A commentary by Vittorio Sgarbi on Dürer’s masterpiece preserved in the permanent collection of the Magnani Rocca Foundation.

Originating from the Capuchin Monastery of Bagnacavallo, established in 1774, the painting has been documented at that location since the foundation of the convent. It remained unknown until 1961, when Don Antonio Savioli mentioned it in the Bollettino Diocesano di Faenza, citing Roberto Longhi’s attribution to Albrecht Dürer based on a photograph.

Savioli, to support the antiquity of the painting’s presence in the convent, referenced a mediocre Neoclassical copy preserved there, likely made to protect the original, which was held in high esteem, from Napoleonic confiscations. He also mentioned that, in the first half of the 19th century, the Faenza artist Angelo Marabini created a weak engraving of the work, where it was referred to as “Madonna del Patrocinio,” indicating an ancient devotional tradition.

Longhi, who soon after published the painting in Paragone, confirmed the attribution to the German master and added observations regarding restorations that the painting had undergone, revealing its remote origins:
“One, possibly intended to address the effects of an old burn, involves an entire lock of hair cascading on the right side of the Virgin’s face and, due to the notable skill of its execution, appears to have been done by a ‘philologically’ trained hand and thus, I would say, not earlier than the Age of Enlightenment; the other, more an addition than a true restoration, was meant to conceal certain parts of the Child and seems driven by post-Tridentine moralistic scruples. Technically, it points to the late 16th century.”

Longhi suggested that the restoration that obscured the original details should be documented before proper cleaning restored the painting. This is also because the scruples leading to the alterations indicate that the work entered a women’s cloistered convent long ago, possibly intended for Emilia rather than Venice, a city of freer culture and less strict Tridentine observance.

When the painting entered the Magnani collection with the full consent of ecclesiastical authorities and regional Fine Arts offices, it underwent “proper cleaning,” and its original condition was masterfully restored by the Central Institute of Restoration in 1970. In his essay, Longhi reaffirmed his initial impression that the Madonna del Patrocinio was created during Dürer’s second trip to Italy, between 1505 and 1507, while he was in Venice and Bologna.

Longhi associated Dürer’s first Italian sojourn in 1495 with influences from Mantegna, Pollaiolo, and the Squarcionesque school, suggesting that Dürer, during this trip, was drawn more to Bartolomeo Vivarini or the Ferrarese than to Bellini. For instance, the Wittenberg Altarpiece (Dresden, 1496) recalls certain second-tier Squarcionesque Ferrarese painters, such as Crevalcore. Similarly, in the Paumgartner Altarpiece, completed at the end of the 15th century, Dürer’s familiarity with the Roverella Altarpiece in Ferrara becomes apparent.

Regarding Crevalcore, Longhi made a remarkable prediction, likely thinking of Sacra Conversazione (1493) in the Berlin Museum or the later Madonna in Stuttgart by the same artist. This anticipated the discovery of three large paintings by Crevalcore from the Etrépy Castle, one of which inspired Dürer’s St. Anthony in the Wittenberg Triptych. The meditative tilt of the saint’s head and the open book in his hands suggest a thoughtful borrowing. It’s conceivable that sketches by Dürer after Crevalcore’s work may yet be found.

In the central panel featuring the Madonna, elements such as the flanking wall, the pear, and the thin tempera relate to innovations by Crevalcore and Francesco del Cossa in Bolognese paintings (e.g., Pala dei Mercanti). This connection suggests that Dürer visited Bologna earlier than his second Italian sojourn, possibly between late 1494 and early 1495. Longhi’s ironic conclusion that “the great artist from Nuremberg knew far more about Italian art than his modern interpreters” reignites debate about the dating of the Madonna di Bagnacavallo.

Taking as a chronological reference Christ among the Doctors in the Thyssen collection (dated 1506), it’s hard to place the Madonna di Bagnacavallo in the same period. Its classical composition, similar to the Prado Self-Portrait (1498) and akin to the Washington Madonna, aligns more closely with the earlier years of Dürer’s career.

Knappe argues that the Madonna’s attire suggests an earlier period, pointing to a conflict between Gothic and Italian elements and dating the work to Dürer’s first stay in Venice (1494–1495). Strieder suggests an intermediate date (1497–1498), while Ottino della Chiesa and Köhler propose dates shortly before or around 1507, leaning toward the first Italian journey. Fedya Anzelewsky definitively dates it to 1494, citing similarities with two sketches from the Louvre and Uffizi, both linked to the painting and marked 1495.

This makes 1495 the most plausible date for the painting.

Anzelewsky highlights the Madonna del Patrocinio as a crucial work demonstrating Dürer’s early synthesis of Northern Gothic and Italian Renaissance styles. The two drawings referenced—one at the Louvre, showing preparatory sketches for The Knight, Death, and the Devil, and another at the Uffizi, likely inspired by Lorenzo di Credi—offer insights into Dürer’s evolving approach to composition and technique during this formative period.

The Louvre drawing, marked by its precision and conceptual closeness to the Madonna di Bagnacavallo, suggests a clear intention to develop the painting as part of his artistic dialogue with Italian masters. The Uffizi sheet, on the other hand, reflects stylistic influences from Credi, with comparable hatching techniques and light effects that correspond to the features of the Child in the painting.

The debate over the dating of the Madonna del Patrocinio is intertwined with broader discussions about Dürer’s artistic development. Longhi’s comparison to works by Antonello da Messina, Bartolomeo Montagna, and Giorgione reveals the nuanced interplay between Dürer’s Northern training and his exposure to Italian artistry. The composition of the Madonna del Patrocinio, with its calm pyramidal structure, soft maternal oval, and dynamic yet balanced depiction of the Child, stands apart from the more exuberant, Venetian-influenced works like The Madonna of the Goldfinch (1506).

In the painting, the tonal harmony of subdued earthy hues accentuates the sculptural modeling of the figures. The chiaroscuro, reminiscent of engraving, lends the Virgin’s hand a preparatory quality, underscoring the meticulous attention to detail characteristic of Dürer’s graphic work. This intimate luminescence contrasts with the exuberant chromaticism of contemporary Venetian paintings, reaffirming Longhi’s view that the work belongs to an earlier phase of Dürer’s career.

The architectural and spatial elements of the composition—such as the fragmented plaster, the light reflecting off the armrest, and the austere courtyard in the background—further root the painting in a Northern aesthetic while incorporating Italianate references. The depiction of light, described by Longhi as “cutting and incisive,” creates a subtle interplay between realism and idealization, imbuing the scene with a timeless serenity.

The Madonna di Bagnacavallo represents not only a pivotal moment in Dürer’s artistic trajectory but also an artifact of cultural exchange between Northern and Southern Europe. It exemplifies the artist’s capacity to integrate diverse stylistic influences into a coherent and innovative visual language, solidifying his position as a bridge between the Gothic and Renaissance traditions.

In conclusion, the rediscovery and subsequent restoration of the Madonna del Patrocinio offer an invaluable glimpse into Dürer’s early engagement with Italian art. The scholarly consensus, while varied in its precise dating, underscores the work’s significance within the context of his first Italian journey, with its roots firmly planted in the rich artistic soil of late 15th-century Bologna and Venice.