Redating Some South Italian Frescoes: The First Layer at S. Pietro, Otranto, and the Earliest Paintings at S. Maria della Croce, Casaranello (original) (raw)
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The Venetic Inscription from Monte Manicola and Three termini publici from Padua: A Reappraisal
Journal of Indo-European Studies, 2018
This work tackles the analysis and translation of a number of Venetic inscriptions, specifically Monte Manicola and the three termini publici from Padua, and unveils the existence of an agent noun *opi-f-t rof Proto-Italic age that paves the way for an interpretation of a number of related Italic forms that significantly differs from the commonly accepted ones. 1 This work has been financed by the Spanish Government (MINECO FFI2012-30657: La antroponimia indígena indoeuropea de Hispania: Estudio comparativo). All the Venetic inscriptions included in Lejeune's classic work (1974) are numbered according to this edition.
This article expands the corpus of panels by Domenico Ghirlandaio and his workshop and followers by discussing several paintings largely ignored in the literature. It begins by reconstructing a small panel of the Entombment with Saints, the three extant pieces of which are divided between the Perkins Collection, Assisi, and Brooklyn Museum, New York. Datable to the 1480s, they are here attributed to Domenico’s brother and closest collaborator, David, and tentatively linked to the convent of S. Marco, Florence, for which the brothers worked earlier in the decade. The article then proposes a new fragment of the altarpiece commissioned from the brothers by the Franciscans in Prato in 1490. Lastly, it presents an unpublished altarpiece by Bastiano Mainardi, one of the bottega’s most important associates, illustrating how Domenico’s pupils adjusted their styles as the workshop passed into the hands of Domenico’s son and successor, Ridolfo.