DALLE MASEGNE, Jacobello

The altarpiece in the Chapel of St Peter is probably the work of the school of the Dalle Masegne brothers, Jacobello and Pierpaolo. It is divided into two orders by Saints. In the first are St Lucy, St Catherine of Alexandria, the Virgin and Child, St Mary Magdalen and St Clare, while in the second St Jerome, St John the Baptist, St Peter the Apostle, St James the elder and St Francis.

In the middle of the fourteenth-century fa�ade of the south side of the palace is a remarkable balcony in the Flamboyant Gothic style, added between 1400 and 1404 by Jacobello and Pier Paolo Dalle Masegne. It frames a broad lancet window, and is decorated with niches containing statues of Saints and Virtues, terminating in an allegorical carving of Justice. On either side of the balcony are ranged broad fourteenth-century windows with pointed arches.

In November 1388 Jacobello and Pierpaolo dalle Masegne jointly signed a contract to construct the high altar at San Francesco, Bologna. Jacobello’s role in its execution is difficult to define, partly because it has been heavily restored, but it may have been marginal; the predominant style is that of Pierpaolo. The richly ornate marble altar is arranged like a painted polyptych on two tiers crowned by high, slender finials. A relief of the Coronation of the Virgin in the centre is flanked by full-length saints in niches, the upper tier has God the Father enthroned, flanked by half-length busts of saints, each divided from the next by rows of smaller saints also in tabernacles. Above, the Crucifixion with the Virgin and St John is set on a tall pinnacle. Along the base, like a predella, are nine narrative scenes from the life of St Francis.

The Dalle Masegne brothers were already active in Bologna in 1383, and between 1388 and 1392 were at work upon their masterpiece, the high altar of San Francesco. This work is planned like a colossal ivory polyptych, in which saints in full- and half-length set in tabernacles are divided from each other by rows of smaller saints in smaller tabernacles; in the centre is the Coronation of the Virgin with a figure of God the Father above. Beneath, nine narrative reliefs fulfil the function of the painted predella of an altarpiece. The figures are couched in an ambivalent style, in part Tuscan, in part redolent of Northern Italy.

The richly ornate marble altar is arranged like a painted polyptych on two tiers crowned by high, slender finials. A relief of the Coronation of the Virgin in the centre is flanked by full-length saints in niches, the upper tier has God the Father enthroned, flanked by half-length busts of saints, each divided from the next by rows of smaller saints also in tabernacles.

The Dalla Masegne brothers signed the central section of the iconostasis (choir screen) in San Marco, Venice, in 1394, which would suggest that they must have begun this large project c. 1392-933.

The iconostasis sculptures reveal two radically different styles. One group is formed by the twelve marble Apostles of the central section. These show marked similarities with mid-14th-century Lombard sculpture, particularly with works of Bonino da Campione, who was active in Verona. The strongly expressive physiognomy of the Apostles’ faces is close to the angels’ faces on the tomb (Padua, Eremitani) of Ubertino da Carrara (d 1345) by Andriolo de’ Santi of Venice, to such mid-14th-century mosaics in San Marco as those in the baptistery and also to Paolo Veneziano’s paintings. This would suggest that this sculptor’s roots lay in northern Italy.

The marble female figures on the lateral sections facing the chapel of San Clemente and the chapel of San Pietro are in a different style. Their similarity to Tuscan sculpture, particularly to the work of artists in the circle of Nino Pisano, is so strong that it would suggest that the sculptor stayed for a considerable time in Tuscany and continued working in the Tuscan style on his return to Venice.

Given that Pierpaolo was absent from Venice c. 1394 and that Jacobello was absent c. 1397, the figures in the central section, which is dated 1394, can be attributed to Jacobello and the lateral sections, dated 1397, to Pierpaolo. Both sculptors used assistants, and the stylistic differences within their sections are due mainly to different qualities of execution, not to independent designs.

The Dalla Masegne brothers signed the central section of the iconostasis (choir screen) in San Marco, Venice, in 1394, which would suggest that they must have begun this large project c. 1392-933.

