Carlo Crivelli

The painting of Carlo and Vittore Crivelli does not found large responce in the taste of Russian collectors, quite contrarily to their perception in the English language countries. This fact is not due to the poor appreciation of their art but to the very little diffusion of the taste for the primitives in Russia in general. How it occurs frequently this rule has two important exceptions. In fact, the fortune of the works by both Crivelli with the Russian collectors involves two first range personalities of Russian culture, although very different between them. These are the prince Anatoly (“Anatole”) Demidov (Анатолий Николаевич Демидов; Florence, 1812 – Paris, 1870) and Dmitry Khomyakov (Дмитрий Алексеевич Хомяков, Moscow, 1841 – Moscow, 1918 or 1919). The correct contextualizing of the presence of the works by Carlo and Vittore Crivelli in the two respective collections permits to see, behind the apparent chaos of history, some sort of logic, although this logic can seem extremely paradoxical and eccentric.

Interrogandosi sulla pala di Carlo Crivelli per San Francesco a Fabriano, dispersa fra vari musei e alla cui ricomposizione lavorò in prima istanza Federico Zeri, se ne metteranno in luce le peculiarità dal punto di vista costruttivo e compositivo. La teoria di Santi o di Apostoli ai lati di Cristo alla base di un’ancona, tipica della produzione di Crivelli e che conta una serie molto ampia di paralleli in varie zone d’Italia, trova nondimeno nelle mani del pittore veneziano le sue più audaci sperimentazioni: all’incontro, tardivo, con la pala quadra rinascimentale, egli reagisce, piuttosto che sposandone le prerogative concettuali, piegando quella formula alle proprie consuetudini di rappresentazione. Una nuova pista di lettura viene avanzata a proposito della disposizione delle tavole, differenti per altezza e venatura del supporto, lungo la predella.

This  paper  explores  the  striking  presence  of  pseudoscript  Carlo  Crivelli’s  oeuvre.  Its  unchanged  form  testifies  the  artist’s  meticulous  execution  and  clear  intention  to  remain  consistent in the depiction of script bearers, such as books and scrolls. He turns his pseu-doscript  into  his  personal  “handwriting”.  But  its  appearance  raises  questions:  how  are  we to deal with illegible script in contrast to a legible one? How does it interact with the figures? The article investigates these functions to underline Crivelli’s ways to invent new artifices in his works and prove that the artist was well informed about what his coeval collogues  did.  As  will  be  shown  by  means  of  reception  aesthetics,  certain  functions  can  only be achieved if the script is illegible, while the materiality of the script bearers as well as the figures who interact with them always take up crucial roles in the creation of meaning around them.

In occasione delle giornate di studi svolte ad Ascoli e a Camerino il 22 e 23 ottobre 2021 (a cura di Daphne De Luca, Stefano Papetti, Graziella Roselli e Giuseppe Di Girolami), si sono riuniti per la prima volta alcuni fra i massimi esperti del pittore veneziano in un felice connubio fra studi storico-artistici e studi tecnici, con il coinvolgimento di storici dell'arte, restauratori, chimici e diagnosti. La prima parte del volume è dedicata agli studi storicoartistici sul pittore, con alcune nuove riflessioni di natura iconologica e iconografica e un approfondimento sul contesto culturale e sociale nel quale si muove Crivelli al suo arrivo nelle Marche e sull'eredità che lascerà nel territorio. Nella seconda parte i saggi si concentrano sulla tecnica pittorica del maestro veneziano, svelando i segreti di bottega che hanno reso i suoi polittici non solo dipinti di straordinaria bellezza ma anche manufatti artigianali di grandissima qualità: dalle tecniche di assemblaggio dei supporti lignei e delle maestose cornici, agli strati preparatori e pittorici, dorature, graniture e punzonature. Crivelli era infatti un eccellente pittore dotato di grande abilità tecnica che concepiva le sue opere come rutilanti gioielli di oreficeria nei quali l'oro e l'argento finemente cesellati e impiegati per impreziosire sontuosi broccati in velluto veneziano, sono i protagonisti assoluti.

