Abstract

Taking into account new critical and archival evidence, this study sheds light on the two major late-Gothic pictorial works arriving from Venice and now present in Terra d’Otranto: the polyptych by Lorenzo Veneziano and the Madonna and Child already attributed to the Master of the Madonna Giovannelli. A rereading of the events allow us to consider new study perspectives. After a contextualization of the works, this paper relates them with the most important pictorial sites of the fourteenth and early fifteenth century in Terra d’Otranto, assuming that the origin of the panel of the Madonna and Child is from the Basilica of Santa Caterina d’Alessandria in Galatina.