Attributed to Giovanni Antonio Amadeo (circa 1447-1522) and Workshop Italian, Lombardy, late 15th century

with Heim Gallery, London, 1982

London, Heim Gallery, Seven Centuries of European Sculpture. Summer Exhibition,1982

Seven Centuries of European Sculpture. Summer Exhibition, exh. cat. Heim Gallery, London, 1982, no. 10

Overall the condition is good with dirt and wear to the surface consistent with age. There are restored breaks, including: one running from the top of the left panel to St Francis' outstretched knee; and one running from the bottom of the left panel, through St Francis, across the escutcheon, and into the right panel. This second break may run through the right panel from left to right. These restorations are pinned in place at the top and bottom sides. There are a few chips to the edges and corners, and a few very minor chips to the tree. There is a hollow area (a possible loss) to the top side of the relief at the back.
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NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

When this important Italian Renaissance relief was last offered on the art market, it was attributed to Giovanni di Pietro da Rho (fl. 1481-1513), a sculptor working in the circle of the celebrated Lombard master, Giovanni Antonio Amadeo. The relief features the same compositions as two of the panels from the shrine of St Arealdo in Cremona, a signed monument by Amadeo dating to 1484 (Hill. op. cit.,  nos. 2/8/114-115). The attribution to da Rho was based on the fact that the sculptor was responsible for two comparable reliefs, one of which is taken from another of the models found on the St Arealdo shrine, representing St Jerome in Penitance. Its pendant is signed by da Rho, and both are housed today in the Museo Civico, Cremona (inv. nos. 317 and 318).

A comparison between da Rho's panels and the present relief, however, confirms that they are not by the same hand. Da Rho's scenes are in lower relief, the drapery is more angular, and the trees are wholly more schematic. Ultimately, the quality of the present marble is superior. Note, for example, the flat and unanimated fictive silk ribbons falling from the title plaque in da Rho's signed relief. These contrast starkly with the ribbons seen in the present marble, which are carved in billowing high relief folds. A comparison with other works by da Rho, for example his tomb of St. Agostino in Cremona (Hill. op. cit., nos. 2/8/117-119), adds further weight to the conclusion that the present scenes are the work of a more skilled master.

The closest comparisons for the present panels are found in the oeuvre of Amadeo, who, as is outlined above, we know carved near-identical reliefs. The first point to note is that Amadeo used certain models repeatedly, and so it is not unusual that the same compositions appear on both the present relief and on the St Arealdo shrine. The Stigmatization of St Francis and the Noli me Tangere were popular subjects with 15th-century patrons, and many artists would naturally have reused successful models with variations. Amadeo, in fact, borrowed motifs and compositions from accessible sources, such as antique coins and contemporary plaquettes. This is indeed the case with the present Stigmatization scene, which is almost directly taken from a model found on a 14th-century seal in the Metropolitan Museum of Art (inv. no. 8.70.15).

An important comparison for the present marble is found in a statue of Christ in Soragna, which is signed by Amadeo and dated 1470 (see Bildarchiv Foto Marburg, no. 260.08). The model is the same as that appearing in the Noli me Tangere scenes from the present relief and on the St Arealdo shrine. It is interesting to note the chartaceous (paper-like) drapery and the stylised physiognomy, which are particularly close to those seen on the present relief. However, the Soragna Christ's drapery is more softened than that seen in the St Arealdo relief. More angular drapery is a feature of Amadeo's work from the 1480s and has been ascribed to the influence of Antonio Piatti and Christophoro Mantegazza. Christ's drapery in the present relief is closer to the Soragna marble, possibly indicating that it dates to the same period, before 1480.

Numerous additional features of the present marble would indicate that it was carved by Amadeo or by one of his associates under his supervision. Note the figure's deeply carved ocular orbits, which compare with those seen in other works by Amadeo, including the Soragna Christ and a relief with angels in the Victoria and Albert Museum (inv. no. 450-1869). Most importantly, the superb trees, which are carved in high relief, are comparable with the very finest work by Amadeo, see, for example, the trees appearing on the reliefs of the shrine of St Lanfranco in Pavia (Hill, op. cit., nos. 2/8/136-141). The exquisite classicising motifs adorning the pilasters and entablature are characteristic of Amadeo's work, and equal those seen on the St Lanfranco shrine.

Giovanni Antonio Amadeo was the most successful and influential sculptor active in late- 15th-/ early- 16th-century Lombardy. During his lifetime, his prominence in North Italy was such that he eclipsed even Donato Bramante and Leonardo da Vinci. Amadeo is best known today for his work on the Certosa di Pavia, and for his leading role in introducing all'antica motifs to Lombard sculpture. However, his oeuvre is complex to assess, because he operated a sizeable workshop and collaborated with other sculptors, notably Antonio Piatti, Francesco Cazzaniga, Cristophoro Mantegazza and Benedetto Briosco. With any work attributed to him, even signed or recorded sculptures, it therefore has to be accepted that skilled assistants or associates may have been involved; the present marble is no exception.

RELATED LITERATURE
A. Puerari, Museo Civico 'Ala Ponzone', Cremona, 1976, nos. 32-33; C. Hill (ed.), Courtauld Institute Illustration Archives. Archive 2. 15th & 16th Century Sculpture in Italy. Part 8. Lombardy, London, 1978, nos. 2/8/114-115, 2/8/117-119, 2/8/136-141; R. V.  Schofield, J. Shell and G. Sironi, Giovanni Antonio Amadeo. Documents, Como, 1989, pp. 7-18; M. Leino, 'Italian Renaissance Plaquettes and Lombard Architectural Monuments,' A. Lombarda, 146-148, 2006, pp. 111-126