Il restauro della Madonna con il
Bambino di Carlo Crivelli, conservata
nei Musei civici di Palazzo
Buonaccorsi a Macerata, ha portato
a una delle più importanti
scoperte degli ultimi anni intorno
al pittore veneziano e, più in
generale, al contesto artistico
italiano del XV secolo. Il dipinto
è giunto fino a noi attraverso incredibili
vicissitudini conservative,
solo in parte ricostruibili attraverso
le fonti. Per oltre un secolo
gli studiosi hanno dibattuto su
ogni aspetto dell’opera, restando
tuttavia concordi nel ritenere la
tela frutto del trasporto da una
tavola, probabilmente di dimensioni
maggiori, tagliata e riadattata
salvando le figure principali:
un dipinto menomato e alterato
nel suo aspetto materico e percettivo,
ritenuto, dunque, secondario
nel catalogo del maestro
veneziano. Nel 2022 è stata presa
la decisione di far restaurare la
Madonna. Il complesso e delicatissimo
intervento ha permessodi scoprire che l’opera, invece, fin
dall’origine è stata realizzata su
tela, l’unica, a nostra conoscenza,
eseguita su tale supporto da Carlo
Crivelli. Il dato ha rivoluzionato
gli studi sul pittore veneziano,
ritenuto un indiscusso maestro
della pittura su tavola, aprendo
quindi nuovi scenari di ricerca e
suscitando un ampio dibattito
fra gli specialisti e confermando,
ancora una volta, l’impiego della
tela quale supporto per opere
a carattere devozionale anche
nel XV secolo. Il libro raccoglie i
risultati del restauro e delle complesse
indagini diagnostiche
che lo hanno accompagnato,
costituendo
il resoconto del consistente
intervento conservativo,
contestualizzato nel quadro
dell’analisi storica della tela, della
sua ricezione e musealizzazione.
Arricchiscono l’opera la presentazione
di Pierluigi Moriconi e la
prefazione di Claudio Strinati, in
cui rilegge magistralmente l’intero
percorso di Crivelli.

L’intervento
di restauro della Madonna con il Bambino di Palazzo
Buonaccorsi effettuato in occasione della mostra Carlo Crivelli Le relazioni
meravigliose, ha portato a importanti e sorprendenti risultati
Il
team di restauro insieme alle curatrici sono infatti giunti ad affermare che
la Madonna Buonaccorsi sia stata inequivocabilmente dipinta su tela e non
su tavola, come fino a ora creduto
Questa
nuova definizione fa dell’opera l’unico esempio di dipinto su tela
conosciuto del pittore veneziano e, come spesso succede con le scoperte,
impone una revisione di equilibri e informazioni fino a oggi dati per certe,
oltre a porre nuovi quesiti e nuove sfide di ricerca

L’intervento di restauro eseguito nel 2022 ha confermato che la Madonna con il Bambino
di Macerata di Carlo Crivelli è stata inequivocabilmente in origine dipinta su tela,
come sospettava già Pietro Zampetti nel 1961. La natura del supporto obbliga gli studiosi
a rileggere la produzione del pittore, anche da un punto di vista tecnico, e conferma l’impiego
delle tele per la realizzazione di opere a carattere devozionale anche nel XV secolo.
La conoscenza di tale tecnica da parte del pittore, così come ulteriori significativi dettagli
tecnici quali il trattamento delle dorature, riscontrati nel piccolo dipinto di Macerata
e in generale in altre sue opere, possono contribuire a far luce sulla prima formazione di
Crivelli a Venezia.
L’impiego precoce della tela, le campiture smaltate, il pulviscolo dorato spruzzato sulle
aureole e la raffinata granitura delle lamine metalliche sembrano costituire un sottile fil
rouge fra Crivelli e la sua Venezia. Un legame che unisce il nostro pittore a Jacopo Bellini e
alla sua famiglia ma ancor prima a Gentile da Fabriano, rinnovatore della pittura a Venezia
così come Carlo rivitalizzò l’ambiente artistico nelle Marche.

