Pellegrino Tibaldi e il Palazzo di Corte di Milano digital
The Ducal Palace in Milan had a long series of alterations during the 16th century: already residence for the duchess Isabella of Aragon, it did not host the kings under the French and Spanish domination, during their journeys in Milan, but the ducal governors and it received attention above all by Alfonso of Avalos and Ferrante Gonzaga, mainly in the occasions of visits by Charles V in 1541 and Philip II of Habsburg in 1548...
La Fucina di Vulcano. Un disegno milanese per un camino digital
A drawing for a fireplace, today preserved at the biblioteca Ambrosiana in Milan (codex F 252 inf., f. 637), deserves to be again discussed for the mythological subjects which enrich its decorations and for its possible patrons at the beginning of the 16th century. the scenes and figures represented permit perhaps to recognize a cultural context other than the Milanese one, where scenes coming from classical mythology were less common...
Baldassare Taccone e le statue di Ludovico Maria e Massimiliano Sforza per la Madonna di Galliera a Bologna digital
A letter by baldassare taccone, now preserved in the section Autografi at the Archivio di Stato in Milan and sent from bologna on May the 30th 1498, gives news to Ludovico Maria Sforza on the setting for some statues, portraits of Ludovico and his son Massimiliano, maybe made of wax, inside the church of Santa Maria di Galliera in bologna. According to the text, the two Sforza’s portraits were life size, coloured and dressed and they were really verisimilar...
Giovanni Lombardo de Patriarchi da Argegno, pittore e architetto digital
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
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
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
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
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»).
La scuola dei Quattro Santi Coronati nel Duomo di Milano digital
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