Gli affreschi della cappella di San Martino in Sant'Eustorgio a Milano. Circolazione di modelli iconografici araldici e cateriniani e precisazioni tecnico-stilistiche

This essay focuses on the iconographic and iconological aspects of the frescoes in the St. Martin chapel in the basilica of Sant’Eustorgio in Milan. In particular the paper argues that the identity of the lady depicted on the St. Mark cell of the chapel vault is the key to connecting Visconti heraldic depictions present in miniatures, armorials and a sculptural effigy. An analysis is also made of how the representation of Catherine of Siena and Walter of Strasbourg remind us of the figurative models produced by the “Caffarinian” scriptorium circle in order to enhance the veneration of the Sienese Dominican in the complex context of the controversy surrounding the stigmata, whilst observing the circulation of compositional solutions in the rendition of the symbols of the Tetramorph. From the standpoint of style, added to the strong Michelinian substrate is the contemporary presence of two stylistic lines, one softer and conventional, the other anticipating the traits characteristic of the subsequent activity of Cristoforo Moretti. Finally a number of technical considerations are made concerning the execution of the paintings, emerging from recent restoration work done on the frescoes.