Ambrogio Bergognone e l’Opinio di Bramante per il Duomo di Milano
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Bergognone’s Crucifixion (1490) for the Certosa di Pavia dates from the
period of highest influence of Bramante’s monumentality and
perspectival experimentations on the artist. An architecture in the
background immediately recalls Bramante’s theoretical and architectural
ideas: a marble church with a square layout lantern, decorated with
flying buttresses and Gothic pinnacles. In his Opinio given to the
overseers for the building project of the Duomo of Milan, Bramante
suggested, in place of the octagonal lantern already outlined by
Guiniforte Solari, a powerful Gothic square layout-tower, actually very
similar to that depicted by Bergognone. Such a singular connection
confirms the relationship between Bergognone and Bramante, already
suggested in the past based on the influence of the former’s style on the
latter’s, but also on their actual collaboration for the church of Santa
Maria at San Satiro, very few years later. Bergognone’s interest for
architecture, and especially for the Gothic lantern, is further documented
in other paintings; and compared to the other visualizations of
Bramante’s Opinio – such as that found in Cesare Cesariano’s
commentary on Vitruvius (1521) – Bergognone’s appears by far more
coherent with the writings and artistic vision of the architect from Urbino.
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