ABSTRACT
The remarkable artistic career of Giulia Lama (1681–1747) produced independent works for Venetian churches as well as istorie (history paintings). Atypically, she drew after both the male and female nude model, yet her lack of historiographic visibility, compounded by the difficulty in viewing her work, has impeded the study of her oeuvre. Four spandrel paintings of the Evangelists attributed to Lama hang high above two altars in the Venetian church of San Marziale. The opportunity for an intimate view of the Evangelists due to their current conservation sponsored by Save Venice Inc. has allowed an enquiry into Lama’s technique in these canvas paintings.
