Ambrogio Bergognone e l’Opinio di Bramante per il Duomo di Milano

digital

Articolo

rivista	ARTE LOMBARDA
fascicolo	ARTE LOMBARDA - 2009 - 3
titolo	Ambrogio Bergognone e l’Opinio di Bramante per il Duomo di Milano
Autore	Mauro Pavesi
Editore	Vita e Pensiero
formato	Articolo \| Pdf
online da	03-2009
issn	0004-3443 (stampa) \| 2785-1117 (digitale)

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Descrizione
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.

Descrizione

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.