Studi di Storia dell'Arte 26
21x30 bross, pp. 296; ill. b/n e col, 205 - ISSN 1123-5683
Marcello Castrichini direttore responsabile
Enrica Neri Lusanna
Il monumento funebre del vescovo Filippo, Nicola Pisano e i frati minori di Pistoia
The funeral monument of Bishop Filippo, Nicola Pisano and the Friars Minor of Pistoia
Two reliefs, one a cast in the Berlin State Museums, representing l’elevatio animae of a Bishop, the other, in the Museo Civico in Pistoia, with the Stigmata of St. Francis, are from the Franciscan monastery in Pistoia, and have been considered by scholars to have once been part of the front of a marble tomb, placed against the wall. This was originally intended for the church of Santa Maria al Prato in Pistoia, the building that existed prior to the construction of today’s Church of Saint Francis. The relief with the “elevatio animae” has previously been convincingly attributed to Nicola Pisano, and dated for the most part towards the end of the eighth decade of the thirteenth century. The identity of the bishop, who some have postulated was a member of the Buonaccorsi or Ammannati family, has however remained rather obscure.
This article aims to identify the deceased pre- late as the Bishop Philip, a native of Pistoia, who was Bishop of Ferrara from 1240 to 1250, Bishop of Florence from 1250 to 1251,and Bishop of Ravenna from 1252 to 1270. The main source for this hypothesis is Salimbene of Parma. His Cronica offers a comprehensive portrait of the prelate, which details his origins in Pistoia, his intense political and military ac- tivity ( especially against Frederick II), carried out at the behest of the Popes Innocent IV and Alexander IV, and his efforts to protect and support the Friars Minor.
A parchment dated January 16th 1250 (Flo- rence, Santa Croce, Archivio Storico della Provincia Toscana OFM Conv., Pergamena
4) contains the transcript which attests to the decisive role played in successfully completing the settlement of the Minorities in Pistoia, at the church of Santa Maria al Prato. It was in this same church that Philip would choose to be buried after returning to Pistoia twenty years later, as recorded by Salimbene, feeling death close hand. It is likely that he himself planned the tomb, with the help of ecclesiastical friends, such as his confessor Thomas of Pavia, former Minister General of the Franciscan Order in Tuscany, while Nicola Pisano made a fundamental contribution to the iconography.
The date of the death of the prelate, which occurred in September 1270, thus represents a certain terminus a quo in the early dating of this work, which is important both as a milestone in the path of Nicola Pisano, and as one of the first sculpted funerary monuments, housed in a Minorite church.
The hypothesis that Philip had already con- sidered sculpture as a vehicle for ideological propaganda can also be advanced with caution, if he is attributed with involvement in the commission of the “Last Judgment” at the Cathedral of Ferrara, while he was bishop of the city. The iconography of the lunette of Paradise, in which Abraham appears with St. Maurelius the bishop, suggests that eternal salvation is attainable through the Church and its ministers.
1250, Bishop of Florence from 1250 to 1251,and Bishop of Ravenna
from 1252 to 1270. The main source for this hypothesis is Salimbene of
Parma. His Cronica offers a comprehensive portrait of the prelate, which
details his origins
(especially against Frederick II), carried out at the behest of the
Popes Innocent IV and Alexander IV, and his efforts to protect and
support the Friars Minor.
Tra Pisa e Siena. Tracce di modelli toscani nella pittura a Genova tra Due e Trecento
Between Pisa and Siena. Traces of Tuscan models in painting in Genoa between Two and Three Centuries
In the last years restorations revealed new evidences of the influence of diffe- rent Tuscan schools in Liguria and Genoa between the end of 13th and the 14th century - I refer to the panel representing the Virgin with the Child of N. S. del Ponte (Lavagna), which has been attributed to a Sienese painter closed to Ducciesque models, and to the Cimabuesque apsal decoration in N. S. del Carmine and the Virgin with the Child and two saints of San Bartolomeo dell’Olivella (Genoa). In order to obtain a deeper understanding of the strong connection between Liguria and Tuscan in this period, this article puts under scrutiny four fragments of Genoese paintings, executed between the end of 13th and the first decades of the 14th century: the Virgin with the Child and archangels of Santa Maria del Prato in Genoa Albaro, the Christ crucified between the Virgin and saint John the Baptist now in the monastery of Sant’Agata, the Imago Pieta tis of the lower church of San Giovanni di Prè, and the Christ crucified and the Virgin of San Donato. If the close relationship of the first fragment to Thirteenth century Byzantine Pisan icons may be considered as one of the precocious signs of the local appre- ciation of the eastern imagery, and at the same time of the activity of Pisan painters in the city, the other ones are the eviden ces of the influence of the Sienese art on the Genoese production. In each case comparisons of style and painting techni que are shown to focus on the different time and mode of reception from Pisan and Sienese languages.
