Abstract

Through the analysis of the two polyptychs made by the Vivarinis, this paper highlights the crucial role played by the Murano workshop in Terra d’Otranto during the Renaissance. The unfortunate circumstances behind the polyptych from Santa Maria d’Aurio, allow us two considerations. On one hand, the issue of the pictorial heritage dispersion; on the other, the reconstruction of the dynamics of work inside the workshop and the relationships between Antonio Vivarini and Dario da Pordenone. While, the recent restoration of the polyptych from the Basilica of Santa Caterina in Galatina, has led us to a chronological classification to the sixth decade of the fifteenth century