Abstract
Though patterns of religious patronage and iconography might be expected to provide important insights into the development and transmission of styles, specific instances of just how this process took place are difficult to isolate. An exception, however, is a Venetian sojourn of the late trecento-early quattrocento Sienese painter Andrea di Bartolo, son of the better-known Bartolo di Fredi. In this study the circumstances of Andrea's activity for Venetian religious foundations and a later sojourn to the Veneto itself are examined. The reconstruction of this phase of Andrea's career not only contributes to an understanding of the historical framework surrounding his activity for patrons in Venice, but also helps clarify the oeuvre and chronology of a prolific and gifted painter.
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