“Le facciate di sopra dalle bande dell’altar maggiore”.
Riflessioni per le Vele giottesche di Assisi
“Le facciate di sopra dalle bande dell’altar maggiore”. Reflections for Giotto's sails in Assisi
The painted frames of the Franciscan Allegories in the Lower Church of Saint Francis in Assisi for the first time are the subject of a specific study. This article is primarily an overview of the state of the art on the chosen topic and, in view of this specific angle, aims at revisiting some of the issues that have been discussed in the critical history of the work. It is shown that the incompleteness of the cycle was due to the suspension of the works, while waiting for the reconstruction of the nave paintings. Then, the study finds that the procedural differences were similar to those observed in the Vele. It also provides insights into the specific apocalyptic imagery which is especially crucial to the overall iconographic programme and in respect to the history of both the church and the Franciscan order. Moreover, the study reveals not only that the painting of the frames can be dated roughly between 1313 and 1315, but also the Anjou family budding interest in the Basilica that such work bespeaks.
La Misericordia Domini del Museo del Bigallo. Un unicum iconografico della pittura fiorentina dopo la Peste Nera?
The Misericordia Domini the Bigallo Museum Domains. An iconographic unicum of Florentine painting after the Black Pest?
This paper deals with the famous fresco known as the “Vergin of Mercy” or “Allegory of Mercy” in the Oratorio del Bigallo in Flo- rence. The date of the fresco is uncertain, between 1342 and 1352. Its iconography and chronology are here taken into con- sideration within an historical perspective. The city image – first of all, the presence of the four coats of arms on the city gate and the representation of a second bell on the Palazzo Vecchio – contains important clues to date the fresco after 1344 and to make us propose 1352, as its date. The hypothe- sis that the frescoes should be dated after the Black Death is checked on the basis of the historical context, paying attention to the question of the ‘moda’ (considering the dresses of the laics represented in prayer) in keeping with the trends of those years in mid-14th c.
Cristina De Benedictis
Sulla fase fiorentina di Niccolò di ser Sozzo e di Lippo Vanni
On the Florentine stage of Niccolò di Ser Sozzo and Lippo Vanni
The paperi is based on the supposition that two sienese artists went to Florence both not withstanding the hard political conflict who manteined Florence and Sie- na as enemies during the XIV century. Niccolò di Ser Sozzo we can guess he was staying in Florence for the years 1338-1340, on the basis of some innovating miniatures he made for the Comedy and Cicerone’s texts. For Lippo Vanni, thee- secution of an illustrated Gradual for San Lorenzo churce and of an Antiphonary, now dismembered, for Florence‘s Dome prouve his working in the city during years
Paola Benigni - Luisa Caporossi
Documenti per la chiesa di Santa Maria a Momentana. Ripensando la spazialità e l’illuminazione originaria della Madonna del Parto di Piero della Francesca
Documents for the church of Santa Maria a Momentana. Thinking about the original spatiality and lighting of the Madonna del Parto by Piero della Francesca
Maria a Mo-
sly considered a
Le Veneri di Raffaello (Tra Anacreonte e il Magnifico, il Sodoma e Tiziano)
The Venus of Raphael (Between Anacreon and Magnificent, Sodom and Titian)
In the first part of my article I show how the title “Fornarina” (first used by engraver Domenico Cunego in 1772) is rooted in a linguistic tradition, documented, among others, by the Greek poet Anacreon in the
6th century BCE and found in numerous literary texts from antiquity to the modern period. In this tradition, “forno” (“oven”) and its cognate “fornaia” (“woman baker”) etc. metaphorically indicate the female sexual organ and the woman prostitute. In the second part of my article I discuss “what” the Fornarina represents as oppo- sed to “who she is”, and I advance the hypothesis that Raphael, drawing his inspiration from Marsilio Ficino and Pietro Bembo, portrays in the “Fornarina” the ce- lestial Venus, namely the type of love that raises the soul toward the search for truth by means of the “celestial” beauty. This Venus differs from the other Venus, the “terrestrial” Venus, namely the generating power of nature, who is connected with the terrestrial beauty and has procreation as her goal. From this viewpoint, the “For- narina” is interconnected with the “Velata”, whom I identify as the terrestrial Venus, the bride, the mother.