The iconostasis sculptures reveal two radically different styles. One group is formed by the twelve marble Apostles of the central section. These show marked similarities with mid-14th-century Lombard sculpture, particularly with works of Bonino da Campione, who was active in Verona. The strongly expressive physiognomy of the Apostles’ faces is close to the angels’ faces on the tomb (Padua, Eremitani) of Ubertino da Carrara (d 1345) by Andriolo de’ Santi of Venice, to such mid-14th-century mosaics in San Marco as those in the baptistery and also to Paolo Veneziano’s paintings. This would suggest that this sculptor’s roots lay in northern Italy.

The marble female figures on the lateral sections facing the chapel of San Clemente and the chapel of San Pietro are in a different style. Their similarity to Tuscan sculpture, particularly to the work of artists in the circle of Nino Pisano, is so strong that it would suggest that the sculptor stayed for a considerable time in Tuscany and continued working in the Tuscan style on his return to Venice.

Given that Pierpaolo was absent from Venice c. 1394 and that Jacobello was absent c. 1397, the figures in the central section, which is dated 1394, can be attributed to Jacobello and the lateral sections, dated 1397, to Pierpaolo. Both sculptors used assistants, and the stylistic differences within their sections are due mainly to different qualities of execution, not to independent designs.

The Dalla Masegne brothers signed the central section of the iconostasis (choir screen) in San Marco, Venice, in 1394, which would suggest that they must have begun this large project c. 1392-933.

The iconostasis sculptures reveal two radically different styles. One group is formed by the twelve marble Apostles of the central section. These show marked similarities with mid-14th-century Lombard sculpture, particularly with works of Bonino da Campione, who was active in Verona. The strongly expressive physiognomy of the Apostles’ faces is close to the angels’ faces on the tomb (Padua, Eremitani) of Ubertino da Carrara (d 1345) by Andriolo de’ Santi of Venice, to such mid-14th-century mosaics in San Marco as those in the baptistery and also to Paolo Veneziano’s paintings. This would suggest that this sculptor’s roots lay in northern Italy.

The marble female figures on the lateral sections facing the chapel of San Clemente and the chapel of San Pietro are in a different style. Their similarity to Tuscan sculpture, particularly to the work of artists in the circle of Nino Pisano, is so strong that it would suggest that the sculptor stayed for a considerable time in Tuscany and continued working in the Tuscan style on his return to Venice.

Given that Pierpaolo was absent from Venice c. 1394 and that Jacobello was absent c. 1397, the figures in the central section, which is dated 1394, can be attributed to Jacobello and the lateral sections, dated 1397, to Pierpaolo. Both sculptors used assistants, and the stylistic differences within their sections are due mainly to different qualities of execution, not to independent designs.

The picture shows the statues of two Apostles and the Virgin.

The brothers Pierpaolo and Jacobello Dalle Masegne worked as “joint partners in their father’s inheritance,” a form of association that made both responsible for every single task. When they worked on the choir screen for San Marco (1394-97), the brothers shared out the tasks: Jacobello produced the fourteen figures in front of the presbytery and Pierpaolo did the other ten in front of the chapels of St Peter and St Clement. Pierpaolo’s Madonnas and the figures of female Saints are in the style of Nino Pisano, Jacobello’s Apostles, in contrast, are influenced by the Lombard sculpture of Bonino da Campione and his circle.

The picture shows the Madonna and Child by Pierpaolo Dalle Masegne on the choir screen of the chapel of San Clemente.

The Madonna della Giustizia (Madonna of Justice) and the six patron saints of Bologna (from left to right: Sts Dominic, Florian, Procolus, Vitale, Petronio and Francesco) are from the loggia of the Foro dei Mercanti in Bologna. The building, used as customs offices with a loggia for the unloading of goods, was built from 1384 under the direction of Antonio di Vincenzo and Lorenzo da Bagnomarino.

The statues were executed in the Dalle Masegne workshop.

The monument to Cardinal Pietro Pileo da Prata was created in the Dalle Masegne workshop in 1420. The tomb with the marble recumbent figure of the Cardinal is on the left wall of the Chapel of the Holy Sacrament (the fifth chapel in the left arm of the transept).

Pietro Pileo di Prata (or da Prata) (c. 1330-1401) was an Italian bishop and Cardinal. He was a significant diplomat and go-between in the affairs of his times, and was nicknamed the “cardinal with three hats”, which he obtained successively from Urban VI, Clement VII, and Boniface IX.

The monument to Cardinal Pietro Pileo da Prata was created in the Dalle Masegne workshop in 1420. The tomb with the marble recumbent figure of the Cardinal is on the left wall of the Chapel of the Holy Sacrament (the fifth chapel in the left arm of the transept).