The restoration performed in 2022 confirmed that the Madonna and Child of Macerata
by Carlo Crivelli was unequivocally originally painted on canvas, as Pietro Zampetti
already suspected in 1961. The nature of the support forces academics to re-examine the
painter’s production, also from a technical point of view, and confirms the use of canvases
for devotional paintings even in the 15th century.
The painter’s knowledge of this technique, as well as other significant technical details
such as the treatment of gilding, found in the small painting in Macerata and generally
in other of his works, may help provide information on Crivelli’s early apprenticeship in
Venice.
The early use of canvas, the enamelled backgrounds, the gilded dust sprinkled on haloes
and the refined texturing of metal foils seems to establish a thin fil rouge between
Crivelli and his Venice. A bond that unites our painter to Jacopo Bellini and his family,
but even earlier to Gentile da Fabriano, the innovator of painting in Venice just as Carlo
revitalised the artistic environment of the Marche.

Il presente contributo propone una rilettura delle fonti e delle notizie sulle opere realizzate da Carlo Crivelli per San Francesco ad Alto ad Ancona, in relazione agli importanti studi condotti negli anni sull’argomento. Oltre alla Visione del beato Gabriele Ferretti, oggi a Londra, e alla Madonna con il Bambino ad Ancona, gli studiosi hanno radunato intorno a questo contesto la Madonna con il Bambino e i santi Francesco, Bernardino da Siena e il donatore oggi a Baltimora e il San Francesco che raccoglie il sangue di Cristo a Milano. La data proposta per le quattro opere è il 1489 e frate Bernardino Ferretti è stato individuato come il committente. L’analisi improntata in questa sede cerca di riordinare le vicende del frate mettendole in relazione a tali opere, e proponendo confronti e riflessioni sulla datazione dei dipinti e sulla loro provenienza dal contesto anconetano.

This contribution proposes a reexamination of the sources and information on the
works created by Carlo Crivelli for San Francesco ad Alto in Ancona, in relation to the important studies conducted over the years on the topic. In addition to the Vision of Blessed Gabriele Ferretti, now in London, and the Madonna and Child in Ancona, scholars have gathered around this context the Madonna and Child and Saints Francis, Bernardino of Siena and the Donor today in Baltimore and the Saint Francis who collects the blood of Christ in Milan. The proposed date for the four works is 1489 and Brother Bernardino Ferretti has been identified as the patron. The analysis undertaken here attempts to reorder the friar’s events in relation to those of the works, making comparisons and reflections on the dating of the paintings and their provenance from the Ancona context.

The contribution focuses on the collecting history and critical reception in the 1820s of Carlo Crivelli’s renowned Annunciation with Saint Emidius, preserved today in the National Gallery in London. Thanks to unpublished archival documentation, it was possible to reconstruct that the Annunciation, from the Pinacoteca di Brera in Milan, arrived in Venice, where in 1821 the Academy attempted to acquire it for its newly founded Picture Gallery. The institution thus demonstrated an early appreciation for Crivelli, despite the painter’s limited popularity at the time. However, the new owner, the art dealer Alvise Albrizzi, decided not to sell it. It was probably Albrizzi who, eventually, exported the altarpiece and sold it in London to the famous collector Edward Solly, with whom he had already entered into business in Berlin a few years earlier.