Karel van Mander e gli affreschi di palazzo Spada a Terni. Il contratto del 1574
Karel van Mander and the frescoes of Spada palace in Terni. The contract of 1574
The article is focused on Karel van Mander activity for the nobleman Michelangelo Spada in his palace at Terni thanks to the never before published contract signed by the flemish painter on 1574. This important document reveals all the essential details related to the patron’s intentions to require a copy of the Vasari’s frescoes in the Sala Regia at the Vatican. It also confirms the attribution to van Mander of the narrative cycle with the Battle of Lepanto and the Massacre of the Huguenots. On the basis of the contract we can realize, finnally, that the flemish painter was assisted by Da- niele Rivaldo from Turin who painted the rich grottesche parts of the Michelangelo Spada’s palace decoration
La Santa Caterina d'’Alessandria di Marcello Venusti.Diffusione del modello iconografico tra repliche e copie. Considerazioni e nuove proposte
St. Catherine of Alessandria by Marcello Venusti. Spread the iconographic pattern between replicas and copies. Considerations and new proposals
The essay deals with the rapresentation of St.Catherine of Alexandria in the pictorial creations of Marcello Venusti: are in fact seven versions known so far, reflecting the importance of the spread and the icono- graphy of St.Catherine, in the seventies of the sixteenth century and the first decades of the seventeenth. The analysis starts from the painting done by the Lombard master for Mutini chapel in the Church of St. Augustine (Rome), to arrive to the analysis of another version appeared in 2014 and held an au tograph- from the writer- to the high quality and stylistic affinities with certain works of Marcello Venusti. The contribution also analyzes other five works (three in Spain and two in Italy) that can be considered anonymous copies of the obvious weakness executive; while a sixth version dated 1576 was ascribed to the hand of the Umbrian painter Paolo Sensini.
Pittura veneta in Abruzzo tra Cinquecento e Seicento
Venetian painting in Abruzzo between the sixteenth and seventeenth centuries
Despite its mid-adriatic position, on the coast of the “Venetian Sea”, no detailed research has ever been made on still existing Venetian paintings in Abruzzo. Nevertheless, Venetian painters had a significant importance in the area during the early modern centuries, from the earliest works by Jacobello del Fiore to the most recent ones by Vincenzo Damini. A group of works dating back between the end of the 16 th century and the begninning of the
17 th century, unpublished or littleknow, are discussed here: three paintings attribu- ted to Leonardo Corona and his workshop in Chieti; three others in Vasto, made by Veronese’s followers Alvise Benfatto and Matteo Ingoli; a “Virgin of the Rosary” in the manner of Bassano in Lanciano; moreover, some works made for Teramo and its surrondings by Pietro Gaia, educated in Venice, - close to Palma the younger- and then returned to Ascoli; in L’Aquila, in addition to a painting signed by the Vicentine Alessandro Maganza, the possible rediscovery of a part from a lost triptych, originally created for the Capuchin friars by Fra Semplice da Verona. Out of timeline, a new proposal for Polidoro da Lanciano, emigrated from Abruzzo to Venice, a true symbol of the relationship between the two regions.
La Resurrezione di Lazzaro di Ribera, già dei Cussida e poi dei Gavotti “romani”,oggi al Prado di Madrid
The Resurrection of Lazarus of Ribera, already of the Cussida and then of the "Roman" Gavotti,today at the Prado in Madrid
Theessay retraces the story of Jusepe de Ribera’s Raising of Lazarus owned by Pietro Cussida, a Spanish emissary working on behalf of King Ferdinando III. When Pietro’s son Giovanni Francesco died, all his wealth went to his daughter Laura, born to his wife Maria Gavotti. He appointed her uncle Niccolò as her guardian. From then on all Cussida’s possessions passed to the Roman branch, Gavotti. Through the Gavotti’s inventories it is possible to follow the ups and downs of Ribera’s painting, attributed to anonymous or to other painters such as Valentin. During the 19th Century the Gavotti were compelled to pawn the paintings to the banks for money.
The misbehaviour of one of these banks would cause a legal issue, the outcome of which would turn in favour of the Gavotti family. Once they had unexpectedly repossessed the Ribera’s painting, they pawned it once again to the Cassa di Risparmio bank, instead of keeping it.
The Raising of Lazarus, attributed to Caravaggio, was offered to the Duke Ottoboni. In 2001 the painting was put up for auction at Sotheby’s in New York, and attributed to Ribera, of whom Cussida also owned the series of the Apostles and the Five Senses.
