RAVERTI, Matteo - b. ~1380 Milano, d. ~1440 Venezia - WGA

RAVERTI, Matteo

(b. ~1380 Milano, d. ~1440 Venezia)

Italian sculptor and architect. He was first mentioned in 1398, when he was active in the workshop of Milan Cathedral. He remained there until 1409, and three statues are documented as his work: the Incense-bearing Angel (1403) the Giant in Armour and St Babila (1404; all Milan Cathedral). St Babila is Raverti’s best work but was criticized for departing from the design provided. His style is linked to naturalism of the Lombard Gothic tradition, tempered by proto-Renaissance traits.

In May 1421 Raverti was in Venice, where he contracted with Marino Contarini to make certain works for the Ca’ d’Oro, then under construction. He was probably responsible for the open staircase, the courtyard arcade, the large window facing the court and the door giving on to the street. These elements, however, were drastically modified or rebuilt in the course of 19th-century restorations. The design for the funerary monument to Bonromeo Borromei (destroyed) in the church of S Elena dated from 1422.

Raverti was in Venice in 1436, when his daughter was married. He has been credited with several works in Venice, but none of them is certain. They include the St Christopher on the portal of Santa Maria dell’ Orto, numerous capitals and the Drunkenness of Noah on the façade of the Doge’s Palace, and the St Simeon in San Simeone. The attribution of the cenotaph of Vitaliano Borromeo on Isola Bella is also open to doubt.

Ca' d'Oro: Façade
Ca' d'Oro: Façade by

Ca' d'Oro: Façade

Although it was to be more elaborately decorated than any of the earlier houses, the palace of Marin Contarini - which was to become known as the Ca’ d’Oro, the House of Gold - fulfilled precisely the same traditional functions as the dozens of older palace-warhouses. It has a spacious ground floor hall for the reception and storage of goods, flanked by smaller, secure store-rooms, and by Contarini’s own offices. Directly above, there are two very large apartments on the first and second floors, which are connected to the traditional Venetian internal courtyard by means of an equally traditional open staircase.

The fa�ade facing over the canal was created by Bartolomeo Bon and his workshop, with the traditionally Venetian-Byzantine use of five arches, while the upper floors have wide open galleries typical of the era and clearly inspired by the Palazzo Ducale, created by Matteo Raverti. Raverti was probably responsible for the open staircase, the courtyard arcade, the large window facing the court and the door giving on to the street.

Ca' d'Oro: Portico and inner courtyard
Ca' d'Oro: Portico and inner courtyard by

Ca' d'Oro: Portico and inner courtyard

The same craftsmen who worked on the fa�ade of the building were also responsible for its elegant courtyard. It has a portico on two sides, while at the far end there is a large Gothic window, carved by the Bon brothers, through which is visible the Grand Canal in front. The staircase that leads to the upper floors is by Matteo Raverti.

Drunkenness of Noah
Drunkenness of Noah by

Drunkenness of Noah

This relief with almost life-size figures is on the corner of the Palazzo Ducale toward the Ponte della Paglia.

Drunkenness of Noah
Drunkenness of Noah by

Drunkenness of Noah

This relief with almost life-size figures is on the corner of the Palazzo Ducale toward the Ponte della Paglia.

Portico
Portico by

Portico

The picture shows a view of the ground level portico overlooking the Bacino, seen from the Ponte della Paglia. On the left, the relief depicting the Drunkenness of Noah is by Matteo Raverti.

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