|LOMBARDIA - Monza|
|FILE : Cathedral 1|
|TITLE : The Resurrected Christ, the Virgin Mary and Saints|
LOCATION: : Monza, Cathedral Museum
DIMENSION: Rose window composed of 16 radiating lancets 135 x 55 cms. ( each)
CHRONOLOGY: end of the XV -beginning of the XVI century
SUBJECT(S): 1) The resurrected Christ; 2) The Virgin Mary; 3) St. Peter; 4), 5), 6) unidentified Saints; 7) St. Matthew (?); 8), 9) unidentified Saints; 10) St. Simon; 11), 12) unidentified Saints; 13) St. John the Evangelist; 14) unidentified Saint; 15) St. Elisabeth; 16) St. John the Baptist. The central boss, probably representing a radiating sun (as in the center of the substituted modern rose window painted by P. Bertini), is lost.
CRITICAL NOTES : The attribution of the panel to fra' Antonio da Monza proposed by A. Melani, is not accepted by U. Monneret de Villard, who doesn't see any analogies to the only work surely executed and signed by the monk, the miniature Pentecoste in the Pontificale di Alessandro VI (1492-1503), now in the Albertina Museum (Vienna). In his opinion, the angels in this panel are influenced by Niccolò da Varallo's stained glass windows, and the saints have many elements in common with Butinone's paintings. This rose window was dismounted by P. Bertini (1890), and substituted with a new one. Most of the radianting lancets stored in cases, were abandoned in the attic of the cathedral for many years, until recently, when E. Brivio found the scattered panels and reassembled the dismembered rose window.
Upon close-up examination of the lancets, E. Brivio was able to confirm, in a more precise way, U. Monneret's theory regarding the similarities between the lancets of the rose window and many of Butinone's paintings. He believes that it was painted by several glaziers; indeed, this explains the different style of each panel: the stained glass window by Cristoforo de' Mottis (St. John the Evangelist window, Milano, Cathedral); Michelino da Besozzo's paintings. Furthermore, he recognized the stylistic analogies between the lancet of Christ Resurrected and Bramantino's Christ (Lugano, Von Thyssen coll.), and several influences of Swiss artists working in German-speaking areas.
The entire rose window was shown, for the first time, at the exhibition: "Dal fulgore delle pagine miniate al colore-luce delle vetrate", Trivulziana, Ven. Fabbrica del Duomo di Milano, CVMA-Italia, Milano, 1988. (E. Brivio)
CONDITION: In very poor condition: the original glass is deeply weathered, the surface corrosion is crater-shaped and has caused formation of a manganese coating. Various stop gaps. Two heads (lancets 6 and 16) are a late XVI century replacement executed using the same cartoon.
Restoration and Conservation: Milano, 1988, Ven. Fabbrica del Duomo, Curator: E. Brivio. The mending leads have been substituted with epoxy resin.
A. MELANI Fra' Antonio da Monza disegnatore di una invetriata in "Arte e Storia",nos. 15-16, 1898.
U. MONNERET DE VILLARD Le vetrate del duomo di Milano, Milano, 1918, 135.
AAVV Dal fulgore delle pagine miniate al colore-luce delle vetrate, Exh.cat., Milano, 1988.
E.BRIVIO Il rosone del duomo di Monza in " Seminari su le vetrate italiane: un patrimonio da salvare", Rendiconti Istituto Lombardo,Milano, 1992, 121-29.
M.SUPERCHI La corrosione dei vetri medievali, ibid., 141-51.
PHOTOGRAPHIC CREDITS: Foto Studio Forini
TRANSLATION: Suzanne Miele