Miguel Taín Guzmán
The Buen Retiro Palace and its italian and Florentine works of art in the diaries of the journey to Spain of prince Cosimo III of Medici
At the age of 26, Cosimo de’ Medici theThird, Prince of Tuscany, set out on a long trip throughout Europe, including Spain, Portugal, England, Holland and France, between 1668 and 1669. The places he visited, which were important for cultural, economic or political reasons, were carefully selected in order to prepare the Prince for becoming the new Grand Duke of Flor- ence. His visit to Spain involved one of the longest journeys, including a stay in Madrid which lasted thirty-three days. He took ad- vantage of this period to enjoy some of the pleasures of the Spanish Court, such as comedies, music, chocolate, perfumes and local delicacies. He also held interviews with Italian ambassadors, nobility and resi- dents, forging links for the future, as well as with the Queen Regent Mariana of Austria and the child king Carlos II, who had been on the throne since 17 September 1665, who granted him a private audience despite the political turbulence of the time caused by the intrigues of Juan of Austria. He also acquired different works of art and luxury items to take back to Florence (including paintings, drawings, books and silverware) and spent long periods of time discovering religious images and relics in churches and convents. He also asked permission to visit the Palaces of the Crown and their rich collections to satisfy his cultural interests. This article deals with the Prince’s visit to the Palace of El Buen Retiro on 2 November, and identifies and analyses the paintings.
La Magnanimité Royale, dessin pour un tableau perdu de Thomas Blanchet (1614-1689) peint pour le palais de justice de Lyon
The Royal Magnanimity, drawing for a lost painting by Thomas Blanchet (1614-1689) painted for the Lyon Courthouse
These two unpublished drawings are pre- paratory for a picture painted by Blanchet for the palace of Justice in Lyon in 1686-
1688. The painting, now lost, was until now only known through the long and precise description left by the Swede architect Nicomedus Tessin written while he visited Blanchet’s studio in Lyon in 1687. The painting’s description corresponds exactly to the first drawing; the second sheet being of the same composition but reversed. The subject painted by Blanchet recount an act of magnanimity of King Louis XIV who, in a property court case of 1681, stated that he had lost it even though the judges stated he had won. Blanchet’s painting was han- ging along acts of magnanimity taken from the Roman history.
Un Bernini riscoperto. Il busto in marmo di Paolo V
A Bernini rediscovered. Paul V's marble bust
The study focuses on one of the most important discoveries of recent years in Bernini’s portraiture production, the bust of Paul V Borghese, which also represents his first papal portrait, along with the small bust of the Galleria Borghese. The bust was sold at auction in Rome in 1893 to be- come part of a private collection in Wien, but since then it was completely lost. It was recognized as the lost work of Bernini by the author, contacted by the owner who had bought it on the antiquities market in Bratislava in 2014. Later, the bust was pur- chased by The John Paul Getty Museum in Malibu (California). Direct analysis of the work, which has all the characteristics of a live image, allowed Petrucci to overturn the traditional dating of the two portraits of the pope, dating the Getty Museum bust to
1619-20, when the pope was alive, while the small bust of the Galleria Borghese is considered a posthumous work and put in relation with payments made in 1621 to Bernini by Cardinal Scipione Borghese.
Altre aggiunte a Girolamo Troppa pittore e disegnatore
Other additions to Girolamo Troppa painter and designer
Inthe present article five new attribu- tions of pictures, partly already published previously with different names, and two new drawings are published and added to Troppa’s oeuvre, which had been notably increased in the last ten years.
A half-length “Lucretia” , in the collection of Carlo Croce in Columbus,Ohio,previously thought to be by G.G. Dal Sole; a painting of “St. Joseph with the Christ Child and two angels in a landscape”, in a small town in Brittany, shown in 2013/14 in an exhibition in Ren- nes as Burrini; the stupendous “Homer dictating to a scribe with another figure”, recently published as Pier Francesco Mola, another, unpublished version of Troppa’s know composition of the “Healing of Tobit” (Madrid, private collection), and the figure of a young woman,wrongly attributed to the circle of Garzi, in a fruit still- life ascribed to Bartolomeo Castelli il Giovane (D.Aaron Gallery,Paris). In the field of drawings a superb, unpublished, signed pen and wash drawing of the “Pieta” (The dead body of Christ mourned by the Magdalen and an- gels) (Munich, private collection) is presen- ted here and connected with a large signed painting, sold at Christie’s, London, july 9
1993. The second drawing represents the “Multiplication of the loaves and fishes” and was sold in Berlin, Bassenge, 30.5. 2014 as Italian school.
