paintings by Benedetto Marini (circa 1590 – 1627). He was born and educated in Urbino, yet was active in the second decade of the seventeenth century in Faenza, where he worked alongside Ferraù Fenzoni on the decoration of two chapels. The prestige of this collaboration won him a series of commissions from some churches. The Madonna and Child with Saints is a work signed and dated 1615, whose origin is unknown, and the Return from Egypt with Saints is signed and dated 1617, from the church of San Maglorio, characterised by its setting on a sort of stage whose curtain is opened by two putti.

The next panel, a representation of the Madonna and Saints by Giovanni da Rimini (active from 1292 to 1314), founder of the Rimini School, was purchased in 1899 from an antiques market. The theory that it originally came, if not from Faenza, then from at least the area of Romagna, is well founded. The extremely high pictorial quality is based on the combination of a thirteenth century past and the influence of Giotto, who was in Rimini at the start of the fourteenth century.

The Master of Santa Maria in Borgo, active in the second half of the 1200s, is the author of the precious thirteenth century Crucifix on display. Taken from the convent of Santa Chiara in Faenza, it represents the pinnacle of a stylistic development aimed at softening the dramatic power of Giunta Pisano.

Also belonging to the end of the 13th century is the panel by the Master of Faenza, Byzantine in style yet animated by a liveliness of expression typical of the Emilia-Romagna school.

Noteworthy, not to mention stylistically accomplished, is the Polyptych, also from the convent of Santa Chiara, probably executed around the mid 14th century. It is the work of an Anonymous “..master, definitely from Romagna, who bridges the gap between the initial flowering of the Rimini school and the Vitale school of Bologna“.

Late Gothic style, widespread in Faenza in the 15th century, is represented here by two shining examples, Saint John the Baptist and Saint Vito, by the Master of San Pier Damiano, a painter of the first half of the 15th century and versed in the Marches style. Other panels from the original polyptych are conserved in the Gallery of Ravenna and the Diocesan Museum of Faenza.

A section of a much larger altarpiece, the Death of Saint Joseph, forms the backdrop to the hall and was acquired from an antique dealer in Rome by Antonio Archi, who left it in his bequest to the Gallery he had directed from 1956 to 1976. Initially attributed to Mattia Preti, it was later assigned by Federico Zeri to Giovanni Battista Beinaschi (1636 ? –1688). Born and educated in Piedmont, he later worked in Rome and Naples where he was mainly involved in fresco work. In the workshops of the two capital cities, his style was enriched by his encounter with the paintings of Giacinto Brandi, Luca Giordano and Mattia Preti.

Sala Vestibolo

WORKS

  87   Alfonso Lombardi, Virgin with Child and Saints John the Evangelist and John the Baptist
1524, glazed earthenware, 280×300 x116 cm, Inv. n. 87
  69   Pietro Barilotto (?),Eternal Father giving his blessing
early XVI century, Istrian stone, diameter 100 cm; Inv. n. 69
  204   Circle of Bartolomeo Bellano (?), Christ as the Suffering Redeemer and angels
polychromatic papier mâché relief, 85×78 + frame 5 cm, Inv. n. 204
  181   Tommaso Bragadin (?), Madonna with Child
last decade of the XV century, wood, 50.5×40 cm + frame 12 cm.; Inv. n. 181
  95/94   Master of S. Pier Damiano, St. Vitus and St. John the Baptist
XV century, two wooden panels in a single container, each panel measuring 30.5×19 without the frame, Inv. N. 95 and 94
  48   Anonymous Romanesque, Cross from a parvis
XI century, marble 104X85x12.5 cm, Inv. n. 48

  90/91/96   Anonymous Late Gothic,, St. George, St, Francis, and St. Rocco
three boards in a single container, two of the boards measuring. 86X28 cm, one measuring 42X27 cm without the frame, Inv. N. 90, 91 and 96
  51   Anonymous Byzantine-Ravenna, Pluteus illustrating Original Sin
VI century, marble, 86X110x5 cm, Inv. n. 51
  49   Anonymous Romanesque,Christ blessing and the Saints Giles and Eutropius
limestone, 49X103x12 cm, Inv. n. 49

  54  
Anonymous Gothic, Saint George and the dragon with the princess and the patron
Istrian stone 84x47x12 cm, Inv. n. 54
  93   Anonymous, Rimini, Polyptych
XIV century, wood 142×252 cm + frame 6 cm, Inv. n. 93
  53   Anonymous Romanesque Adriatic, Parts of ambon: lion of St. Mark and ox of St. Luke
XII century, Istrian stone, 113x54x17 and 113x58x16 cm, Inv. n. 53
  97   Master of Franciscan Crucifixes,Crucifix
tempera on canvas applied to wood with inserts in gemstones and glass paste 198×157 cm, Inv. n. 97
  98   Master of Faenza, Crucifixion and Assumption of St. John the Evangelist
XIII century, wood, 35×28 cm + frame 15 cm, Inv. n. 98
  92   Giovanni da Rimini, Madonna with Child, two Angels and Saints Francis, Michael the Archangel, Augustine, Catherine, and Clare
wood, 50×35 cm + frame 11 cm, Inv. n. 92
  156   Benedetto Marini, Return from the flight to Egypt with Saints Catherine of Alexandria and Francis
1590(?)-1627, oil on canvas, 240 x 170 cm + frame 2 cm, Inv. n. 156
  995   Benedetto Marini, Madonna with Child, St. Michael the Archangel and a Saint Bishop

1590(?)-1627, oil on canvas, cm. 270 x 200 cm, Inv. n. 995

GALLERY