Studi di Storia dell'Arte 24

21x30 bross, pp. 288; 336 ill. b/n e col, 2013 - 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

Stefano Causa

Mina Gregori e i napoletani


Mina Gregories and Neapolitans


Neapolitan scholars are too deep indebted to Mina Gregori. Her studies have provided further clarification and new light to the Neapolitan painting. In this essay, dedicated to her ninetieth birtday, we tried to examine some of the most important Mina Gregori’s contributions under this particular aspect.


Ginevra Utari

Una data per la Croce di San Marco a Firenze

A date for the Cross of San Marco in Florence


IThe Cross of the Florentine church of San Marco is the biggest painted Florentine cross come down to us. The article gives notice of the discovery of the will of Domina Lapa de Saltarelli, dated May 22, 1339, in which she left a golden florin in to finance the work painting; a very similar chronology to that of the commemorative stone that in 1341 reminds Fia de’Caponsacchi as patron of the Major Chapel of the church. This chronological term starts the reconstruction of the events of the work within the church of San Marco, for
which it was commissioned by Silvestrini. Furthermore, we proceed with a critical and stylistic reevaluation of the Cross, currently in restoration at the Opificio delle Pietre Dure of Florence, focusing on the two main attributions of the work related to Stefano Fiorentino or Puccio di Simone. The findings emerging from the comparison with the style and the decorative details typical of the activity of Bernardo Daddi, bring to validate an idea already advanced by critics, i.e. that the commission of the monumental Cross has begun in the workshop of Giotto and, after his death, was brought to completion by his students in a mixture of styles among which is likely to find the presence of the
young Puccio di Simone.


Joseph Polzer

Did Simone Martini visit Buffalmacco in the Campo Santo of Pisa?


A small sinopia depicting Saint Martin who divides his mantle with the beggar that appears on the arriccio of Buffalmacco’s Last
Judgement mural, as well as a tiny head of an angel (?) located on the arriccio of the adjacent Triumph of Death, both located in
the Campo Santo in Pisa, are stylistically and iconographically closely related to the oeuvre of Simone Martini. They clearly differ in style from Buffalmacco’s sinopie surrounding them. Significantly the sinopia
of Saint Martin was painted on top of Buffalmacco’s. Simone Martini’s assumed authorship of these sinopie rests on the following
propositions: He would have known Buffalmacco personally. According to the early sources Buffalmacco apprenticed with Tafo, whom I consider to be no other than the Master of Figline, whose stained
glass windows in the Saint Martin Chapel influenced Simone when he started to paint the Siena Maestà and at times thereafter, with Simone also influencing the Master of Figline, or Tafo, in return. Simone could
have painted his drawings in Pisa passing through the port city on his way to Avignon sometime in the fall of 1334. He would have traveled in the retinue of Giangaetano Orsini, papal legate in Italy, when Pope
John XXII recalled the latter to the papal court. At that time Buffalmacco was at work on his Campo Santo murals.


Gert Kreytenberg

Un contributo all'opera di Marco Romano

A contribution to Marco Romano's work


The author publishes a marble Madonna and Child enthroned conceived to be seen from below. The presence of a book in the right hand of Mary and the fact that the Child seems to indicate himself with his right hand, are perhaps alluding to the periods sub lege and sub gratia.The sculpture is closely related to the works of Tino di Camaino, but the general characteristics of the group recall also the statue of the socalled Porrina sculpted by Marco Romano for the Collegiata Church of Casole d’Elsa and we can notice affinities with the Virgin Mary and the Sant’Imerio by the same author in the Loggia on the facade of the
Cathedral of Cremona. The author traces the critique about Marco Romano, starting from the signed San Simeon prophet in the church of San Simeone Grande in Venice. Compared to the reconstruction of Marco Romano’s catalogue proposed in 1983 by Giovanni Previtali, the author believes that two of the four busts and one of the two lions in the inner facade of Siena Cathedral are to be assigned to Goro di Gregorio. The Madonna enthroned is placed on stylistic grounds in the first decade of the fourteenth century.