Finally a painting is published, which depicts Daniel who reveals the false accusations of the two elderly man toward Susanna.
Gaspare Traversi ritrattista dello storico capuano Francesco Granata
Gaspare Traversi portraitist of the historic from Capua Francesco Granata
The short article discusses an important canvas, recently rediscovered, that was painted by Gaspare Traversi during his Roman period: it shows the portrait of a prelate, held in a private collection in Naples, and for the first time here identified as the portrait of Francesco Granata, the historian from Capua who became Bishop of Sessa in 1757. The identification is based on a comparison of two known engravings which portray Granada, by Antonio Baldi in 1752 and in 1766, who was a pupil of Francesco Solimena. The two engravings and the find of the new portrait also led to a definitive confirmation in the identification of Francesco Granata as the man portrayed in the famous and impressive portrait in the Capodimonte Museum, the last known work of Traversi, which was painted in 1770, thirteen years before the first portrait, and not long before the deaths of both the artist and his patron (respectively, in 1770 e in 1771).
Per un profilo di Antonio Concioli, pittore della bottega di Batoni
For a profile by Antonio Concioli, painter of the Batoni workshop
Although Antonio Concioli was recognized by his contemporaries as the only remark- able “allievo” of painter Pompeo Batoni, his works have long been forgotten and have even been confused with those of the painter Batoni himself. The main aims of this essay are to restore to Concioli his own identity within the forum of contemporary artists as well as to recreate at best a catalog of his known works, following his artistic route, from the batonism of his origins to a most evident neoclassical style, following his contemporaries’ changes in taste.
The Book of “Decreti” from the Archive of the Academy of San Luca, helps us to un- derstand the narrative of the reputation of his name among the artists most renown of that period, allowing us to outline in detail the network of friendships and highly placed connections which contributed to bring him to direct the “Accademia del Disegno” first and the “Fabbrica degli Arazzi” later. Through the in-depth study of direct sources, like the Diario di Roma and the Giornale delle Belle Arti, it has been possible to give the proper authorship to previous works once ascribed to other authors, like those of the Abatellis Gallery of Palermo, until now be- lieved to have been done by Batoni. Lastly, the examination of the dowry document of his daughter Faustina as well as his last will, bring into evidence both his comfort- able wealth into his later years, as well as the many works for a domestic devotion that were lost.
From this perspective, Concioli emerges as a talented figure of remarkable relevance among the artists of his time both because of the skill of his masters as well as the fact that he was commonly known for his “always warm love of art”.
Mimmo Jodice storico d’arte
Mimmo Jodice is an art historian
Photography is a useful tool for the study of any work of art, as demonstrated by the photo archives of historians as Adolfo Venturi, Pietro Toesca, Roberto Longhi, Federico Zeri, Oreste Ferrari, Corrado Maltese.
Mimmo Iodice is a photographer, “Neapo- litan by birth and choice”. With some of his shots, he spread all over the world images of masterpieces that characterize the arti- stic culture of Naples.
This work begins from an overview of pho- tography of artworks and aims to analyze Jodice career in the period between the Seventies and the Eighties, when he worked alongside art historians such as Raffaello Causa, Cesare De Seta, Filiberto Menna, Angelo Trimarco, and so improved his way of seeing art through his camera. On closer inspection it’s a period not ade- quately examined. Several books were analyzed to complete the survey, in each of them there are photographs taken by Iodice or by other photographers and use- ful for a comparison (:“L’arte nella Certosa di San Martino a Napoli”, “Chi è devoto”, “La Cappella del Tesoro di San Gennaro”, “Arti e civiltà del Settecento a Napoli, “Civiltà del Seicento a Napoli”, “Demoni e Santi. Teatro e teatralità barocca a Napoli”, “Napoli ’84. Fasti barocchi nella fotografia contemporanea”, “Un secolo di furore. L’espressività del Seicento a Napoli”, “Classicismo d’età romana: la collezione Farnese”,“Michelangelo scultore”,“Canova all’Ermitage”). The result is that Iodice hi- ghlights the problems concerning the right point of view of artworks to discover and reveal their qualities and characteristics. He takes photographs that are at the same time explanation, criticism and interpreta- tion of the masterpiece that he observes through the camera lens. His photographs have a critical force that qualifies them as real ‘ecfrasi’.