Pietro Pileo di Prata (or da Prata) (c. 1330-1401) was an Italian bishop and Cardinal. He was a significant diplomat and go-between in the affairs of his times, and was nicknamed the “cardinal with three hats”, which he obtained successively from Urban VI, Clement VII, and Boniface IX.

Historically, the work of the Dalle Masegne is of more importance than its intrinsic merits might appear to justify. It spread to Milan, where the two brothers were employed in 1399 and where it left its mark on the sarcophagus of Marco Carelli in the Cathedral; it reached the Marches, impressing itself upon the doorway of San Domenico at Pesaro; and through the work of Jacopo della Quercia at Lucca and Leonardo Riccomanni at Sarzana it penetrated Tuscany (John Pope-Hennessy).

The portal of San Domenico at Pesaro has a rich sculptural decoration. It was built towards the end of the fourteenth century and is the only original part of the church dedicated to San Domenico that is still preserved. The church in the past closed the central square of the city of Pesaro. After various transformations in the last century, the church was largely demolished to create the headquarters of the central post offices.

In the later 1390s the Masegne brothers seem to have signed several contracts independently, although they may have executed the work jointly. According to one hypothesis, the brothers were working independently by the end of the 14th century. In October 1400 Pierpaolo signed a contract to decorate the large window in the Sala del Maggior Consiglio in the Doge’s Palace, Venice. In 1403 he made a will when he was ill and probably died soon after.

Attributions to Jacobello include the marble statue of the kneeling Doge Antonio Venier. The carving of the gaunt face and tightly clasped hand of the kneeling figure is characteristic of Jacobello.

Antonio Venier (c. 1330-1400) was a Doge of Venice reigning from October 1382 to his death. He was interred in the Basilica di San Giovanni e Paolo, a traditional burial place of the doges.

Pier Paolo and Jacobello Dalle Masegna executed the funerary monument for Margherita Malatesta, the wife of Francesco Gonzaga. She died in 1399 and her monument was intended for the Gonzaga chapel in San Francesco, Mantua. All that remains today of her tomb is the marble arch and the reclining figure of Margherita, now housed in the Palazzo Ducale.

Despite the ravages of the two fires of 1574 and 1577, the south wing of the Palazzo Ducale preserves its original external appearance. The only major change has been the insertion of the ‘finestrone’ ((large window) by Jacobello and Pierpaolo Dalle Masegne in 1404. The spacing of the window openings suggests that this central axis was probably planned at the outset.

Despite the ravages of the two fires of 1574 and 1577, the south wing of the Palazzo Ducale preserves its original external appearance. The only major change has been the insertion of the ‘finestrone’ ((large window) by Jacobello and Pierpaolo Dalle Masegne in 1404. The spacing of the window openings suggests that this central axis was probably planned at the outset.

At the centre of the fa�ade of Palazzo Ducale facing the Bacino di San Marco is the balcony of the Sala del Maggior Consiglio (Main Council Chamber). Nine statues by the Dalle Masegne brothers, including three Saints and six Allegories of Virtues, adorned originally the balcony. The statue of St Mark, now exhibited inside the palace, belonged to this group.

The brothers Pierpaolo and Jacobello Dalle Masegne worked as “joint partners in their father’s inheritance,” a form of association that made both responsible for every single task. When they worked on the choir screen for San Marco (1394-97), the brothers shared out the tasks: Jacobello produced the fourteen figures in front of the presbytery and Pierpaolo did the other ten in front of the chapels of St Peter and St Clement. Pierpaolo’s Madonnas and the figures of female Saints are in the style of Nino Pisano, Jacobello’s Apostles, in contrast, are influenced by the Lombard sculpture of Bonino da Campione and his circle.

The picture shows St Mark the Apostle by Jacobello Dalle Masegne on the presbytery choir screen.

At the centre of the fa�ade of Palazzo Ducale facing the Bacino di San Marco is the balcony of the Sala del Maggior Consiglio (Main Council Chamber). Nine statues by the Dalle Masegne brothers, including three Saints and six Allegories of Virtues, adorned originally the balcony. The statue of St Peter, now exhibited inside the palace, belonged to this group.