extensively gathered in the Thesaurus Musicarum Latinarum 7 , sometimes discuss the use of musical instruments but do not necessarily reflect trecento musical practice: the systrum, for example, an instrument known from Egyptian times, and symphonia are nowhere documented in other trecento documents. Two exceptions are the treatises by the Dominican Jerome of Moravia and the Franciscan Juan Gil da Zamora, which may have been used in the education of young friars 8 and Johannes de Grocheio's De Musica, which describes musical life in Paris, where many Florentine friars were educated. 9 The search was based on the linguistic root of the instrument name, e.g. viol or viuol for fiddle. This produced successful hits for viola and viuola but also irrelevant words like violenza (violence); the root organ produced verbs like organizzare (to organize). This led to the establishment of a list of words to be excluded. From the initial file of 78,127 documents, a file of 857 unique records was developed with one keyword for each line 10 of the document in which the keyword is found. This file includes names of instruments, generic terms used for instruments such as istormenti and stormenti, but generic terms for players of instruments such as suonatori and pifferi as well as more specific terms such as cennamellarius (shawm player) and trombadori (trumpeters) were labelled as musicians and saved for a separate table. It also identifies non-instrumental musical activities such as singing (both monophonic-cantare and polyphonic-biscantare) and dancing-danzare and its cognate forms. These are also listed in a separate table.

2. Undated manusCIipt opinions cited in this section were generally given near the time the painting entered the Kress Collection. Not noted in the pages of the catalogue is the assistance of my daughter Dora Shapley van Wijk, especially in deciphering and translating inscriptions. Nor are the numerous instances identified in which the catalogue has benefited from the encyclopedic knowledge and wise COW1Sel of my husband, John Shapley. INTRODUCTORY NOTE What cannot be omitted here is an expression of gratitude to the staff of the Samuel H. Kress Foundation and the staff of the National Gallery of Art. Mr. Guy Emerson, now Director Emeritus of Art at the Foundation, and Miss Mary Davis, Assistant to the President, have facilitated my work in every possible way, especially in my use of the Foundation's archives, which contain documentary photographs, laboratory reports, and other material collected by members of the staff in their study of the paintings. Dr. Alessandro Contini Bonacossi, Curator, has generously aided me with his research. And my great debt to the former Curator of Research, the late Dr. William E. Suida, is indicated by numerous references in my notes. Mr. John Walker, Director of the National Gallery of Art, and Dr. Perry B. Cott, Chief Curator, and all members of the staff have made my working atmosphere at the National Gallery as nearly as possible ideal, lessening no whit the sympathetic cooperation which I enjoyed before my retirement from the staff. The Gallery librarians, now including Miss Link, Mrs. Honke, Mrs. Caritas, and Mr. McGill, have been tireless and even indulgent in meeting my requests for books. Finally, I am especially indebted to Miss Anna Voris, Museum Curator, who has not only prepared the various indexes but has assisted me efficiently throughout. FERN RUSK SHAPLEY UMBRIAN AND EMILIAN SCHOOLS xv CENTURY VERONESE, LOMBARD, VERCELLESE, AND PADUAN SCHOOLS XV-XVI CENTURY MASTER OF THE BARBERINI PANELS Umbra-Florentine School. Active third quarter offifteenth century. The designation was suggested by the former loca.tion, in the Barberini Collection, Rome, of the Visitation in the Metropolitan Museum, New York, and the Presentation in the Museum of Fine Arts, Boston, the two best-known paintings attributed to the master. Stylistic analyses of his oeuvre have revealed the influences of, among others, Domenico Veneziano, Filippo Lippi, and Piero della Francesca., and have led to attempts to identify the eclectic painter as the Master of the Carrand Triptych, as Fra Carnevale, as Bramante, as Giovanni Angelo di Antonio, and, most recently, as Alberti.

Napoli – Università degli Studi di Napoli Federico II
Seminario dottorale “La città degli storici dell’arte / The City of Art Historians”
- Relatore con “Icone urbane tra evocazione e specchio identitario: la città in mano al santo nelle opere di Carlo e Vittore Crivelli” (con Claudia Lattanzi)

Una prova di analisi nel contesto storico, artistico e religioso di una delle opere meno studiate di Carlo e di Vittore Crivelli (e di almeno un terzo artista), del Polittico, ora in Chiesa di San Martino di Monte San Martino, creato, seppur separatamente, dai due fratelli, due artisti dal temperamento diverso e tante "lacune" nei rapporti personali. Nella tesi di laurea, discussa nel 2024, si cerca di contestualizzare vari aspetti di quest'opera dal destino complesso, tra i quali  i rapporti artistici tra Veneto, Dalmazia e le Marche, la questione del "gusto" dell'epoca, i motivi delle scelte stilistiche nei "rinascimenti" considerati "minori".

