Since the end of the nineteenth century, scholars, especially Germans, ascribed to Provençal art the origin of the monumental sculpture of Benedetto Antelami, and in particular, that of the Cathedral of Fidenza. This thesis provoked a fervent debate, especially with regard to a hypothetical trip to Provence Antelami. Here, I would first like to review the noteworthy history of the studies on the sculpture of Antelami. Then, I will re-examine this problem, which still remains an issue, by focusing on the role of the port of Genoa. Indeed, in Genova the ‘magistri antelami’ in which Benedetto Antelami belonged have been active since at least the beginning of the twelfth century. Interestingly, Genova at that time enjoyed the status of a powerful maritime republic and had a strong commercial penetration in Provence. Regarding the relationship between Genoa and Fidenza, the role of the Pallavicino family should have been relevant.
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