Anna De Floriani

Una proposta per Donato de' Bardi miniatore

A proposal for Donato de Bardi's miniature


The present article focuses on an illuminated Missal realized for the Cathedral of Genoa (now Genoa, Biblioteca Universitaria, ms. A. VIII. 1). The manuscript is illustrated by a historiated initial (representing David before God and the Annunciation) and by 58 decorated initials. On the basis of stylistic comparisons with panel paintings, the historiated letter may be ascribed to the hand of Donato de’ Bardi or to a close follower. Donato (like his brother Boniforte) was born in a high-rank family of Tuscan origin settled in Pavia. He arrived in Genoa about 1412-1420 and died there about year 1450. His style was deeply influent for the renewal of the late gothic language of Genoese painting. The most of the decorated letters of the manuscript were painted by two illuminators trained in Tuscan style, probably connected
with Donato’s atelier either through the same painter or through Domenico da Vernio, a Tuscan artist active in Genoa from 1426 to 1444 and recorded in several documents toghether with Boniforte de’ Bardi. The last four decorated letters were completed, in a more archaic style, by a Genoese illuminator, maybe some 20 years after the first campaign of illustration of the Missal, that can be dated to the third decade of the fifteenth century or to the beginning of the fourth one.


Anna Maria Pedrocchi

Michelangelo, Fiammetta e il vescovo di Crotone. Tre personaggi per una cappella in Sant'Agostino a Roma


Michelangelo, Fiammetta and the bishop of Crotone. Three characters for a chapel in Sant'Agostino in Rome


The life of three personages meets around the history of an antique chapel in Sant’Agostino church in Rome. The first is the famous courtesan Fiammetta, Cesare Borgia lover, who obtained the chapel property for her particular position in the roman society of the last Quattrocento. The second one is the bishop Giovanni da Viterbo, whose considerable property was confiscated from the pope Rodrigo Borgia and, in part, used to decore the Fiammetta chapel. The third one is the young Michelangelo Buonarroti in Rome from 1496 to 1501. He, although a sculptor, after the vatican Pietà, had the commission to paint the imagine of “ The man of sorrow”,, as altarpiece.
The artist accepted becouse he had no work at all, but after few monthes, he stopped and leaved the painting unfinished, coming again to Florence. The table remained on the altar until 1603, when Ermes Cavalletti, the new oner, commissioned the altar-piece to Caravaggio “ Pellegrini Madonna” . The old Michelangelo table disappired passing through other collections ( Borghese - Farnese), to arrive, at the end, to the national Gallery- London.


Peter Lüdemann

Agostino Busti, detto il Bambaia e la sua cerchia.

Temi all’antica nella scultura milanese del primo Cinquecento


Due to political turmoil and the eclipse of a refined court culture, in Milan the first decades of the 16th century seem to have constituted a rather unfavourable period for the production of sophisticated all’antica works destined for private art collections. Nonetheless, especially Agostino Busti, called il Bambaia, and his circle did create a couple of small scale reliefs and sculptures on profane themes presumably committed by local patrons, which allow to throw some light on the taste and intellectual orientation of the latter. Based on an epigram from the Anthologia Palatina, Bambaia’s Shepheard with a goat and a young wolf of 1515/20 ca. may be linked to his Cow, possibly conceived as a miniature replica of a famous lost bronze by the antique artist Myron exalted in several compositions from the same source. Once recognized as visualizations of exphrastic poems, the two statuettes therefore can be interpreted as a figurative equivalent to Alciati’s Emblemata elaborated in the same cultural context. Notably more complex and ambitious shows to be a fragmentary cycle constituted by the Horse-tamer, the Triumph of a youth and the Archers in the Victoria and Albert Museum
and an unfinished Triumph in the Prado, which Benedetto Cervi, a former collaborator of Bambaia, executed some ten years later. While the precise subjects of the four reliefs and the iconographic ties between them have up to now in great part remained obscure, their inscriptions, freely adapted from classical literature, allow to reconstruct a neo-platonic program appropriate for a studiolo interior. Converging stylistic and iconological arguments further point to a patron connected with Alessandro Bentivoglio, around 1530 a leading figure among the few known protectors of the Milanese intelligentsia.


