Giovanni Lombardo de Patriarchi da Argegno, pittore e architetto digital
formato: Articolo | ARTE LOMBARDA - 2016 - 3
Despite some recent clarifications and new documentary evidence, Giovanni Lombardo de Patriarchi from Argegno has so far been considered only episodically and there is no satisfactory overall treatment of this artist in Sforza and French Milan of the early sixteenth century. He was a member of a family of painters, like his father Giovanni (documented from 1434 to 1491) and uncle Paolo (documented 1434-1492), all so far without works attributed to them...
Pellegrino Tibaldi e la pianta esagonale della chiesa di San Rocco dei Miracoli a Milano digital
formato: Articolo | ARTE LOMBARDA - 2015 - 1-2
The Oratory of San Rocco dei Miracoli in the Corso Porta Vercellina must be added to the rich catalogue of church-projects designed by Pellegrino Tibaldi in Borromeo’s Milan. The building, which was demolished after the suppressions in the late eighteenth century, stood next to the Monastery of San Maurizio Maggiore, and included an unusual hexagonal plan juxtaposed with a second rectangular area where the main altar was housed...
Dibattito Trentanove per la facciata del Duomo di Milano digital
formato: Articolo | ARTE LOMBARDA - 2013 - 2-3
Thanks to the thirty-eight “opinions” written between August 30, 1607 and 1682, and recently republished (2003), the façade of the Duomo of Milan is the best documented – both through drawings and writings – among all 17th-Century architectural projects in Italy. The authors now present an unpublished thirty-ninth opinion, undated and unsigned, retrieved in the Archivio Storico Civico in Milan. It is neither the theoretical essay by an architect based on the best-known sources of the specific literature, nor a technical contribution discussing details and dimensions of the architectonic structure. Rather, it appears to be a text compiled by a clergyman, with very specific stances on several aspects of the project, and some brief examples of buildings in Bologna, Rome and Naples.
Luigi Vanvitelli e un nuovo disegno per il santuario del Crocifisso di Como digital
formato: Articolo | ARTE LOMBARDA - 2011 - 3
Luigi Vanvitelli and a newly discovered drawing for the Sanctuary of the Crucifix in...
Un «tabernacolo di metallo fatto da Jacobo di Duca siciliano secondo il disegno di messer Michel Angelo Bonaroti» per il Duomo di Milano digital
formato: Articolo | ARTE LOMBARDA - 2009 - 3
An unpublished document from the Chapter’s Archive of the Duomo of Milan certifies the offer of a tabernacle to be placed in the Cathedral, upon a drawing by Michelangelo («tabernacolo di metallo da porsi in Duomo giusta il disegno di Michel Angelo Buonaruota»), thus adding new facts to our knowledge of a tabernacle realized by Giacomo Del Duca upon a drawing by Michelangelo for the church of Santa Maria degli Angeli. Del Duca’s work described in the document is very similar – even in size – to that offered to Philip II for the church of Saint Lawrence of El Escorial, thus allowing to say it is the same tabernacle; a relation to the one now placed in the Charterhouse of Padula, formerly at the Museum of Capodimonte, is less likely. The tabernacle offered to the Duomo has an octagonal shape, a stone pedestal and a metal body with a total height of 50 hands. On one of the eight facets of the pedestal there is a door which takes along a stair to the octagonal reliquary guarding the Blessed Sacrament, illuminated by eight windows, some with red stained glasses, with six corresponding figures; both on the upper and in the lower sides are fourteen bas-reliefs with the Stories of the Passion. A Crucifix and a Resurrected Christ are embedded in the two main windows. Underneath, a second octagonal bronze element constitutes the base of the actual tabernacle, while the upper side culminating in an eight-sided vault with a balustrade, a globe and an image of Christ ascending into heaven («Cristo […] il qual sta in atidudine di ascendere in cielo»).