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Si n o t i n o c o m u n q u e C . c o m u n a l e si ricostruisce a p a r t i r e da G . D . M a n s i , Diario M e e k , Lucca moderno 1369-1400: Politics and Society in an Early Renaissance City- State, N e w Y o r k , 1978, e per i l C i n q u e c e n t o i l bellissimo s t u d i o d i M . Berengo, Nobili e mercanti nella Lucca del Cinquecento, T o r i n o , 1974. 2. L'estensione del t e r r i t o r i o lucchese nel T r e c e n t o si deduce p r i n c i palmente dagli s t a t u t i del c o m u n e ; cf.

Figure 15. Landscape with a Seated Figure. Jacometto Vene­ ziano, New York, The Metropolitan Museum of A r t , Robert Lehman Collection, 1975. 31 32 Goldner i n the house of Michele C o n t a r i n i and were t h e n kept to­ must be cautious i n depending too heavily o n the relation­ gether under an elaborate leather cover. O n the back o f ship. There exists a c o m m o n concern for illusionism and a the male portrait there is a h i n d attached to a roundel rich and diverse feeling for light and for naturalistic detail (Fig.

N o t . T h e Correr painting has been cut laterally, while the Figure4. St. ). CarPaccio. London, National Gallery. Vici's i n some respects, but w h i c h is closer to existing Re- Bird Hunt shows no aesthetic indications o f having been naissance examples. I w o u l d suggest that the panel was cut reduced at its sides. T h i s is very i m p o r t a n t since the t w o by about eight to ten inches at the b o t t o m and that it panels are virtually the same w i d t h . Furthermore, the originally showed the lily i n a vase w h i c h was set o n a trompe Voeil image o n the back of the Getty panel (Fig.

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