The present study originates from the attribution of an imposing wooden Crucifix – preserved in the Cathedral of Santa Croce in Forlì and still partially covered in its original polychromy – to the Maestro dei Mesi di Ferrara, an artist already documented in the city through his Adoration of the Magi in the Basilica of San Mercuriale. Building on this attribution, the article examines the activity of the Master, one of the foremost figures in Italian sculpture during the first half of the 13th century, reassessing his known works to reconstruct his artistic career, both in its chronological evolution and in its intersections with other artistic traditions.
Particular attention is devoted to his work for the Basilica of San Marco in Venice, generally considered to be the culmination of his artistic activity. To this mature phase, the article proposes to ascribe several sculptures that, although stylistically consistent with the 'Adoration of the Magi' and the 'Dream of Saint Joseph' – long associated with the artist and also originating from San Marco – have not yet been formally included in his oeuvre. These comprise several pieces representing episodes from the 'Infancy of Christ', as well as the four 'Evangelists' and the 'Blessing Christ'
crowning the ciborium of San Marco.