155 Endnotes paintings, on the left St Catherine with other saints, a panel attributed to the surrounding of Palma il Vecchio and on the right a painting on textile support with the Holy Family, signed ABD. 13 Igor Fisković, Lopudski oltari Miha Pracata. In: Ars Adriatica 2/2002 p. 202. This retable by Paolo Campsa will not be discussed here. It has been undergoing restoration at the Croatian Conservation Institute - Department Dubrovnik. A separate publication is expected. 14 Anne Markham Schulz, Tessie Vecchi, Paolo Campsa e la manifattura di ancone lignee nella Venezia del rinascimento. In: Saggi e Memorie di Storia dell’ Arte. No 25/2001 p. 9, 11-53 15 Lisičar, V., Lopud, historički i suvremeni prikaz, Dubrovačka hrvatska tiskara. Dubrovnik, 1931, p. 37 16 The gravestone in the floor in front of the retable reads: „NICOLAO BRAVTIO EPO SARSINAE ET COMITI BOBII OBIIT ANODNI 1632. MENSIS MAII 27, AETATIS SUE. LXVI. EPISCOPATVS SUI XXX” (Nicholas Brautić, Bishop of Sarsina and Count of Bobium, died in the year of our Lord 1632, May 27, 66 years old, 30 years after receiving his episcopal consecration). Sarsina is a municipality in the province of Forlì-Cesena in Emilia-Romagna. https://www. catholic-hierarchy.org/diocese/ds208.html (26.5.2024); here Brautić is listed as Nicolas Braverio. Brautić left 7763 ducats for the construction of the chapel and the masses that were to be held in his memory. The relevant passage in his will for the construction of the chapel and the donation of the retable reads as: „fabricare una capella nella chiesa parrochiale die santa Maria Bison in contro a quella del S[a]ntissimo Crucifisso dell`istessa forma e grandezza“. „Diversa notariae“, Vol No. 211, p. 139 (Dubrovnik archive) contains the terms of the Bishop´s will, drawn up in 1631. 17 Further preserved documents confirm that Urban Bavarac (or Urban de Surgge) had been active in Dubrovnik, the islands Lastovo and Hvar, as well as in Kotor. See: Kruno Prijatelj, Prijedlog za Urbana Bavarca, in: Peristil 35/36, 1992/93, p. 143-150. Prijatelj also provides the text of the other surviving documents. He tried to attribute the main altar of the church to this Bavarac, which recent research has attributed to Paolo Campsa. But the coincidence of the date of the document (1636) and the date of the annunciation retable tempts us to assume that Bavarac was the creator of our retable, although the difficulty remains in relating the provided very detailed measurements in this contract to the present retable. The contract fails to allocate the measurements in concrete terms. The shape of the ordered work therefore remains unclear. It is possible that a design drawing also existed. The mentioned total length of 13 feet (4,43m) corresponds approximately to the height of the retable above the mensa. (4,36m) For the contract and a proposed translation see Appendix I 18 We will see that for the Holy Cross retable, a priest of the same name is mentioned (presbyter Blasio de Allegretto), who might be the uncle or great-uncle of Blasius Allegretti who commissioned the retable from Urban Bavarac. It is not uncommon for members of the same family, across generations, to be involved in the furnishing of the churches in this region.
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