Carlo Innocenzo Carloni a Brescia: novità per i cicli pittorici dei palazzi Martinengo di Padernello, Gaifami e Valotti Rampinelli Rota

digital

Articolo

rivista	ARTE LOMBARDA
fascicolo	ARTE LOMBARDA - 2015 - 3
titolo	Carlo Innocenzo Carloni a Brescia: novità per i cicli pittorici dei palazzi Martinengo di Padernello, Gaifami e Valotti Rampinelli Rota
autore	Andrea Quecchia
editore	Vita e Pensiero
formato	Articolo \| Pdf
online da	05-2016
issn	0004-3443 (stampa)

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Descrizione
The stay of Carlo Innocenzo Carloni (Scaria d’Intelvi, 1686 or 1687 - 1775) in Brescia, already known through the literary sources of eighteen century, has still be proven from cycles of profane frescoes in this city. Thanks to the comparison with the Notta delli Sbozzi, the original document in which the painter makes a list of his sketches, is possible to verify links with frescoes still existing or destroyed by now. Some considerations about connections between Carloni and Pietro Scalvini are furthermore proposed in this essay. The text begin with an analysis of the former Martinengo di Padernello palace, today Salvadego, in which the real presence of frescoes by Carloni, after the war destructions, wasn’t clear at all; now we can affirm that nine ceilings decorated by the painter are still visible in the building. In Gaifami palace, thanks to the comparison with Notta delli Sbozzi and the guide published by G. B. Carboni in 1760, the iconography of the seven vaults is clearer for the first time. The study of the little known Valotti palace, today Rampinelli Rota, now permit to identify three rooms probably decorated by the artist.

Descrizione

The stay of Carlo Innocenzo Carloni (Scaria d’Intelvi, 1686 or 1687 - 1775) in Brescia, already known through the literary sources of eighteen century, has still be proven from cycles of profane frescoes in this city. Thanks to the comparison with the Notta delli Sbozzi, the original document in which the painter makes a list of his sketches, is possible to verify links with frescoes still existing or destroyed by now. Some considerations about connections between Carloni and Pietro Scalvini are furthermore proposed in this essay. The text begin with an analysis of the former Martinengo di Padernello palace, today Salvadego, in which the real presence of frescoes by Carloni, after the war destructions, wasn’t clear at all; now we can affirm that nine ceilings decorated by the painter are still visible in the building. In Gaifami palace, thanks to the comparison with Notta delli Sbozzi and the guide published by G. B. Carboni in 1760, the iconography of the seven vaults is clearer for the first time. The study of the little known Valotti palace, today Rampinelli Rota, now permit to identify three rooms probably decorated by the artist.