Abstract
Saint Victor Oratory in Meda, located 25 km North of Milano, was part of the local female convent since about 1520. The dominant element of the church interior decoration was the dividing wall, that was on the left and right side decorated with two mural paintings depicting the Three Marys at the Tomb and the Descent from the Cross.
These mural paintings alongside with the Angels Torchbearers on both sides of the high altarpiece were first published in the sehttps://verso.is.cuni.cz/obd3/img/stavy/oznac0.pngventies by Giulio Bora. Hence the decoration of the dividing wall underwent further arthistorian assessment, of which the results can be regarded as more or less convincing.The proposed paper evaluates actual research on the attribution issue of the mural paintings on the wall dividing in oratory.
Publishing of quite a few preparatory drawings from the National Gallery in Prague and the Regional Museum in Teplice contributed to the attribution of the whole cycle on the name of Antonio Campi in the nineties. Unfortunately, the dating of the mural painting was not sorted out properly.
The main aim of the paper is to convince the audience of the forward dating of these paintings to the end of the seventies of the 16th century. The whole understanding of the artist drawing practice using examples from the Czech art collections together with preparatory studies from the collections in Paris or in Modena and above all the visual and the contextual analysis of the painter's work will help the researcher to the right dating of the mural painting cycle in Meda.