Discovery in Milan

"Milan and her lands never produced a painter even approaching the first rank," wrote famed Art Critic Bernard Berenson. "She lacked genius." The failing of Milan artists, in Berenson's critical view: "Prettiness, with its overtones of gentleness and sweetness, formed, as it were, the primordial substance of Milanese painting. Like an infinite ocean of soap-bubbles, it covered even the most salient figures with a formless iridescence."

Last week in Milan's 13th century Church of San Marco a dedicated Milanese restorer, pretty Pinin Brambilla, 31, was finishing the task of uncovering an unsuspected fresco that tor its brilliant, fresh colors and bold, naturalistic drawing of the crucified Christ might well make even Critic Berenson eat his words.

First clue to the forgotten fresco's existence came to light when workmen moved the sarcophagus with the bones of the church's founder, discovered behind it bits of an old fresco on the wall. Restorer Brambilla, on hand to work on a later work by Fiammenghino, quickly turned her attention to the new find. Working meticulously with microscope and checking herself by photographing the work as she went along, she managed to uncover the fresco and preserve the color down to the last clinging dab of paint.

As the scaffolding came down last week, a Crucifixion scene stood revealed (see cut), with angels in attendance, the Madonna at right clad in blue robes edged with gold, two as yet unidentified female saints at left and a portrait, probably of the Bishop donor.

Milanese art historians, excited by the discovery, date it between 1370 and 1380, making it the only known 14th century fresco in Milan. Part of the fresco was destroyed in early attempts to restore it, but enough remains to set scholars wondering who the artist was. One hypothesis is that he might well be one Giovanni de Milano, born near Como, who came to Milan in the 1370-80 period and introduced a more realistic style with emphasis on details of robes and three-dimensionality.

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