Manuscript Studies brings together scholarship from around the world and across disciplines related to the study of premodern manuscript books and documents, with a special emphasis on the role of digital technologies in advancing manuscript research. Articles for submission should be prepared according to the Chicago Manual of Style, 16th edition, and follow the style guidelines found at http://mss.pennpress.org.

Le personnage est en décalage par rapport au mouvement qui caractérise le texte (mouvement des êtres et des choses) : il est immobile, il tient son carnet de croquis sous le bras , mais ne s'en sert pas, il se contente de regarder le paysage, il ressent de la tristesse car, comme son histoire le montre, il n'a pas eu jusqu'à présent l'occasion de mener sa vie à sa guise : il est sous la dépendance financière et matérielle de sa mère, il s'est rendu au Havre auprès d'un oncle à héritage comme elle le lui avait demandé, il emprunte le chemin des écoliers - conduite magique typique de l'enfance - pour rentrer chez lui : "Il se dédommageait de ne pouvoir séjourner dans la capitale, en regagnant sa province par la route la plus longue."

Ces caractéristiques de départ : la jeunesse, la tendance à contempler les choses plutôt qu'à agir sur elles, le côté "artiste", la "naïveté" du personnage, contribuent à faire de Frédéric Moreau le héros type du roman d'apprentissage.

Mais ce regard discrètement ironique d'autodérision, n'est pas dénué d'affection envers un double qui ressemble à l'auteur comme un frère, lorsqu'il avait son âge.

The Madonna of the Passion in the Museo Castelvecchio, Verona, is one of the earliest surviving works of Carlo Crivelli (ca. 1430-1495) (fig. 1). It is signed OPVS KAROLI CRIVELLI VENETI in the lower right, and the painting's iconography and style suggest that it was executed in Padua or Zadar in the late 1450s or early 1460s. 1 Its first known provenance, however, is in Venice. In 1834, the Marchigian scholar Amico Ricci saw Crivelli's panel in the collection of Captain Gaspare Craglietto. 2 Ricci recorded that the painting was originally in the Benedictine

Our knowledge of the briefyet formative period Francesco Mazzola, better known as Parmigianino, spent in Rome between 1524 and 1527 relies almost entirely on the account given by Giorgio Vasari. The discovery of the contract for a major altarpiece -- the so-called "Vision of St Jerome," now in the National Gallery, London -- affords the opportunity to put Vasari's authority to the test. In addition, the documents published here expand our knowledge of the intended context and significance of Parmigianino's painting.

The representation of religious content has been long dominating the development of western art. A great achievement has been made through decades when Christian artists gradually developed a system of abstract representation to keep a comfortable distance from the pagan past, as well as to keep a balance between the aniconic doctrine and the desire for visual presentation. This article takes one of the most popular themes of religious painting, the Holy Infant as research focus to explain the changing representations of different eras. By comparing the plastic art representations of the holy infant, it is argued that changes have been made through symmetrical spatial layouts, characterizations, and metaphors.

Venice at the turn of the fourteenth century was moving towards the zenith of its power and prosperity. Luxury goods, in particular textiles and spices, poured in from Persia, China and Egypt, and Venice was the departure point of goods moving on to France, Germany and the Low Countries; the city was full of foreign merchants and traders. After being involved in the sack of Constantinople in the fourth crusade of`1204 and appropriating many of its heritage artefacts and lands, Venice, once a tributary of Byzantium, now considered herself its equal.

