Precisazioni sugli scultori Anselmus e Girardus, la porta Romana di Milano di età comunale e il pulpito di Sant’Ambrogio - Barbara Ambrogia Natoli - Vita e Pensiero - Articolo Arte Lombarda Vita e Pensiero

Precisazioni sugli scultori Anselmus e Girardus, la porta Romana di Milano di età comunale e il pulpito di Sant’Ambrogio

digital Precisazioni sugli scultori Anselmus e Girardus,
la porta Romana di Milano di età comunale e il pulpito di Sant’Ambrogio
Articolo
rivista ARTE LOMBARDA
fascicolo ARTE LOMBARDA - 2020 - 2 - 3
titolo Precisazioni sugli scultori Anselmus e Girardus, la porta Romana di Milano di età comunale e il pulpito di Sant’Ambrogio
Details about the sculptors Anselmus and Girardus, the Porta Romana of Milan in the communal age and the pulpit of Sant’Ambrogio
Autore
Editore Vita e Pensiero
formato Articolo | Pdf
online da 07-2021
doi 10.26350/666112_000062
issn 0004-3443 (stampa) | 2785-1117 (digitale)
€ 6,00

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The Porta romana of Milan of the communal age, dating back to 1171, was decorated with four high-relief scenes depicting: the Diplomatic mission to Constantinople, by an anonymous author, now lost, the Return of the soldiers of the Lombard League led by frater Jacobus, of Anselmus, the Return of the Milanese people led by a cleric, by Girardus, the Expulsion of the Arians by Ambrose, by  an anonymous author. the surviving high-reliefs are preserved in the Museo d’Arte Antica del castello sforzesco. In this article, many of the characters in the Girardus relief have been identified and  an alternative hypothesis has been put forward about the setting of the scene, which could take place at the columns of san Lorenzo and the nearby Porta ticinese. A will of 1166, in which Anselmus and Girardus appear as witnesses, also documents the presence of at least Anselmus at the Milanese building yard of sant’Ambrogio and would allow, albeit doubtfully, to attribute to this sculptor  the relief with the so-called Last Supper or Agape of the pulpit of the basilica, which would also have stylistic analogies with the frieze with the Return of the soldiers. the author also puts forward  the hypothesis that the relief of the pulpit actually represents the Prandium in festivitate sancti Satyri, offered by the abbot to the canons of the basilica and other religiouses of the city. this relief  was inserted in the pulpit during a possible reworking of 1174, wanted by archbishop Galdino della sala, in celebration of the re-established control over all the Milanese clergy. According to the  author finally, perhaps Anselmus is also the author of the capital with the Childhood of Christ (Pinacoteca civica di como), and Girardus may have sculpted some capitals of the monastery of santa radegonda (castello sforzesco in Milan).

keywords

Anselmus; Girardus; Porta romana, Milan; Lombard League; romanesque sculpture; sant’Ambrogio basilica, pulpit; santa radegonda monastery.

Biografia dell'autore

barbara.natoli@libero.it

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