In the same church are two chapels which were painted in fresco by Pordenone, the first of these is decorated wdth representations of various events in the life of Santa Caterina, the second exhibits the Birth of Christ and the Adoration of the Magi, all paintings worthy of the highest commendation. Our artist afterwards painted several pictures representing poetical subjects, in the beautiful gardens of the learned Doctor, Messer Barnaba del Pozzo,[1] and in the before-mentioned Church of Santa Maria di Campagna, he painted a picture of Sant’ Agostino, this is on the left hand as you enter the church.[2]
All these admirable works moved certain gentlemen of Piacenza, who ever held the master in the highest esteem, to propose that he should take a wife from that city, which was done accordingly. At a later period he repaired to Venice, where, after having executed some works previously, he was commissioned to paint the fagade of San Geremia, which is on the Grand Canal; as also a picture in oil containing many figures, for the Church of the Madonna del Orto: but the master more especially laboured to make his abilities manifest in the Church of Giovanni Battista.[3] Pordenone furthermore painted several stories in fresco on the front of a house situate on the Grand Canal before-mentioned, and belonging to Martin d’Anna;[4] among these is more particularly to be remarked a figure of Curtius on horseback, very finely foreshortened, and which appears as though it were in full relief and entirely detached from the surface, as does that of a Mercury floating in the air. There are besides a vast number of other particulars of great merit in this work, which pleased the whole city of Venice beyond measure,
- ↑ Mythological representations that is to say, Actseon and Diana namely: with the Judgment of Paris, &c.: they have been destroyed by time.
- ↑ St. Augustine is not a picture on panel, as the iavola of our author would imply, but is a mural painting, and one still remaining in tolerable preservation, although it has not wholly escaped injury. —Ed. Flor. 1832 -8.
- ↑ It represents San Lorenzo Guistiniani, accompanied by three Canons
Regular, and bears the inscription:—
Joannis Antonii Portunaensis.
This picture was among those taken to Paris, but is now at Venice, in the Gallery attached to the Academy of the Fine Arts.
- ↑ Martin d’ Anna was a Flemish merchant established in Venice; the paintings executed on his house have perished.