The tomb of Bartolomeo da Porto is located on the wall of the Cappella della Madonna in the left arm of the transept in San Lorenzo, Vicenza. It was created in the Dalle Masegne workshop around 1404. The frescoes on the sides depict Sts Peter and Paul, attributed to Bartolomeo Montagna or Giovanni Buonconsiglio.

The tomb of Bartolomeo da Porto is located on the wall of the Cappella della Madonna in the left arm of the transept in San Lorenzo, Vicenza. It was created in the Dalle Masegne workshop around 1404. The frescoes on the sides depict Sts Peter and Paul, attributed to Bartolomeo Montagna or Giovanni Buonconsiglio.

Antonio Venier (c. 1330-1400) was a Doge of Venice reigning from October 1382 to his death. He was interred in the Basilica di San Giovanni e Paolo, a traditional burial place of the doges.

The tomb of Doge Antonio Venier contains the Madonna and Saints (height c. 180 cm), the recumbent Doge on the elaborate sarcophagus, and Virtues (height c. 80 cm), in the five lower niches.

Antonio Venier (c. 1330-1400) was a Doge of Venice reigning from October 1382 to his death. He was interred in the Basilica di San Giovanni e Paolo, a traditional burial place of the doges.

The tomb of Doge Antonio Venier contains the Madonna and Saints (height c. 180 cm), the recumbent Doge on the elaborate sarcophagus, and Virtues (height c. 80 cm), in the five lower niches.

The tomb of Doge Antonio Venier is located on the wall above the entrance to the Chapel of the Rosary in Santi Giovanni e Paolo, Venice.

The Dalle Masegne brothers Jacobello and Pierpaolo were active at the end of the 14th century in Emilia and Venice. One of their finest work is a relief from the tomb of Giovanni da Legnano (d. 1383), a professor at the famed University. The relief shows a class of students with great naturalism and animation.

The Masegne brothers were in Mantua in 1383 when Francesco I Gonzaga recommended that the brothers should be imprisoned for molesting a woman. On 3 August 1386 Pierpaolo was accused of adultery in Bologna. He was then living in the house of the scholar Giovanni da Legnano, who had died in 1383 and whose tomb (Museo Civico Medievale, Bologna), originally in San Domenico, Bologna, was signed by both brothers. However, a comparison of the drapery style of the local remains of the tomb monument with that of the Apostles in the central section of the iconostasis in San Marco, Venice, attributed to Jacobello alone, suggests that the tomb was also Jacobello’s work.

The tomb of Prendiparte Pico was probably the work of Paolo dalle Masegne, the son of Jacobello. The monument is one of the greatest masterpieces of Venetian Gothic in Emilia: the urn is carved in a single block of marble with the scene of the Crucifixion in the centre, flanked by the expressive figures of Mary, St John and the Magdalene screaming in pain; on the sides of the tomb is a mule bent by the weight of a sack (representing the unbearable pain of the widow) and a dog (symbol of fidelity) together with inscriptions in ancient English, testifying to the bond between Prendiparte and Giovanni Acuto (John Hawkwood). On the lid is carved image of the deceased on his deathbed with battle armour. Traces of gold and colour are visible, typical of the Delle Masegne tombs.

In May 2012, two major earthquakes occurred in the Emilia-Romagna region, causing 26 casualties and widespread damage across the cities of the area, the surrounding countryside and the productive infrastructure. Public buildings such as The Palazzo del Comune (a 15th-century Gothic edifice) and the castle of the Pico family were damaged. Churches like the Duomo, dating from the end of the 15th century, and San Francesco, a fine Gothic church that housed the tombs of the Pico family (14th century), were completely destroyed.

The urn of Jacopo Cavalli, commander of the Venetian land forces during the Chioggia war (died 384), is located in the Chapel of St Pius V in the left transept of the church. The warrior’s head rests on a lion and at his feet is a mastiff (strength and fidelity). On the urn are the symbols of the Evangelists and four angels.

The monument to Cardinal Pietro Pileo da Prata was created in the Dalle Masegne workshop in 1420. The tomb with the marble recumbent figure of the Cardinal is on the left wall of the Chapel of the Holy Sacrament (the fifth chapel in the left arm of the transept). On the right wall is the funerary monument of Bishop Pietro Barozzi (1507), attributed to Alessandro Vittoria. The Baroque altar is the work of Giovanni Gloria and Giorgio Massari.