Studi di Storia dell'Arte 23

21x30 bross, pp. 276; 306 ill. b/n e col, 2012  - ISSN 1123-5683

Liliana Barroero, Cristina De Benedictis, Anna De Floriani, Gert Kreytenberg,
Francesco Federico Mancini, Enrica Neri Lusanna, Vincenzo Pacelli, Steffi Roettgen, Pietro Ruschi,
Erich Schleier, Nicolas Schwed, Anchise Tempestini.
Marcello Castrichini direttore responsabile

Francesca Fabbri Müller

Romanzi cortesi e prosa didattica a Genova alla fine del Duecento fra interscambi, coesistenze e nuove prospettive



An important group of late thirteenth century manuscripts is at the centre of a lively debate about their possible attribution: Have they been produced at the Anjou court in Naples in the late thirteenth and early fourteenth century, or are they the result of a collaboration between Genoese and Pisan scribes and illuminators, after the battle of the Meloria (1284–1299), in the course of which the Pisans have been taken as prisoners of war and withheld in Genoa? The article tries to demonstrate this second hypothesis, taking into account evidence from linguistics, literary and art history and comparing these manuscripts to others which are sure to have been produced in Genoa in these years, and, what is more, have definitely been written by Pisan prisoners in Genoa. Reassessing this group of manuscripts, which include illustrations of the Arthurian legends, the Bestiaire d’Amour by Richard de Fournival, or the Trésor by Brunetto Latini, allows us to draw a panorama of manuscripts, translations from Latin and French, that makes Genoa become one of the most active centres of book production of that period.


Marcello Castrichini

La Crocefissione di San Fortunato a Todi tra Lippo Memmi

e Simone Martini. Novità tecniche e iconografiche



The recognition of a Franciscan saint, but not St. Francis, as one of the three saints in the frame, has led to a reinterpretation of the fresco of the Crucifixion of the Church of San Fortunato in Todi. For the critics, this work is stylistically close to Simone Martini for Volpe (1960) and for Lunghi (1988), to the ‘Barna’ (Lippo e Tederico Memmi?) for Castelnuovo (1962), for De Benedicitis (1968) for Fratini (1982), for Monciatti (2010) and for Bagnoli (2012). Bagnoli deems the Todi’s work extraordinary and close to Lippo. In his opinion, it is more of an alter-ego than a collaborator or follower of Martini, for the quality of his
works. The expert also suggests a dating around 1330 - 1340, shortly after the ‘New Testament Cycle’ of the Collegiate Church of San Gimignano. New details of the technique and comparison of the works of the two painters, such as the ‘Majesty of the Public Palace of Siena’ and the ‘Cycle of the Collegiate Church of San Gimignano’,
suggest that Simone Martini may have painted the ‘Crucifixion’ in Todi. It is believed that the dating lies between 1315 and 1325, the reason for this is that the monks of the Todi monastery who commissioned
the work, had aligned their thinking with that of the anti-pope John XXII, who arrived in Todi with the Emperor Louis the Barbarian in 1327. Above the Cross, the fresco of the Franciscan saint is difficult to
identify because it has been damaged, but nevertheless shows close physiognomic similarity with the image of Jacopone da Todi, almost the exemplum of it, which was attributed to Paolo Uccello and painted
almost a century later in the Cathedral of Prato (1435 circa).


Andrea G. De Marchi

Una Deposizione nel Sepolcro del Maestro del Dittico del Poldi Pezzoli



The short study offer a new panelof this significant master from Spoleto. It is probably one of most important wood painting of that great early Trecento artist. The composition and some technical evidence relate the work to a tempera panel of the master in the Pinacoteca Vaticana.


Marina Stefani Mantovanelli

Domenico Brusasorzi: aggiunte e ripresa di una identificazione



Marina Stefani Mantovanelli’s article is a result of her previous studies, updated in the light of recent bibliography, on Domenico Riccio also known as Brusasorzi (1516-1567). This article is to be regarded
as one of the most important painters of 16th century in Verona because, despite being linked to a provincial culture, he could get in touch with two neighbouring towns, Mantua and Trent, where he left remarkable works and enriched his cultural experience. Through the examination of his civil and religious activities, the Author comes to identify him as a very skilful painter of altar-pieces and frescoes. Among these, La Cavalcata di Carlo V e Clemente VII at Palazzo Ridolfi is particularly famous and was the fresco that Farinati and Ligozzi took as a model for their works. She pays special attention to the Nozze del Benaco cycle (with relation to the classical-Reinassance culture of Verona) and also to the frescoes for the Da Porto and Chiericati Palladian Palaces in Vicenza.New light has also been cast upon his abilities as a portraitist. The religious sensibility we find in a lot of his works, in line with Giberti’s tradition, makes him the official
artist, but free in spirit, of the Veronese Church.


