Issue 77 of “Arte Veneta”, the journal of the Institute of Art History of the Fondazione Giorgio Cini in Venice, which over time has become one of the most important specialized art history publications.

Founded in 1947, under the presidency of Giuseppe Fiocco and the scholarly editorship of Rodolfo Pallucchini, “Arte Veneta” has over time become one of the most important specialist publications in art history. This issue opens with an essay by Mauro Minardi dealing with a new example of Lorenzo Veneziano’s early work. It is followed by the Renaissance themes dealt with by Davide Civettini, with a reinterpretation of the Archangel Michael in San Michele Extra in Verona, and by Michele Guida Conte’s examination of the Velo altar in Santa Maria dei Servi in Vicenza, studied to date only by local historians.
The volume continues with interesting essays on the sixteenth and seventeenth centuries by Wolfgang Wolters, who analyses Tintoretto’s contribution to the self-celebratory rhetoric of La Serenissima, and by Vincenzo Mancini, who retraces, with the support of new data, the path of Luca Ferrari in Padua, as well as an important study by Monica De Vincenti and Simone Guerriero devoted to Antonio Corradini, the “Tritonian Prometheus” of Venetian sculpture, and that by Olga Piccolo which sheds light on the collaboration between Giovanni Battista Cavalcaselle and the first two directors of the National Gallery in London, Charles Lock Eastlake and William Boxall.

This is followed by the section on reports, featuring some outstanding finds, including a drawing by Carpaccio at the Galleria Nazionale delle Marche presented by Denis Morganti, and closes with the section on archival documents, presenting texts by Matteo Ceriana and Anna Pizzati, which shed light on Antonio Rizzo in the Venetian church of Sant’Elena; by Georgios Markou, with a proposal on the provenance of the Madonna and Child by Giovanni Bellini in the Nelson-Atkins Museum of Art in Kansas City; and, finally, by Giordana Mariani Canova, who presents the discovery of a new inventory, dated 1729, of the gallery of paintings in the apartment of the abbot of the Benedictine monastery of Santa Giustina in Padua.
All the contributions are richly illustrated.