Laura Teza

Bernardino di Mariotto ‘barbarico’. Lo Sposalizio mistico di santa Caterina e la civiltà del cuoio umbro-marchigiana


Bernardino di Mariotto 'barbaric'. The Mystical Sposal of St. Catherine and the civilization of Umbrian-Marche leather


The Marriage of saint Catherine by Bernardino di Mariotto, now in Perugia, National Gallery of Umbria, is a woodden panel coming from the monastery of benedectine nuns of Santa Caterina vecchia. The presence in the painting of St. Catherine, St. Mary Magdalene and St. Peter’s is here
explained by the institutional situation of the benedectine nuns, who ruled the St. Mary Magdalene monastery and were in turn directed by the important male settlement
of St. Peter. It is a tempera on panel, carried out with an
outdated technique, following the medieval tecnical manual of Cennino Cennini, and it’s appearence is so archaic that some eighteenth-century authors (Orsini, Vermiglioli)
considered it as a four-fifteenth century painting. The features of the painting, so rich in gold leaf, reliefs and coloured glass, want to emulate the aspect of an icon. The monastery of Saint Catherine belongs to the new
reformed congregation of Santa Giustina, that has a very great consideration of the icons, which formed the historical and cultual basis for a religious settlement. Furthermore, the golden-brown appearance of the painting and the patterns of the clothes of various saints, underline the
confidence of Bernardino di Mariotto with the manufacture of leather, much practiced by his marchigian partner Marino.




Valentina Catalucci

La Famiglia del Nero di Firenze: proprietà, patrimonio e collezioni.

Il Palazzo del Nero (oggi Torrigiani in piazza dei Mozzi) - 1a parte

The Nero Family of Florence: property, heritage and collections. The Nero Palace (today Torrigiani in Piazza dei Mozzi) - Part I


This article (part 1) focuses on the Del Nero Florentine noble family’s history from the second half of the16th century until the house’s extinction at the beginning of the19th century, with special reference to
their properties and art collections. The first paragraph concerns the history of the Del Nero Palace in Florence and it is based on archival documents; special attention is given to the 18th century palace chapel, never treated in art historical studies. The second paragraph concentrates on the family’s collections from their first description by Francesco Bocchi in his book “Bellezze della città di Fiorenza” (1591) through the analysis and comparison of the family’s inventories taken during the following centuries until the inheritance of all Del Nero goods by the Torrigiani family (first half of the 19th century). Finally, the last paragraph investigates the history of another Del Nero mansion in Florence, the so-called “Casino Del Nero” or “Conventino” (which is nowadays part of a luxury hotel), where a ceiling fresco by the painter Tommaso Gherardini, commissioned by the Del Nero family, still exists (18th Century).


Francesco Federico Mancini

Federico Zuccheri e il ritratto di Ludovico II Mattei di Capranica

Federico Zucchari and the portrait of Ludovico II Mattei of Capranica


A painting in a private collection portrays Ludovico II Mattei di Paganica (also known as Ludovico “iuniore”). The style of the work together with the documented relationship that joined the Mattei family to painters Taddeo and Federico Zuccari, leads us to consider the painting like autograph work by Federico Zuccari. Ludovico”iuniore”, son of Pietro Antonio and nephew of Ludovico I, had two sons Fabio and Muzio. Probably the portrait, a tribute to the memory of their father who died in 1580, was commissioned by Muzio, more interested of his brother to invest in works of art. The proximity of the Mattei family to the Farnese family, patron of brothers Zuccari in Caprarola, makes even more likely the attribution of the portrait to Federico. This attribution is also based on many, eloquent comparisons with certain works of the painter.


