 |
| Odoardo Fialetti after Pordenone Venus before 1627 engraving after fresco figure on the façade of Palazzo Tinghe, Udine British Museum |
 |
| Odoardo Fialetti after Pordenone Diana before 1627 engraving after fresco figure on the façade of Palazzo Tinghe, Udine British Museum |
 |
| Odoardo Fialetti after Pordenone Pan before 1627 engraving after fresco figure on the façade of Palazzo Tinghe, Udine British Museum |
 |
| Odoardo Fialetti after Pordenone Mars before 1627 engraving after fresco figure on the façade of Palazzo Tinghe, Udine British Museum |
Giovanni Antonio Pordenone (1483/4-1539) left behind many much-admired paintings (and especially frescoes) in Venice and its territories and satellites. Scholars suggest measuring the strength of Pordenone's influence by the abundance of reproductive prints created and published by many hands throughout the first century after his death. Many of these prints, like the four above, have become the best surviving records of long-lost originals. Pordenone painted his large beautiful reclining Classical figures on the outer walls of a palace in Udine. One relatively recent observer claimed that faint shadow-shapes of Venus, Diana and Pan remained discernible – to a willing eye – on the façade of Palazzo Tinghe, but that the space once occupied by Mars had been obliterated. The four images below, by contrast, represent Pordenone frescoes that still exist, on walls inside the church of Santa Maria di Camp in Piacenza.
 |
| Oliviero Gatti after Pordenone God the Father creating the world 1615 engraving after church fresco in Piacenza British Museum |
 |
| Oliviero Gatti after Pordenone Judith with the Head of Holofernes 1606 engraving after church fresco in Piacenza British Museum |
 |
| Oliviero Gatti after Pordenone Sacrifice of Isaac 1625 engraving after church fresco in Piacenza British Museum |
 |
| Oliviero Gatti after Pordenone God the Father creating Adam 1625 engraving after church fresco in Piacenza British Museum |
Below, another group of four engravings from a Biblical fresco cycle painted by Pordenone in the cloister of San Stefano in Venice. These were frequently copied, which was fortunate – "destroyed or detached" is the way the British Museum accounts for the state of these Pordenone frescoes now.
 |
| Giacomo Piccini after Pordenone Expulsion of Adam and Eve ca. 1656 engraving after cloister fresco in Venice British Museum |
 |
| Giacomo Piccini after Pordenone Cain killing Abel ca. 1656 engraving after cloister fresco in Venice British Museum |
 |
| Giacomo Piccini after Pordenone David and Goliath ca. 1656 engraving after cloister fresco in Venice British Museum |
 |
| Giacomo Piccini after Pordenone Entombment ca. 1656 engraving after cloister fresco in Venice British Museum |
 |
| Nicolo Boldrini after Pordenone Milo of Croton attacked by a lion while his hands are trapped in a tree ca. 1530-70 chiaroscuro woodcut (key-block only) after Pordenone painting British Museum |
 |
| Nicolo Boldrini after Pordenone Leaping Horseman (Marcus Curtius) ca. 1566 chiaroscuro woodcut (key-block only) after fresco façade in Venice British Museum |
 |
| Nicolo Boldrini after Pordenone Leaping Horseman (Marcus Curtius) ca. 1566 chiaroscuro woodcut after fresco façade in Venice British Museum |