Les réflexions qui suivent, dédiées au rapport entre image et écriture dans la peinture classique, portent sur trois cycles de fresques italiennes réalisées à cheval sur le XV e et le XVI e siècle : celui peint par Pietro Vannucchi, dit « le Pérugin » dans la salle d'Udienza du Collegio del Cambio à Pérouse,

The walls and ceilings of Italian churches in the eleventh and twelfth centuries were painted with illustrations from the Old and New Testaments of the Bible that conveyed the Christian message and served as a focus of veneration. The majority of the paintings surviving from the thirteenth century, not only on walls but also on wood and as illuminations for manuscripts, were commissioned for churches, monasteries and other religious establishments. Strong links with the Eastern Christian world made Byzantine artistic compositions and conventions for depicting sacred subjects, particularly in icon painting and mosaic work, significant influences on thirteenth-century Italian painting. Byzantine art and artists entered Tuscany after the fall of Constantinople during a period of population growth and prosperity in Italy when monasticism, religious piety and the building of new churches flourished. Italian-born painters, trained initially by Byzantine artists, succeeded in making the Byzantine prototypes predominate and determined, with other factors, the early direction of painting in Siena and the subsequent course of European painting.

The size, shape, and application techniques of gold leaf in fourteenth-and fifteenth-century gold ground panel paintings attributed to artists working in Florence, Siena, and Fabriano was directly visualized using in situ scanning macro X-ray fluorescence spectroscopy (MA-XRF). The resulting gold (Au) Lα (9.712 keV) element distribution maps are of sufficient spatial resolution to enable an accurate and reproducible measurement of the shape and size of individual gold leaves. The resulting leaf measurements are discussed in the context of historical guild regulations, in particular, the 1403 reforms to the statutes of the Florentine Guild of Doctors and Apothecaries (Arte dei medici e speziale), which standardized the dimensions of gold leaf produced in Florence. The dimensions of the gold leaf from Florentine paintings created before and after the 1403 reforms were compared to each other as well as to gold ground paintings created in Siena and Fabriano. The results revealed the gold leaf squares in fourteenth-century Florentine and Sienese panels had side lengths averaging about 8 cm. In contrast, the gold leaf squares used in the fifteenth-century Florentine and Sienese paintings were smaller, with side lengths measuring about 7 cm. In addition, the degree of overlap between adjacent gold leaves was also measured. The amount of overlap was found to vary between artists, and the degree of overlap was consistent within the oeuvre of a specific artist. Taken together, these results suggest that the dimensions of the gold leaves found in panel paintings relate to the place of production on the Italian peninsula and the period in which they were created, while the degree of overlap relates to the individual hand of a gilder or artist/ workshop.

La mostra Il Quattrocento a Fermo. Tradizione e avanguardie da Nicola di Ulisse da Siena a Carlo Crivelli, che ho curato insieme ad Alessandro Marchi nel 2018, comprendeva una sezione allestita nel Museo Diocesano di Fermo. In quella sede erano messi in evidenza alcuni dipinti su tavola riferibili al pittore Fra Marino Angeli, che sembrerebbe documentato dal 1437 fino al 1480: si tratta di una Madonna col Bambino, uno scomparto con Santa Lucia e San Paolo che conserva parte di carpenteria
originale, e i tre pannelli con la Madonna col Cristo in pietà, Sant’Antonio abate e San Marone, San Sebastiano e Sant’Agata. A queste opere avevo dedicato un’ampia disamina nella mia tesi di laurea, discussa all’inizio del 2016 all’Università di Firenze sotto la guida del prof. Andrea De Marchi, ma nel catalogo della mostra fermana fu possibile riportare solo parte di quei ragionamenti. Il presente articolo mi offre l’occasione di esporre qualche approfondimento su questioni stilistiche, tecniche e tipologiche, nonché sulla carpenteria originaria in cui le tavole erano inserite. Il testo che segue ricalca dunque in gran parte il capitolo del mio elaborato, con i dovuti aggiornamenti bibliografici e alcune nuove considerazioni maturate di recente.