Fernando Bilancia

Ottaviano Mascarino a Roma. Il palazzo Petrignani e la cappella Solano in S. Caterina dei Funari



Ottaviano Nonni, generally known by the name of Mascarino (1536-1606), spent the last eighteen years of his life to the
service of the Petrignani family. During this time, in particular he performed work in order to widen and restructure the family palace in Rome (i.e. the actual building of the Monte di Pietà). This essay retraces the events relating to the purchase of the neighbouring buildings needed to widen the palace and contains the transcription of an unpublished document on certain
payments to the artisans who worked there. The same essay provides unpublished information that support the attribution to Mascarino of the architectural structure of the Solano chapel in S. Caterina dei Funari in Rome. Other documents are related to the responsibility conferred to Mascarino by Cardinal Alessandro Sforza to participate in the decoration of the villa Sforzesca near Castell’Azzara (Grosseto) and the establishment of a company with Guidonio Ghelfi of Borgo Sansepolcro for the realization of other paintings. Finally, a last unpublished document allows to attribute to Mascarino the tomb of Cardinal Charles d’Angennes de Rambouillet in the church
of S. Francesco at Tarquinia.


Fausto Niccolai

Le committenze artistiche di Fantino Petrignani tra Roma e Amelia



This article sheds new light on the artistic patronage promoted by the prelate Fantino Petrignani both in Rome and in his native town Amelia, through two new archival
documents. The first provides valuable information about the artists involved in the decoration, now lost, of the Roman palace owned by Fantino near the church of SS.
Trinita dei Monti. Among the painters who worked in the palace include Prospero Orsi, Paul Bril, Ventura Salimbeni, Cesare Conti, as evidenced by the number of payments handed out between 1592 and 1597. Now you can know that in addition to the architectural project Ottaviano Mascarino
provident also the direction of the cycles of paintings during his long working relationship with Fantino Petrignani. The
second document relates to the construction of the Petrignani palace, so called ‘di Piazza Catena’ in Amelia and authorship of the project due to Mascarino which on
behalf of Fantino Petrignani endorses the purchase of property for the construction of the beautiful ‘loggia’.


Miguel Tain Guzman

El cenotafio del Apstóstol da la Catedral de Santiago de Compostela. De los modelos romanos paleocristianos a los camarines castellanos y a los sarcófagos reales de El Escorial



The Memoria sobre las Obras en la Catedral de Santiago (1656-1657) by the canon José de Vega y Verdugo contains a very interesting plan to renovate the cenotaph of the
Saint James the Elder, a focal point for the pilgrims and worshippers dedicated to the Apostle, and which has been somewhat overlooked by historiography until now.
However, this is an essential work to help understand the reasons behind the reformation work that took place in the seventeenth and eighteenth centuries. In the manuscript,
the canon proposes moving an old ark from the main altar, where the mediaeval Diego Gelmirez’s tabula was engaged, which he considered to be a cenotaph that was out
of step with the new Counter-Reformation ideas, and to build a new funerary monument clearly inspired in Italy. These ideas were the starting point for the Baroque reformation of the presbytery some time after.



Franco Moro

Appunti di studio. Inediti del Giampietrino, Fetti e Nicola Vaccaro


This paper presents a methodology that has
allowed the author to identify four previously anonymous paintings. The three cases are similar because each subject connects a single painting to a larger series that has remained unidentified or, in the third case, completes an existing series. The first case is of a completely unknown Cumaean Sibyl by Giampietrino (private collection). It provides the first indication that the artist painted an entire series of Sibyls, prophetesses who foresaw the coming of Christ in the Old Testament. The second case is similar, the Portrait of a Castiglioni Family Ancestor (private collection), painted by that tight rope walking genius of the brush, Domenico Fetti. This painting belongs to a series on the ancestors of noble families and is confirmed by the identification of the Portrait of Roberto Castiglioni among the anonymous paintings in the Cleveland Museum of Art. It clearly belongs to the same series and should be returned to the oeuvre of this Roman artist active in Mantova for the Gonzaga family. The third case is slightly different. A signed canvas by Nicola Vaccaro, portrays the Death of Saint Anne (private collection). This work completes a known cycle painted for the Chapel of Saint Anne in the Church of Santa Brigida in Naples






