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ARTE LOMBARDA - 2013 - 1

digital ARTE LOMBARDA - 2013 - 1
Fascicolo digitale
rivista ARTE LOMBARDA
fascicolo 1 - 2013
titolo ARTE LOMBARDA - 2013 - 1
editore Vita e Pensiero
formato Fascicolo digitale | Pdf

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Bramante dopo Malaguzzi Valeri
di Richard Schofield pagine: 47 € 6,00
Abstract
The author looks at the research carried out since Malaguzzi Valeri’s second volume on Bramante and Leonardo (1915) noting particularly that the list of buildings attributed to him has hardly changed, but that important discoveries have been made in other respects, particularly of the Bergamo frescoes, of the fact that Gaspare Visconti owned the house in which the Uomini d’Arme and Democritus and Heraclitus were painted; and of whether some or all of the paintings usually attributed to Bramante should be transferred to Bramantino. Malaguzzi Valeri’s skepticism about Bramante’s early life and his possible relationship to Fra Carnevale and the painters of the Nicchia di San Bernardino are considered. Bramante’s relationship with Francesco di Giorgio is examined with the conclusion that the planning of San Bernardino in Urbino must antedate the death of Federico da Montefeltro in 1482 and, more broadly, that a number of the architectural details of the ducal palazzo at Urbino built under Laurana and Francesco di Giorgio probably owe much to the illustrious basilica of San Salvatore at Spoleto. The attribution to Bramante of a project-drawing for Santa Maria presso San Satiro is rediscussed as well as the thorny problem of the original fenestration of the church. The discovery of a copy of a document for the Duomo in Pavia as well as a recent suggestion concerning Bramante’s original plan for the church are weighed-up. Documents recently discovered by Eduardo Rossetti form the basis for the attribution to Bramante of the project to face the ex- Arcimboldo palace on the Corso Magenta and another block on the Via Terraggio with plinths, then semicolumns superimposed over pilasters to left and right thus accounting for the many examples of the use of the same architectural device from the late 1480’s in Lombardy in many different media: the arrangement was taken by Bramante to Rome where it appeared on the second story of the lower courtyard of the Belvedere and on the exterior of St. Peter’s, and in many other places throughout the 16th century and afterwards. Santa Maria delle Grazie is considered on the basis of recent investigations by Luisa Giordano in an attempt to clarify the story of Beatrice’s d’Este’s tomb and those of others, and the arrangements of the wooden stalls in the new choir. Finally the significance of a reference in Biagio Guenzati’s life of Federico Borromeo, which evidently concerns a project to construct a third side to the Canonica of Sant’Ambrogio, is analysed.
«E molti ne aveva summa deletatione». Architetture, spettacoli e feste romane nel racconto e nei disegni del Taccuino di Salisburgo
di Cristina Fumarco pagine: 29 € 6,00
Abstract
The codex includes a description and depiction of famous monuments of ancient Rome and the Arena of Verona. The piece can be dated to the last two decades of the 15th Century, thanks to the direct account of the partial destruction of the so-called Septizodium and the killing of Duke Galeazzo Maria Sforza, both in 1476; the mentioning of Galeazzo Maria’s death is also one of the elements attesting the Lombard origin of the manuscript. The described monuments are the Colosseum, the Arena of Verona, the Circus of Maxentius, the Stadium of Domitian, Trajan’s Column, the Arch of Janus, the Vatican Obelisk, the Septizodium, the Circus Maximus, the Sanctuary of Palestrina, the Baths of Diocletian, of Caracalla and others, and a theatre. The drawings show a method of representation similar to that of Filarete, displaying a suggestive use of perspective, as well as very early examples of architectural sketches combining elevation and floor plan. The repertoire of architectural details is very rich: frames, capitals and bases. The buildings are articulated in a proportional system, with no indication of measurements, with one exception in which the chosen metric system is the one in use in Milan. While references to Alberti’s theories abound, very few words are dedicated to architectural annotations, and more space is given to the functions and activities of each building. Historical thoroughness prevails on any artistic or technical purpose, even though the drawings themselves show remarkable accuracy and a proper use of instruments, which accounts for the author’s knowledge of representational techniques. The codex has the form of a brief treatise, and the drawings might actually be copies, a possibility suggested by the fact that included in the Uffizi collection are several plates derived form a common source, supposedly a book of models. The author is well read in both Latin and vernacular sources for Roman history: he describes gladiatorial games and circuses in detail, as well as races, naumachiae and battle simulations, but also baths and shows, often described adapting categories from Renaissance theater. The description of a feast almost identical to the famous one held on the occasion of the wedding of Costanzo Sforza di Pesaro and Camilla Marzano d’Aragona (1475), also recounted in the chronicles of the time, supports the attribution of the codex to the Milan milieu of the Sforza period, since representatives of Milanese branch of the noble family had taken part to the celebration. The apparent connection to the court, the erudite, descriptive and yet not at all philological account suggest a likely attribution of the work to one of the time’s humanists appointed to diplomatic and cultural tasks, such as Bergonzio Botta.
Cesare Cesariano, il Duomo di Milano e le tavole dell’edizione di Vitruvio del 1521
di Jessica Gritti pagine: 15 € 6,00
Abstract
Among the vast production of graphic works linked to the projects for the Duomo and its construction, several drawings can be connected to the plates in Cesare Cesariano’s edition of Vitruvius, although with different dates and motivations. As partly shown by Luca Beltrami’s studies of the 1880s, Cesariano’s plates have a very particular function: on one hand they constitute a graphic testimony of other drawing now lost, dating back to the beginnings of the history of the Cathedral. On the other hand, they were themselves a fundamental benchmark and starting point for the many projects surrounding the Duomo since 1521, as demonstrated by the choice of Cesariano’s Ichnographia as a reference for later plans. Moreover, a thorough analysis of two drawings representing the cross-section of the building (and in particular the one at p. 4v in the second volume of the Bianconi collection) reveals them to be connected – each in its own way – to the plate with Vitruvius’ Scaenographia; such finding leads to a series of observations on Cesariano’s knowledge and use of the sources then available regarding the origins of the Cathedral.
The Youth of Cristoforo Solari
di Anne Markham Schulz pagine: 10 € 6,00
Abstract
L’articolo torna su un’attribuzione proposta oltre un secolo fa e da allora caduta nell’oblio, quella a Cristoforo Solari del rilievo con le figure a tutto busto del Cristo passo, della Madonna e di San Giovanni Evangelista, conservato presso il Castello Sforzesco di Milano (inv. 1149). L’autrice suggerisce che il rilievo sia stato realizzato dal Solari durante l’apprendistato presso la bottega del cugino Pietro Antonio, di cui è possibile ipotizzare una collaborazione, soprattutto per quanto riguarda l’impianto formale dell’opera. Sulla base dei tratti stilistici, il manufatto è individuato come il primo lavoro del giovane e ancora inesperto apprendista, ed è pertanto databile attorno agli anni 1487-88. Entro l’inverno del 1493, ma probabilmente molto prima, Cristoforo si era trasferito a Venezia, dove, nell’aprile 1494, è attestata la sua presenza per la realizzazione delle Virtù per l’altare di Giorgio Dragan, in Santa Maria della Carità. A parere dell’autrice, lo stile innovativo, decisamente classicista di queste figure lascia supporre un soggiorno a Roma, probabilmente tra la fine del 1493 e l’inizio del 1494, durante il quale Solari avrebbe visto il sarcofago delle Muse oggi al Kunsthistorisches Museum di Vienna, ma anche l’Apollo Belvedere e l’altare maggiore di Andrea Bregno in Santa Maria del Popolo, tutte opere che avrebbero influenzato i lavori eseguiti dal Solari nell’aprile 1494.