This paper is an edited version of Chapter 3 of my doctoral thesis "Florentine Musical Iconography and its relation to contemporary Musical Practice", PhD, University of New England, 2023, for which I was awarded the Chancellor's Doctoral Research Medal. The thesis is to be published by Georg Olms in the series Musica Mensurabilis under the title Angels in Florentine Iconography and Trecento Musical Performance. 2 (See Lassetter 1991). 3 (Brown 1988). 4 See Table 3

A set of three Castilian panel paintings of the late 13th century is usually on display in the Met Cloisters in New York. These paintings, of unknown provenance, have long been recognized as part of a tabernacle-altarpiece or tabernacle shrine, but in spite of this and their relatively good condition, they have attracted little attention in studies on Gothic painting in Castile. Recent scholarship on tabernacle shrines provides a new basis for their research. By analysing the panels’ most unique feature (the depiction of small-scale scenes offering a cycle of the Passion, visible when the altarpiece was closed), and through comparison with other contemporary works, this article proposes a possible context and use for this important example of early Gothic painting in Castile.

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Comune di Monteprandone gustare l'arte san giacomo della marca con Un percorso alla scoperta della cultura marchigiana del Quattrocento gustare l'arte san giacomo della marca con Un percorso alla scoperta della cultura marchigiana del Quattrocento

Francesco di Gentile, ital. Maler aus Fabriano, tätig ca. 1440/1460 in den Marken. Erhielt seine Ausb. vermutl. in den Marken und wurde bes. von der Kunst Paduas beeinflußt. Im Unterschied zu dieser verlieh F. jedoch seinen Figuren eine stärkere Charakteristik und Ausdruckskraft und gab ihnen mittels weicher Schatten mildere Gesichtszüge. Nachdem bereits Berenson (1913) den sign. Werken F.s mit Vorbehalten einige Zuschr. an die Seite gestellt hatte, legte Serra (1933) das erste WV vor. Viele der darin enthaltenen Bilder sind aufgrund von in jüngerer Zeit aufgefundenen Notariatsakten allerdings eindeutig Luca di Paolo zuzuschreiben, einem bereits durch Dok. bek. Maler aus Matelica. Als gesicherte Werke F.s gelten derzeit: Schmerzensmann (monochrom, sign. auf Rückseite; jetzt Washington); Schmerzensmann (ehem. Slg Mond); Madonna mit Kind (Pin. Vaticana), Portr. eines jungen Mannes (ehem. Slg Pesenti). Sign. ist auch das Triptychon aus der Slg Perkins (jetzt Assisi), dessen Zuschr. jedoch umstritten ist und das von einigen Forschern als Fälschung des 19. Jh. angesehen wird. Außerdem ist F. die Taf. mit dem Volto Santo von Lucca mit Cherubim und Engeln (ehem. London, Slg Rothemere) wieder zugeschr. worden. Als sein letztes Werk gelten bislang die verlorenen Fresken in S. Venanzio di Albacina (Genga b. Fabriano), deren Inschr. neben dem Datum 1497 den Stifter "Bernardino veneto" und den Maler "Francesco a Fabriano" nannten. Bei letzterem könnte es sich auch um Francesco di Ottaviano di ser Marco aus Roccacontrada handeln (heute Arcevia b. Fabriano), der 1490-99 in Fabriano dok. ist, wo er aucḧ off.Ämter versah und als Zeuge in dem Vertrag zw. Carlo Crivelli und denörtl. Franziskanern zur Pala Becchetti auftrat (er machte 1510 sein Test.). Marcelli (1997) hat vorgeschlagen, F. mit dem gen. Francesco di Ottaviano zu identifizieren, wobei "Gentilis" nicht als Patronymikon, sondern als Attribut aufzufassen wäre (Francesco "il Gentile" und nicht "di Gentile"). Der Verbleib einiger Werke F.s ist unbek.: eine Heimsuchung (sign. "Franciscus Gentilis de Fabriano") wurde von Mundler (1855-58) in der Casa De Minicis in Fermo und später von Raffaelli (1889) im dortigen Dom gesehen (erw. auch von Gaye, 1839), ein Kruzifix, das sich lt. Ricci (1834) und Schulz (1860) ehem.über der Tür von S. Agostino in Bari befand.