Marco di Mauro

Note su Filippo Vitale e i pittori della sua cerchia

Notes on Philip Vitale and the painters of his circle


This short essay is a contribution to the memory of Vincenzo Pacelli. Just few hours before his death, I was discussing with him
about a painting by Filippo Vitale, that later would have been exposed in Sapri. Here I want to continue our discussion about the painting, suggesting comparisons with other works of Neapolitan followers of


Vincenzo Pacelli

Questioni metodologiche, nuove proposte e qualche puntura sul primo Seicento a Napoli

Methodological issues, new proposals and some punctures on the first sixteenth century in Naples


The first part of the article discusses methodological problems related to the instruments used today by connoisseurs in the study of art history; how, in the era of the digital debate, we are subject to a strong period of crisis and revisionism leading to the reopening of long-settled topics of critique and terms justified, for example, with terms as “unpubished” and “attributed here”, in the pursuit to demonstrate a discovery of a new attribution to a work of art. In the remainder of the article new problems and proposals with regards to the Neapolitan School of the early seventeenth century, involved many of its major figures, such as Fabrizio Santafede, Battistello Caracciolo, Massimo Stanzione, Andrea Vaccaro and
Francesco Guarino.


Gianluca Forgione

Per Cesare e Francesco Fracanzano


For Cesare and Francesco Fracanzano


This article proposes new additions to the catalogue of paintings by Cesare and Francesco Fracanzano. The new works, that have recently re-emerged in the art market, from public and private collections or have been traced among the anonymous Neapolitan paintings of the Zeri Photographic Archive, have in particolar enriched, with the notable exception of the distinguished Lamentation over the body of Abel, the Francesco’s prolific
production of devotional works of modest size or specific studies of heads. In spite of what De Dominici says, this genre of art must have earned to the two brothers a good reputation in the art market and in the intellectual circe of the viceroyality capital. The article also proposes a new addition to the early activity of Salvator Rosa, the Diogenes of the Fesch Collection in Ajaccio, which shows fully how significant was the influence that Francesco Fracanzano had in the artistic development of his young broher-in-law.


Elisabetta Monastero

Le collezioni Argenti, Costaguti e Omodei. Una linea di tendenza

The collections Argenti, Costaguti and Omodei. A trendy line


The aim of this paper is identify a specific field of Roman collecting during the 17th century, which was influenced by several aspects, among which the most important were the neostoic trend, spread in Rome by Justus Lipsius, and the mystic doctrine, elaborated by Miguel Molinos, a Spanish priest. The paper looks into the cultural environment of some Roman collectors, namely Giovanni Battista Costaguti the Younger, Bonaventura Argenti and Luigi Alessandro Omodei, and it shows a programmatic comparison of their collections, proving the existence of a common collecting trend. The first part of the paper introduces collectors’ life as well as their collections by means of several sources, whilst in the second one a common interest for some painters, such as Pier Francesco Mola and Salvator Rosa, and for some specific subjects are shown. Finally, starting from
the analysis of these aspects, the Padri Filippini Congregation will result in the heart of this new collecting trend..


Mary Newcome

Drawings by Carlo Alberto Baratta


Baratta is most known for his highly elegant and highly finished drawing compositions heightened with white, most of which are considered as finished works in themselves. However, he did other kinds of drawings. To illustrate his versatility as a draftsman, this article includes two charming watercolors perhaps conceived for stagesets as well as less involved drawing compositions, one of which is for a documented altarpiece. These drawings also reflect his influences (from early 17th century baroque artists to his contemporary Gio. David) and relate to his many interests ring the period at the turn of the century when the taste for the rococo was giving way to neoclassicism..


Maria Barbara Guerrieri Borsoi

Opere del pittore Pietro Gagliardi a Frascati

Works of the painter Pietro Gagliardi in Frascati


Pietro Gagliardi stayed in Frascati many times and executed several paintings in this town during his long career. This article presents a survey of the major works, mainly based on unpublished documents
and texts neglected in general studies dedicated to the artist. It clarifies the commissioning and the dating of many works although more rarely it is still possible track down the paintings due to the serious damage caused by the bombing that took place in Frascati in 1943-44. The article analyzes in particular the decoration of the chapel dedicated to the patron saints of Frascati in the church of S. Maria in Vivario, still well preserved and for
which the painter received an attestation of appreciation from the citizens, and the vicissitudes of the painting in the apse of the church of the Scolopi, now reviewable on the basis of an unpublished preparatory sketch although the building was completely destroyed during the war.


Indice dei nomi e dei luoghi