Appunti e segnalazioni

Frate Nebridio miniatore e un inedito codice lodigiano
di Monja Faraoni pagine: 4 € 6,00
Abstract
The library of Collegio San Francesco in Lodi possesses an Antiphonale parvum decorated with an individual miniature depicting the Annunciation, recently studied, from a codicologic perspective, by Lisa Longhi. A comparison between the codex and two cropped miniatures individuated by Mirella Levi D’Ancona in 1963 – the letter E with St. Augustin and the Resurrection of Christ signed “Nebridius ME P”, the latter discovered by Giordana Mariani Canova in 1975 at the Fogg Art Museum, Harvard University – makes it possible to attribute the manuscript to the miniaturist Frate Nebridio from Cremona, the last standing representative of the local Late-Gothic culture. While his production denotes an undeniable connection with the painting of Bonifacio Bembo, it is also rich of personal stylistic features, such as the introduction of frames along which musician angels peer out, becoming the artist’s very signature. Nebridio died before 1503, and he entrusted his nephew Marchino with the completion of his unfinished works, as suggested by the payment Marchino received for completing a Gradual for the monastery of San Sigismondo.
Gaudenzio Ferrari secondo Bernard e Mary Berenson
di Erica Bernardi pagine: 7 € 6,00
Abstract
Stored in the archive of Bernard Berenson (1865-1959) at Villa I Tatti in Settignano are the notebooks from the scholar’s journeys together with Mary Berenson (1864-1945), upon which he completed his famous “lists”. The documents contain writings by both authors, an intricate maze of diverse thoughts nearly impossible to break down for today’s readers. Notes taken on the spot are elaborated to constitute two indexes, “notes artists” and “notes places”, into which the collected information is divided. The essay takes into consideration the materials concerning Piedmontese painter Gaudenzio Ferrari (1475/80-1546), which reveal some interesting research, early trips to Varallo Sesia (1892) and a later presence in Valtellina (1912), aimed at exploring a period of the artist’s activity that had not yet been analyzed thoroughly. Among Berenson’s working notes are several unpublished materials witnessing the evolution of his understanding of Gaudenzio, which grew broader and more complex with each new piece of information, each visit and each discovery? The analysis of such materials reveal the attitude of the connoisseur who compares images, looks for connections between iconographies and formal references. Such method was heavily influenced by the early relationship with Giovanni Morelli (1816-1891) and Gustavo Frizzoni (1840-1919), to whom credit is due for Berenson’s decision to visit such places.

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