Andrea Leonardi

Per Orazio Borgianni (1578-1616) a Savona

e la Sacra Famiglia con sant’Anna dell’abate Gio Carlo Gavotti



The essay proposes a focus on the presence of the works of Orazio Borgianni in Savona, the most important city of western Liguria. This topic is historically established through the altarpiece of the Nativity of the Virgin in the Shrine of Nostra Signora di Misericordia: the painting (already appreciated by Roberto Longhi in 1914) was probably due to the patronage of Pozzobonelli. Pozzobonelli family is the starting point for identifying new tracks useful to explain this and other evidence
‘borgiannesche’ in Savona, a condition due to their links with other important native families like Ferreri and Gavotti. In Savona, Ferreri and Gavotti had two rich collections of paintings respectively inventoried in 1676and 1682. In particular, the Gavotti collectioncould exhibit a “Nostra Signora con San
Giuseppe, Bambino con cornice dorata con una colomba in braccio et altra figura”. The nting mentioned in the inventory of 1682 (added to the legacy of Gio Carlo Gavotti, known for its links with personalities suchas Guido Reni and cardinal Giulio Mazarino) coincides with the one found in a private collection of Savona. The recent restoration of this work (with a iconographic solution of great fortune) has revealed the signature of
Borgianni with the characteristic letters ‘OB’, unlike the Koerfer version but in analogy with Longhi and Hazlitt variations.


Jacopo Curzietti

La Confessio di Santa Francesca Romana in S. Maria Nova al Foro Romano. Documenti inediti e riflessioni su Gian Lorenzo Bernini e la sua bottega (1625-1652)



Through a new documentation the author retraces the executive phases of the building of Gian Lorenzo Bernini’s Confessio di santa Francesca Romana in the church of S. Maria Nova al Foro Romano; he also
provides a new chronology and identifies most of the workforces. Through new archival documents the author can finally provide very significant clarifications about several works made by Gian Lorenzo Bernini and his followers between 1625 and 1652. Particulary, the decoration of Raimondi chapel in the church of S. Pietro in Montorio is surely worthy of note: it is actually possible to know exactly the executive history of the works in the years 1640-1643 and to quantify the amount of money spent by the patron. 


Fiorenza Rangoni Gàl

Accomodatio pueri ad artem. Un allievo ignoto e vicende private di Domenico Zampieri


The first part of the essay treats of two new unpublished documents. The first one is an apprentice agreement between Domenico Zampieri, the famous painter, and an almost unknown Bolognese young painter, Alessandro
Provagli (or Provalli). This agreement is the only one ever known during Zampieri’s career. The second one is a legal statement undersigned by the same Alessandro Provagli and by Antonino Barbalonga (a famous Zampieri’s pupil); they proclaim Giovan Battista, the little son of Zampieri, alive, healthy and cheerful. This statement proves the Passeri assertion that the two male sons of Zampieri died of hunger because their mother wished
them slender and elegant. There are also published the unknown necrologies of the children e some new informations about the family of Marsibilia Barbetti. The Zampieri painting for the altar of the roman church
S.Petronio dei Bolognesi seems to be related with those events.
The second part of the essay traces a biographical outline of Alessandro Provagli based on historical sources and unpublished documents and examines his infrequent production; a new painting is here attributed
to his pencil.


Riccardo Spinelli

Baldassarre Franceschini, detto il Volterrano, e Carlo Dolci nelle collezioni di Vittoria della Rovere e di Francesco Maria de’ Medici. Nuovi documenti, precisazioni, identificazioni



Two of the main protagonists of the XVII th century Florentine painting, Baldassarre Franceschini, Known as “il Volterrano”, from is hometown (Volterra 1611 - Firenze 1690) and Carlo Dolci (Florenze 1616 - 1680)) were wery successful in their native land, first of all with the family of the
Grand-Duke who collected their works which are considered symbolic in the variety of painters of this extremely different and complex painting school.


Chiara Teolato

I Righetti a servizio di Canova


At the end of the eighteenth century the famous Roman bronze
sculptor Francesco Righetti, with the collaboration of his son Luigi, gained a prominent position in the international art market of bronze reductions of classical and modern sculptures. He also worked on some important original sculptures. The reputation of the Righettis grew to the point that in 1805 father and son were appointed Fonditori Camerali and Fonditori della Fabbrica di San Pietro and they moved their manufactory from “Via Puricazione” to the Vatican foundry. From that moment they combined their usual production of small bronzes to new and more challenging activities. They started a successful collaboration with  Antonio Canova, who chose them for casting the colossal bronze of Napoleon as Mars and two equestrian statues of Charles III and Ferdinand I in Naples. This essay focuses on the history of the production of these giant bronzes. The various stages of the moulding and casting process, the workshop practice and the organisation of the Righetti’s work shops in Rome and Naples are reconstructed through unpublished material from the Righetti archive, as well as from correspondence and articles in periodicals of that time.

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